Report of The Contemporary Visual Arts and Craft Inquiry

Introduction
Report of the
Contemporary Visual Arts
and Craft Inquiry
page 2
Introduction
Report of the
Contemporary Visual Arts
and Craft Inquiry
page 3
Disclaimer
This report was developed for the Commonwealth by the Contemporary Visual Arts and Craft Inquiry. It draws on
information, opinions and advice provided by a variety of individuals and organisations during the Inquiry. This
report does not necessarily reflect the views of the Commonwealth or indicate its commitment to a particular
course of action.
Commonwealth of Australia 2002
ISBN 0 642 75095 5
Online ISBN 0 642 75101 5
This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced
by any process without prior written permission from the Commonwealth available from the Department of
Communications, Information Technology and the Arts. Requests and inquiries concerning reproduction and rights
should be addressed to:
The Commonwealth Copyright Administration
Intellectual Property Branch
Department of Communications, Information Technology and the Arts
GPO Box 2154
Canberra ACT 2601
Telephone: 02 6271 1000
Facsimile: 02 6271 1800
Email: [email protected]
Website: www.dcita.gov.au
Produced by the Commonwealth Department of Communications, Information Technology and the Arts.
page II
Introduction
Transmittal Letter
page III
page IV
CONTENTS
Chairmans preamble
Executive summary
Recommendations
11
Chapter 1 Introduction
21
Background
Terms of reference
Conduct of the Inquiry
Submissions
Structure of the Report
Implementation issues
Acknowledgments
21
21
22
24
25
26
27
Chapter 2 The contemporary visual arts and craft sectoran overview

Defining and measuring the sector
Nomenclature
Statistical limitations
Visual artists, crafts practitioners and artsworkers
Education and training
Infrastructure: key organisations and institutions
Audiences for contemporary visual arts and craft
Commercial market
Funding sources
Cultural diversity
Economic contribution of the contemporary visual arts and craft sector
Cultural and creative contribution
Guiding principles
page V
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Chapter 3 Valuing artists
57
The visual artist and craft practitioner population

Artists incomes
Education and training
Graduates and emerging artists
Relationship between the artist and the commercial galleries
Artists fees, loan fees and exhibition fees
The individual artist and new technology
Funding for artists
Status of the artist
Professional status and taxation
Social security
The work environment for visual arts and craft practitioners
Insurance
Artists and intellectual propertycopyright
Indigenous cultural and intellectual property
Resale royalty
Estate planning
Chapter 4 Strengthening the infrastructure

Contemporary arts organisations
Craft and design organisations
Art and craft centres
Artist-run initiatives
Major art museums
Regional galleries
University art galleries
Artists service organisations and associations
New technology
Art administrators and curators
page VI
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Chapter 5 Expanding the market
233
Audiences for contemporary visual arts and craft

The commercial market
Promotion and access through touring
Major contemporary visual arts and craft events
International promotion and exchange
Promotion through Artbank
Contemporary art and craft writing and publishing
Special projects
Chapter 6 Resourcing the sector
233
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297
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291
Role of governments in supporting

the contemporary visual arts and craft sector
Policy objectives and targeting by governments
Interrelationships, coordination, targeting and
opportunities for new synergies
Private sector support
Broadening the funding base
291
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328
Appendix A Biography of Rupert Myer
343
Appendix B Consultations and conferences
344
Appendix C
351
Indigenous Reference Group
Appendix D Key references
352
Appendix E Submissions
369
Appendix F
373
Glossary of acronyms
Appendix G Derivation of value added estimates

for the contemporary visual arts and craft sector
374
Appendix H Tertiary institutions offering courses in visual arts and craft
378
Appendix I
Appendix J
Types of insurance cover for visual artists and

crafts practitioners, and arts organisations
380
Resale royalty
382
Appendix K Key organisations in the contemporary visual arts and craft sector
Appendix L
Australia Council and State and Territory government

funding of the contemporary visual arts and craft sector, 19992000
388
397
Appendix M Overseas philanthropy
398
Appendix N Inquiry Secretariat
400
page VII
page VIII
CHAIRMANS PREAMBLE
This has been a timely Inquiry. It follows on from recent detailed reports and policy
initiatives covering other arts sectors as well as a number of reports undertaken by the
contemporary visual arts and craft sector. Many of the issues are complex and have required
detailed analysis. Enthusiastic support for this Inquiry has ensured that the visual arts and
craft communities have significantly contributed to the future shape and direction of the
sector as contemplated by this Report.
In imagining the future, it is relevant to consider the development of the Australian film
industry, particularly over the last decade. After many years of strategic investment
and planning, that industry is reaping the benefits of a healthy slate of local feature
films, television drama and other productions. Few now question the value of the public
investment that has supported and continues to support this creative industry. We celebrate
the success of both the industry and the individuals whose roles have contributed to the
essence of our nations culture. Many of those individuals emphasise the importance of
their professional training, access to opportunities to display their talents and the role
of publicly funded investment as the key elements of this industrys development. The
associated benefits of employment opportunities, related economic and investment
activity, tourism developments and the nurturing of our nations creative talents are widely
discussed. The key to these observations is that they are relevant across the whole of the
creative arts sector.
The challenge is to maintain and develop a contemporary visual arts and craft sector
bristling with vitality and built upon the multiple talents, imagination and commitment
of independent artists and craft practitioners. With well-targeted cooperative public
investment and a supportive legislative environment, the contemporary visual arts and craft
sector can move rapidly to consolidate its current position and further evolve to become
bolder and more inventive, providing greater opportunities for its participants.
Such a vision requires well resourced organisations confident in their business models
with managements committed to promoting artists and exciting audience responses.
It is possible to imagine a future for the sector where artists and craft practitioners
enjoy a higher status within the community, where they are faced with fewer economic
uncertainties, where there are greater opportunities to exhibit and sell works of art and
where the financial and market success of their work is not taken as the sole measure of
quality. It is also imaginable that effective advocacy for the sector, publication programs
and on-going research and development with new creative disciplines would be valued
activities. In such an environment, multiple pathways for artists to follow during their lives
would involve ongoing formal and informal learning and skills development, mutually
beneficial interaction with the marketplace, audiences and their peers and greater access
to publicly and privately funded project activities. The keen remembrance of generation old
practices and policies would be replaced by an appreciable enthusiasm for new models of
Commonwealth, State and Territory funding and a significantly expanded role for private
benefaction and sponsorship.
page 1
Building on the strength of core government support, it is possible to imagine the sector
well supported by an increasing number of private organisations and individual benefactors.
In this scenario, there would be many prospective partnerships promoting Australias
visual culture at significant international events, bilateral exhibitions and events principally
for local audiences. This Report proposes policies intended to increase the financial
support provided for individual artists and their supporting infrastructure from corporate
sponsorship and private philanthropy. This is not intended as a substitute for government
support but as a critical supplement.
The successful implementation of new policy initiatives requires the sector to respond
with an energetic view of itself and its own potential. The possibilities for such an energised
future are already evident in many of the current trends. Throughout its consultations
around the country, the Inquiry observed the sectors vibrancy and sophistication.
It is also clear that the participants have a strong will to contribute to the sectors
successful development.
The growth of the demand for tertiary arts courses, the cultural and commercial
appreciation of Indigenous art and the developments in copyright and moral rights
contribute to this observation. In addition, capital investment in infrastructure across
metropolitan and regional centres, increased opportunities for public art, a committed
commercial gallery sector and a lively art market sector are reinforcing the significance
of contemporary art and craft practice. These positive elements emerge both anecdotally
and through much of the data analysed by this Inquiry and they confirm the capability and
contribution of the sector. It is easy to observe and share the passion that people have
about what they do.
However, against this background, chronic frailties exist which require early responses.
Sustainability is affected by the closure of arts courses, the cessation of publications,
inadequate access to new technology and underfunded organisations characterised
by part-time staff working full-time, artists substantially subsidising their own sectors
infrastructure and diminishing financial reserves. There is evidence of fatigue within
organisations brought about by inadequate facilities, over-stretched staff and reductions
in programming and exhibition activities. For many artists, there are too few opportunities
to display their work or engage with audiences and the economic uncertainties prevent
the establishment of sustainable careers. The frailty which is experienced at close hand by
many participants in the sector needs to be addressed as part of this overall review of the
sectors circumstances.
page 2
Chairmans preamble
It is only comparatively recently that, as a community, we have come to find a way to

formally value infrastructure. We are now able to ascribe a financial value to our roads,
railways, airports and radio frequencies in a way that was previously unknown. Similarly,
we are finding ways to value our natural resources including water, timber, flora and fauna.
We can also ascribe a value to the human and cultural capital infrastructure that supports
the arts, and in the context of this Inquiry, particularly the contemporary visual arts and
craft sector. That there are organisations with boards of management, volunteers and
staff, leases and equipment, relationships with communities, artists, craft practitioners,
government agencies, benefactors and audiences is something to be valued, nurtured and
protected. When aggregated, this human and cultural capital is part of our national social
capital, the webs of relationships and collaborations that underpin our national cultural,
social and economic wellbeing. A healthy infrastructure is also an essential driver for
increasing access to the international markets, new media and converging technologies
and accessing audiences.
In Australia, public arts funding is provided through significant support from numerous
agencies across the three tiers of government. There is little structural reform proposed by
this Inquiry as the structure which has developed to support the sector remains effective,
if under-resourced. Our federated model of government means that, whilst at times these
funding arrangements are coordinated, very often they are not. Successful arrangements
in one part of the country are often not known about, or replicated, in other parts.
Key government interventions can transform this sector into one that will contribute
significantly to our nations economic circumstances and hugely to our nations
cultural capital.
In reflecting upon the value of this sector, it is appropriate to be mindful that economic
value and cultural value are two distinct concepts. Culture will be seriously misunderstood
if analysed only as economic value. Whilst there is little question the data discussed in this
Report confirms that this sector makes a significant and, importantly, strategic contribution
to the nations economy, it is its cultural contribution which is paramount. At the heart of the
strategic interventions proposed in this report is a desire to promote a greater recognition
of the value of the contemporary visual arts and craft sector and of artists in our community.
Rupert Myer
Chairman
page 3
page 4
EXECUTIVE SUMMARY
On 23 July 2001, the then Federal Minister for the Arts and the Centenary of Federation, the
Hon. Peter McGauran MP, appointed Mr Rupert Myer to conduct an independent Inquiry into
the contemporary visual arts and craft sector.
While the Inquiry followed in the wake of the Major Performing Arts Inquiry it had a wider
brief, being required to scope the sector, examine its cultural and economic contribution,
and make recommendations on key issues impacting on the future sustainability,
development and promotion of the sector as a whole.
The sector, the Inquiry found, comprises around 20 000 visual artists and craft practitioners
as well as curators, arts writers and other arts workers, and hundreds of organisations
ranging from small artist-run initiatives to the major state galleries. The breadth of the terms
of reference, and the number and diversity of stakeholders therefore required the Inquiry
to adopt a methodology that focussed on issues and strategies for the sector rather than
specific organisations. For similar reasons, the Inquiry also limited contemporary visual
arts and craft to broadly mean the work of living artists and craft practitioners and the
organisations that support their practice.
The Inquiry received 190 written submissions and consulted widely with artists, craft
practitioners, visual arts and craft organisations, and Commonwealth, State and Territory
government departments and agencies. The submissions came from individuals and
institutions, including the commercial sector, in all States and Territories. Consultations
included discussions with many stakeholders at artists studios, university art schools,
contemporary art spaces, craft and design organisations, commercial galleries, Indigenous
art and craft centres and philanthropic organisations. The strong impression gained was of
a sector that is confident of its talents and abilities, proud of its track record at home and
abroad, and enthusiastic about its potential. It is a sector that is used to, but nonetheless
increasingly frustrated by, doing more with less. In this regard it is keenly aware that the
financial position of other arts sectors has been recently positively addressed.
The Inquiry found that the contemporary visual arts and craft sector makes an important
economic contribution through direct creative, innovative and experimental activity,
through the commercial art market, and by providing employment. Indirectly, the sector
contributes as part of the broader creative economy including other arts sectors, design,
advertising, and the sciences.
The most recent estimate available for the value added by the sector to GDP was
approximately $160 million, comparable with that of the record companies and distributors
sector ($162 million in 199596) and approximately 40 per cent that of the performing arts
industries ($415.7 million in 199697). This estimate does not include the value added
of arts education activities, interest groups or government administrationnor does it
reflect the value of the social and external benefits the sector provides. Activity in the
contemporary visual arts and craft sector will also have flow-on, or multiplier, effects on
other parts of the economy.
page 5
The cultural contribution is significant and diverse, ranging from the visual interpretation of
national and individual identities and the cultural significance of Indigenous art, to its role in
establishing Australias international cultural standing, improving quality of life, enhancing
the built environment, and its application in health and rehabilitation programs. There is a
general concern in the sector that the economic and cultural contribution is not sufficiently
valued, and that the significant achievements of Australias visual artists and craftpersons
are not adequately acknowledged.
From its review of the cultural, social and economic dynamics of the sector, and
consideration of its future possibilities, the Inquiry formulated a number of Guiding
Principles that inform its recommendations and should underpin their implementation
and future policy development for the sector. A key concept is that Australia should value
and foster its visual artists and craft practitioners, and acknowledge and build upon their
contribution to Australias national culture and its international standing. Recognition is
also due to the valuable role played by the infrastructure, into which governments have
made significant investments. Along with the necessary support provided by governments,
the Principles strongly endorse initiatives that will stimulate audience growth and demand,
and the broadening of the funding base through increased benefaction and corporate
sponsorship.
The Inquiry found that contemporary visual arts and craft practitioners generally have
incomes lower than that of the general workforce, and of artists in other fields, and that
many have to support their practice with other employment. However, financial reward is
often not the prime motivator, and consequently while employment prospects for graduates
are less certain in the short-term than for other disciplines, the demand for places in tertiary
institutions by aspiring artists and non-vocational students has not diminished. The Inquiry
was presented with strong arguments about the cultural and economic value of tertiary
education in the arts and could not conclude that the number of graduates adversely affects
the sustainability of the sector. New technology is having a significant influence on courses
being offered, and its cost impacts on the training institutions. It is also a major driver for
change in the work of established artists and in display and exhibition venues.
In relation to the working lives of visual artists and craft practitioners, the Inquiry was
pleased to note that the sector has developed a code of practice to set standards for the
commercial relations between artists and the commercial sector and institutions. While
some practitioners achieve considerable commercial success, government support is still
fundamental to the development and maintenance of a vibrant culture in Australia. There
is a need to increase opportunities for artists of outstanding talent to receive assistance
through grant programs so that Australias cultural strength in the visual arts and craft fields
is not diminished.
A number of submitters sought the Inquirys support for the introduction of Status of the
Artist legislation to provide the basis for a better and fairer approach by governments to
matters directly affecting the lives of artists. In particular, the sector believes this would
facilitate greater acceptance of the nature and value of artists work and professional
standing in the development and administration of policy in areas such as taxation, social
security, industrial relations, occupational health and safety, superannuation, copyright,
moral rights, freedom of creative expression and insurance cover.
page 6
Executive summary
The Inquiry found that perceptions about the value and contribution of artists in
Australia do have implications for the administration of policy and the extent to which
artists needs and interests are taken into account. It believes there is scope to examine
practical ways to overcome the obstacles that some artists encounter through amendments
to existing legislation and policy, and for the sector to play a role in education campaigns
for its members.
Intellectual property issues are of considerable importance to the contemporary visual
arts and craft sector. The establishment and proper administration and enforcement of
intellectual property rights is a fundamental element of a well functioning sector. It is also
an important potential source of income for visual artists and craft practitioners.
While acknowledging the reforms undertaken in this area, the Inquiry has identified several
matters of particular concern to the contemporary visual arts and craft sector and issues of
special interest to Indigenous artists that it believes warrant review.
A major issue for the Inquiry was whether Australia should introduce a droit de suite or
resale royalty scheme that entitles the artist to royalties when a work of art is resold in the
market. The Inquiry assessed the potential benefits for visual artists, the particular issues
for Indigenous artists, and the likely impact the measure would have upon the market for
contemporary art and craft in Australia, having regard to the international experience and
local conditions. The Inquiry concluded that a resale royalty arrangement should
be introduced.
With regard to the sectors infrastructure, the Inquiry found there are a number of networks
of organisations and institutions that play a key role in the development of contemporary
art and craft practice in Australia. Through their exhibition, educational and promotional
activities they nurture the careers of artists and craft practitioners and arts professionals.
They provide opportunities for the revitalisation of the work of established artists and they
also provide initial professional experience for emerging artists and curators. Through their
networks they help build audiences, create demand for contemporary art and pioneer new
international relationships.
The Inquiry also found that current funding levels make it increasingly difficult for these
organisations to meet the rising expectations of artists, staff, the public and funding
bodies, to exploit potential business and market development opportunities, and for some
key organisations to provide leadership in the sector. There is also a lack of capacity to
document and promote the artwork being created in their exhibition spaces which limits
the long-term creative development of the visual arts in Australia. There is also a limited
capacity for creative experimentation due to the cost of new technology.
The Inquiry also examined the roles played by Indigenous art and craft centres, artist-run
initiatives, major art museums and regional and university galleries in developing and
sustaining the sector as well as the advocacy as well as the support roles of artist services
organisations. Curators and art administrators are key players in these organisations.
page 7
The Inquiry concluded that strategic investments by governments in the infrastructure,

including facilitating access to new technology, were critical if there was to be growth built
on these valuable foundations. While the infrastructure is not likely to cease operation
without this investment, it will stagnate and some of it may fade from view to the detriment
of Australias visual culture.
Demand for contemporary visual arts and craft is variable yet it is fundamental to the
sustainability of the sector. Audience development and education are critical factors and the
commercial galleries and auction houses and publications are key players in the market.
The Inquiry found that in the 12 months to April 1999, an Australian Bureau of Statistics
(ABS) survey indicated that almost 3.2 million Australians, or 21 per cent of the adult
population, attended an art gallery. To place this in perspective, three million people
attended a museum in the same period, 3.8 million people attended a popular music
performance, and almost ten million attended cinemas. An Australia Council survey found
that 31 per cent of respondents had visited a contemporary visual arts or craft venue in the
previous two years. In 2001, approximately $70 million of art was sold in Australian auctions
(of which the majority is assumed to be secondary sales), while the value of art sold through
commercial galleries in 19992000 was $218 million, of which $106 million was first sales
sold on commission, including but not limited to contemporary visual arts and craft.
Access programs including touring can increase appreciation and interest and grow
audiences. Similarly, exhibitions at major art museums are an efficient way of introducing
the general public to the work of Australian contemporary visual artists and craft
practitioners. The Inquiry concluded that the level of government support is not keeping
pace with rising costs for exhibitions touring and believes some targeted investment is
required to better meet the access objectives of governments.
Promotional activities in Australia and overseas can boost and stimulate demand.
The Inquiry examined the potential for a calendar to be developed around existing
major contemporary visual arts and craft events, such as the Asia-Pacific Triennial of
Contemporary Art in Brisbane and the Sydney Biennale, to make them the centrepiece
of a wide range of contemporary visual arts and craft activities in a particular location.
The Inquiry believes these events, if properly supported, have the potential to create local
and international opportunities for Australian artists. With the support and involvement
of local and State and Territory governments, the events could have wider benefits for the
tourism and hospitality sectors.
Submissions from all areas of the sector indicated the fundamental importance of
international promotion, market development and cultural exchange. Contemporary visual
arts and craft communicate more effectively across cultures than many other art forms.
Further, as artists tend to work independently, they have more capacity to work overseas
with minimal infrastructure and group support. The Australia Council makes a substantial
investment in assisting artists to take advantage of overseas opportunities, increasing
the international reputation of Australian visual arts and craft through the support of
international touring exhibitions, or through assisting international curators to visit Australia.
page 8
Executive summary
The Department of Foreign Affairs and Trade and State and Territory governments also play
significant roles in promoting the sector overseas. The Inquiry believes there is scope for
better coordination of these efforts to maximise the potential of international promotion.
The Inquiry also believes there is a need to strengthen the sustainability of contemporary
arts and craft publications through increased support to enable them to better promote the
sector and stimulate audience growth and demand. Similarly, the Inquiry believes there is a
case for some increased support for special projects by contemporary visual arts and craft
organisations to enhance the sector in Australia and on the world stage.
The terms of reference required the Inquiry to examine the role of governments, across
the three-tiers, in supporting the contemporary visual arts and craft sector, and the
effectiveness of this support in achieving cultural objectives for both individual artists and
arts organisations. The Inquiry has estimated from data collected by the ABS that support
from the Commonwealth, State and Territory and local governments for the contemporary
visual arts and craft sector totalled some $58 million in financial year 19992000. State
and Territory and Commonwealth Government support increased by about 12 per cent (in
non-adjusted dollars) over the period from 1994 to 2000. The total value of Commonwealth
support for the contemporary visual arts and craft sector in 19992000 was estimated to be
about $18.3 million.
Most local government support is directed to regional galleries, of which there are over
100 in Australia. They also support contemporary arts and craft through artist-inresidencies, public art projects, art training, specific artist projects and community art and
cultural development projects.
The Australia Council is the main Commonwealth source of grants in the contemporary
visual arts and craft sector, although the Aboriginal and Torres Strait Islander Commission
also plays a significant role. Other more broadly targeted programs of the Commonwealth
Government through various portfolios also make an important contribution.
Funding from the States and Territories is considerably weighted towards support for
organisations and infrastructure (which received in aggregate over 90 per cent of funds).
By comparison, analysis of Australia Council grants showed that some 69 per cent was
spent on organisations/infrastructure, while 31 per cent of expenditure was on individuals.
This is consistent with the Australia Councils national priorities that focus on key national
infrastructure and support of individuals nationally, on the basis of excellence.
Of concern to the Inquiry has been the need to assess whether, in such a complex funding
environment, there is appropriate coordination to ensure that synergies operate where
possible and that precious funding is not dispersed too thinly. On the whole, it is the
Inquirys view that there is considerable interaction and coordination between programs,
even where these involve several jurisdictions and slightly different policies and priorities.
Support for a national framework of key infrastructure organisations (contemporary art
organisations, craft and design organisations and National Exhibitions Touring Support
touring organisations) is an example of partnership funding between the Commonwealth
(through the Australia Council) and the States and Territories. However, funding
arrangements could be further synchronised. Increased funding recommended by the
Inquiry will offer the opportunity to increase this cooperative approach and also to pursue
tripartite funding arrangements for the benefit of all parties.
page 9
There is a high degree of competition for access to limited government funding, and as a
result, a clear need for more flexible and varied sources of support for the contemporary
visual arts and craft sector . Consultations have suggested there is potential for a greater
contribution from philanthropic and sponsorship sources to broadening the financial
support base for the sector. There are a number of private individuals and organisations
with a desire to contribute to the contemporary visual arts and crafts, but who are unaware
of how their contribution would achieve the best outcome.
Only a small proportion of philanthropic donations and sponsorship funding is directed
towards the visual arts and craft. An even smaller percentage of the funding for visual arts
and craft is directed towards contemporary visual arts, and a smaller percentage again is
directed to supporting contemporary craft. The Inquiry believes that a modest amount of
additional support would have a demonstrable and significant impact. Contemporary arts
organisations tend to be run on very limited budgets, and a small amount of additional
funding would allow these organisations to more comfortably achieve organisational
goals, and extend their activities and programs in a way which benefits the broader arts
community. Private support for individual artists would also have a significant benefit, as
visual artists and crafts practitioners tend to have limited incomes, and additional income
will directly affect their ability to create work.
There is an understandable level of doubt in the sector regarding the availability of
sponsorship in the contemporary visual arts and craft sector. Nevertheless, there are
support mechanisms available to assist organisations seeking to make a business case for
sponsorship. Many contemporary arts organisations are either not aware of this support, or
are unable to make use of these mechanisms due to resource and time constraints.
Overseas experience suggests that there is scope for governments to adopt a wide range of
tax incentives and other measures to encourage a greater contribution from philanthropic
and sponsorship sources. The Inquiry has recommended a number of measures to build on
and promote existing arrangements to expand this funding source for the sector.
page 10
Executive summary
RECOMMENDATIONS
The Inquiry has developed a package of recommendations designed to build on the sectors
achievements and provide opportunities for its potential to be realised. The financial
interventions proposed are strategically directed at ensuring that the sector is in a position
to accept new challenges and successfully meet them. The recommendations also establish
a new level of engagement with the sector by the Commonwealth, State and Territory
governments and the private sector.
The Inquiry believes the Commonwealth Government and the States and Territories have
developed and maintained an effective national framework for the contemporary visual
arts and craft sectorbut that this intervention needs further funding from these funding
sources if it is to remain effective. The Commonwealths leadership will be important in
ensuring successful and timely implementation so that functions of a national character
can be performed, including the strengthening of a sustainable framework of programs and
infrastructure across the nation to support creative excellence, access and participation.
The Inquirys view is that Commonwealth, State and Territory government funding to the
sector should be increased by $15 million per annum. The Commonwealths share of this
additional funding should be $7 million per annum, with a supplementary amount of
$2 million per annum being offered, subject to the State and Territory governments agreeing
to a total combined contribution of $6 million per annum. The individual State and Territory
contributions will depend on consultation and negotiation.
If implemented in full, the recommendations would take the Commonwealths support to
the sector to $27.3 million per annum, and the combined States and Territories support to
$25.4 million. The Commonwealth would also make a one-off allocation of $250 000 in year
one towards the implementation of a resale royalty scheme. Some recommendations may
also involve revenue foregone for the Commonwealth.
Further detail on the proposed joint funding arrangements is provided at Chapter 1 as part
of the discussion on implementation.
While the recommendations are presented sequentially, dealing firstly with individual
artists and craft practitioners, it is important to note the recommendations in areas
such as infrastructure support and philanthropy also impact on, and indirectly benefit,
individual practitioners. Some of the issues raised in the Inquiry have implications wider
than the contemporary visual arts and craft sector, for example in relation to copyright
law. Accordingly, the Inquiry decided that where the broader policy context needed to be
considered, the particular concerns and the Inquirys findings should be further examined
in that context.
Consistent with current practices, it is intended that applications for funding would continue
to be competitive and selection based on merit.
page 11
RECOMMENDATION 1
To ensure that more opportunities exist for Australian visual artists and craft practitioners
of outstanding ability to contribute to Australias culture through the creation of works of
artistic excellence, the Inquiry recommends:
1.1
The Commonwealth provide an additional $2 million per annum to the Australia

Council for programs that directly support individual visual artists and craft
practitioners.
1.2
From these additional funds, the Australia Council devolve up to $100 000 to each
State and Territory on the condition they match this support within a new co-badged
program for individual visual artists and craft practitioners.
1.3
The Australia Council, and the State and Territory arts funding agencies, actively
encourage craft practitioners to participate in these programs.
RECOMMENDATION 2
In order to support visual artists and craft practitioners in their practice, the
Inquiry recommends:
2.1
The Australian Taxation Office make a public ruling on what constitutes carrying
on an art business.
2.2
The Commonwealth remove the $40 000 limit on secondary income of artists, and
the exemption from the non-commercial losses provision be extended to all visual
artists and craft practitioners carrying on a legitimate arts business activity.
2.3
The Commonwealth remove any inconsistencies in practice involving the eligibility

of Australian Business Number holders to receive unemployment benefits,
particularly visual artists and craft practitioners.
2.4
The Commonwealth broaden the mutual obligation criteria for Newstart to include
a range of arts activities with community benefits.
2.5
The Commonwealth support artist service associations and membership

organisations to conduct national education campaigns to improve the awareness
of visual artists and craft practitioners about superannuation, occupational health
and safety and insurance issues.
2.6
The Commonwealth Minister for the Arts initiate consultations with appropriate
Commonwealth Ministers to progress these matters.
page 12
RECOMMENDATION 3
To protect the rights of visual artists and craft practitioners, the Inquiry recommends
that the relevant Commonwealth government departments take action in relation to the
copyright issues identified by the Inquiry in its findings, including:
3.1
commencing consultations in preparation for the review of the Digital Agenda;
3.2
considering amendments to deem artists to have asserted their moral rights;
3.3
conducting an independent review of the impact of extending the term of copyright;
3.4
extending the duration of copyright in photographs to match other copyright media;
3.5
considering the viability and implications of repealing provisions dealing with

copyright in sculptures and craft works on public display;
3.6
examining the costs and benefits of providing a guaranteed distribution of income

from statutory licences to artists;
3.7
commencing consultations regarding a national education campaign to raise the

awareness of copyright creators and users; and
3.8
monitoring the practical application and case law developments with respect to the
following copyright provisions:
definition of artistic work;
moral rights;
fair dealing exemptions; and
exemption permitting artistic works to be incidentally reproduced in film and
television broadcasts.
RECOMMENDATION 4
To protect the rights of Indigenous people, the Inquiry recommends that the relevant
Commonwealth government departments take action in relation to the Indigenous
copyright and Indigenous intellectual property issues identified by the Inquiry in its
findings, including:
the extension of moral rights to Indigenous groups;
misappropriation of Indigenous cultural imagery and iconography;
importation of works purporting to be of Indigenous origin; and
exportation of Indigenous art under cultural heritage provisions.
page 13
RECOMMENDATION 5
To further protect the rights of visual artists and craft practitioners, the Inquiry
recommends the Commonwealth Government:
5.1
Introduce a resale royalty arrangement.
5.2
Establish a working group, comprising representatives from government and the

visual arts and craft sector, to analyse the options for introducing a resale royalty
arrangement.
5.3
Conduct a tender to determine an appropriate body to administer the resale

royalty arrangement.
5.4
Allocate $250 000 for the development of an implementation strategy.
RECOMMENDATION 6
To strengthen the key role played by contemporary arts organisations in the development
and promotion of contemporary visual arts, the Inquiry recommends:
6.1
The Commonwealth (through the Australia Council) and the States and Territories
increase funding for contemporary arts organisations by $2 million per annum to
provide recurrent increased support additional to their current agreements.
6.2
In implementing this recommendation, the Commonwealth commits an initial

amount of $1 million per annum and the Commonwealth and the States and
Territories agree that the Commonwealth will commit a supplementary amount of
$0.25 million per annum if the States and Territories commit $0.75 million
per annum.
6.1.1 The Commonwealth and State and Territory funding agencies should agree
that grants to applicants should be on the basis of negotiated tripartite
agreements.
6.3
That the Commonwealth, State and Territory funding agencies also agree to allocate
some of this funding for a limited number of contemporary arts organisations for:
a. the development of sustainable business practices;
b. the development of major sponsorship opportunities; and
c. leadership roles nationally and developmental international roles, particularly
with regard to:
national and regional responsibilities;
public access and audience development;
development of ideas/intellectual discourse through forums and conferences;
page 14
mentoring and development of opportunities for artist-run initiatives;

international opportunities;
contemporary visual arts publishing; and
developments in art and technology including sound, performance, and other
hybrid forms of visual arts practice.
6.3.1 That the selection of organisations be by application and based on criteria
relating to:
current financial, business, program and infrastructural strength;
historically proven special abilities; and
potential for the organisation to substantially develop its programs
without destabilisation.
RECOMMENDATION 7
To strengthen the key role played by craft and design organisations,
the Inquiry recommends:
7.1
increase funding for craft and design organisations by $2 million per annum to
7.2
In implementing this recommendation, the Commonwealth commit an initial

amount of $1 million per annum; and the Commowealth and the States and
per annum.
agreements.
7.3
That the Commonwealth, State and Territory funding agencies should also agree to
allocate this funding in order for these organisations to:
a. develop sustainable business practices;
b. develop major sponsorship opportunities; and
c. take on leadership roles nationally and developmental international roles,
particularly with regard to:
national, regional and international audience and market development;
the development of public art opportunities for craft and design
practitioners;
appropriate development and marketing of Australian Indigenous craft
and design;
page 15
contemporary craft and design publishing;

development of ideas/intellectual discourse through forums and
conferences;
further development of partnerships between craft/design and industrial
design;
advocacy of craft and design courses in the education sectors; and
development of mentorships, cooperative workshops and other posttertiary education professional development opportunities.
7.3.1 The selection of leadership organisations be by application and based on
criteria including:
RECOMMENDATION 8
To strengthen the key role played by art and craft centres in the national development
and promotion of Indigenous arts and craft, the Inquiry recommends the Commonwealth,
through the Australia Council or another suitable body, allocate $200 000 per annum to
develop and manage short and medium term professional development opportunities for
art and craft centre staff.
RECOMMENDATION 9
To strengthen support for artist-run initiatives (ARIs), the Inquiry recommends:
9.1
The Commonwealth (through the Australia Council) increase its support for
ARIs through an additional allocation of $100 000 per annum to supplement the
dedicated ARI grant category offered as part of the Commonwealth Governments
Young and Emerging Artists Initiative.
9.2
The Australia Council and the State and Territory arts funding agencies target the
support of ARIs through projects (Recommendation 18) to encourage professional
development of ARI volunteers and wider audiences for visual arts and craft
projects in ARIs.
page 16
RECOMMENDATION 10
To ensure that national artist service membership organisations continue to develop an
integrated national program for artist services and representation, including the support
and representation of Indigenous artists, the Inquiry recommends the Commonwealth,
through the Australia Council, increase its funding for national artist service membership
organisations by $200 000 per annum.
RECOMMENDATION 11
To ensure appropriate and current arts creation and presentation equipment is more
accessible to contemporary visual artists and craft practitioners and their organisations,
11.1
The Commonwealth and State and Territory governments allocate $2 million

per annum to establish a national technology loan facility.
11.2
The Australia Council develop as soon as possible a business model for the
technology lease facility, in consultation with the State and Territory governments.
11.3

amount of $700 000 per annum; and the Commonwealth, States and Territories
agree that the Commonwealth will commit a supplementary amount of $300 000
per annum if the States and Territories commit $1 million per annum.
RECOMMENDATION 12
To further the professional development of visual arts and craft curators and managers,
the Inquiry recommends the Commonwealth make available additional funding of
$200 000 per annum to the Australia Council to extend the current Craft Leadership
Program to encompass both the visual arts and crafts and to target both emerging and
experienced visual arts and craft professionals.
page 17
RECOMMENDATION 13
To ensure that National Exhibitions Touring Support (NETS) agencies expand their role in
developing audiences, demand and access in regional areas for the contemporary visual arts
and craft in Australia, the Inquiry recommends:
13.1
The Commonwealth and the States and Territories increase their funding to NETS
agencies by $500 000 per annum.
13.2
In implementing this recommendation, the Commonwealth commit an initial amount

of $100 000 per annum; and the Commonwealth, States and Territories agree that the
Commonwealth will commit a supplementary amount of $50 000 per annum if the
States and Territories commit $350 000 per annum.
RECOMMENDATION 14
To ensure that contemporary visual arts and craft are adequately represented in the
exhibitions supported through the Visions of Australia program, the Inquiry recommends
that the Government should amend the guidelines for the program so that they do not
unnecessarily restrict the touring of non-commercial exhibitions of contemporary works.
RECOMMENDATION 15
To enhance the presentation and promotion of contemporary visual arts and craft
(including Indigenous arts), the Inquiry recommends:
15.1
The Commonwealth (through the Australia Council) provide $600 000 additional
funding per annum towards three major touring exhibitions of the work of
contemporary Australian visual artists and craft practitionersat least one of
which must be an exhibition of the work of Indigenous artists:
15.1.1 The Commonwealths commitment be dependent on the following
eligibility criteria being met:
a strong commitment to the project from the initiating institution;
collateral and long-term benefits resulting from high quality
catalogues, with quality critical input from respected writers
and designers;
a strong commitment to the project, incorporating exhibition fee input
and in-kind commitment by at least one touring partner;
developmental business planning for the exhibition including
sponsorship, philanthropic and marketing strategies; and
substantial funding support for the initial exhibition and tour being
received from State and Territory governments, corporate sponsorship
and in-kind support from initiating and receiving museums.
page 18
RECOMMENDATION 16
To ensure major contemporary visual arts and craft events have the potential to make a
significant contribution to developing audiences and demand throughout Australia, and
to create international opportunities for individual visual artists and craft practitioners,
16.1
The Commonwealth, through the Australia Council, and State and Territory
governments increase funding for the long-term promotion and recurrent support
of a number of major contemporary visual arts and craft events and related
activities by $2 million per annum.
16.2

RECOMMENDATION 17
To strengthen the sustainability of contemporary arts and craft publications to enable them
to better promote the sector, stimulate audience growth and demand and take advantage
of emerging opportunities, the Inquiry recommends the Commonwealth increase its funding
to the Australia Council for contemporary arts and craft publications and writing projects by
$200 000 per annum.
RECOMMENDATION 18
To ensure that a wider variety of organisations are supported to create special projects
of excellence and increase opportunities to develop audiences and demand, the Inquiry
recommends:
18.1
The Commonwealth provide $600 000 additional funding per annum to the
Australia Council to support special projects that support and develop the
contemporary visual arts and craft sector.
18.2
The Australia Council devolve up to $75 000 per annum to each State and Territory
on condition they allocate up to $100 000 per annum to match this support within
a new co-badged program for the support of projects.
page 19
RECOMMENDATION 19
To ensure that government support for the contemporary visual arts and craft sector
is well targeted and well coordinated where appropriate across jurisdictions, the
Inquiry recommends the Commonwealth and the State arts funding agencies take
the opportunity in pursuing the recommendations of this Report to enter into more
collaborative and coordinated arrangements, including tripartite funding arrangements
in respect of their joint support of the key infrastructure organisations currently
receiving triennial funding.
RECOMMENDATION 20
To ensure the funding base for the contemporary visual arts and craft sector is
significantly expanded by strategic interventions that build on current arrangements
to encourage philanthropy, the Inquiry recommends the Commonwealth develops and
implements the following initiatives:
20.1
Raise the public profile of existing tax incentive and related programs through
better promotion.
20.2 Amend the Cultural Gifts Program provisions to permit donors to claim a 125 per
cent tax deduction for gifts of new works by contemporary Australian artists to
public collecting institutions for a trial period of five years.
20.3 Establish a donations program directed at research and development activities,
attracting a 125 per cent tax deduction for the first five years.
20.4 Establish a program whereby foundations are encouraged to make donations
to an Australia Council or other appropriate public fund, which may make
distributions to individual artists.
20.5 Amend the Cultural Gifts Program provisions to enable individual artists to claim
a market value deduction for gifts of their own work under the program, whether
these be from their trading stock or personal collection.
20.6 Amend the philanthropy provisions to clearly state that an advantage or benefit
received by donors does not prevent their ability to receive a tax deduction,
provided the benefit does not exceed a specified limit.
20.7 Establish an acquisitions fund to provide grants to collecting institutions
matching private donations used for the acquisition of works of contemporary
visual arts and craft. This fund should have an initial budgetary allocation of
$250 000 per annum for four years. The Commonwealth grants would be
contingent upon matching funding being provided by the State or Territory
in which the collecting institution is located.
page 20
Chapter 1 introduction
BACKGROUND
On 23 July 2001, the Commonwealth Government announced an independent Inquiry into
the contemporary visual arts and craft sector to identify key issues impacting on the future
sustainability, development and promotion of the sector, and assess possible options and
make recommendations on actions that might be taken by governments and the sector to
enhance its future.
In announcing the establishment of the Inquiry, the Minister for the Arts said:
Visual arts and craft are major contributors to Australian culture and the Australian economy,
yet at the same time, visual artists and craftspeople are amongst the lowest income earners
in Australia. This inquiry will give us a comprehensive picture of the sector and what can be
done by all tiers of government to ensure its continued development in the future.1
The Minister issued the following terms of reference for the Inquiry:
TERMS OF REFERENCE
The Inquiry will, in the context of the creative and economic contributions made by
the Australian visual arts and craft sector, identify key issues impacting on the future
sustainability, development and promotion of the sector.
The Inquiry will also assess possible options and make recommendations on actions that
might be taken by governments and the sector to enhance its future.
Specifically, the Inquiry will:
articulate the creative contribution of the sector;
scope the sector, identifying economic value chains and relationships, including those
between arts practitioners, contemporary visual arts and craft organisations, commercial
entities, public collecting institutions, collectors, benefactors, sponsors and audiences;
assess the economic contribution of the sector, including its flow on effects onto other
sectors of the economy;
identify, across the three tiers of government, and assess the effectiveness of support for
the sector, and report on opportunities for (a) better targeting of these expenditures at
both organisational and individual artist level and (b) the scope for improved synergies
between the funding agencies to enhance the sustainability of the sector;
identify and assess drivers for further change in the sector, including increased
competition, new technologies, legislative issues and consumer demand; and
report on the current trends in the training of arts practitioners at tertiary level for
the sector, including graduate numbers, and assess the impact of these trends on the
sustainability of the sector.
1.
Media Release Contemporary Visual Arts and Craft Inquiry Minister for the Arts and the Centenary of Federation, 23 July 2001.
page 21
In completing its task the Inquiry will ensure that it is informed by relevant research,
including:
research undertaken by contemporary visual arts and craft organisations;
Australia Council research and publications, including Planning for the Future and
Promoting the Value of the Arts; and
research undertaken by State and local governments.
The Inquiry will consult funding agencies at Federal, State and Territory levels, and key
organisations within the visual arts and craft sector; seek public submissions (particularly
from the visual arts and crafts communities); and take account of the full range of Federal,
State and Territory government objectives for cultural development.
The Inquiry should produce a discussion paper and prepare a final report for the
Commonwealth Government by the end of March 2002.
Extension of time
In March 2002, the Minister for the Arts and Sport extended the reporting date for the
Inquiry to the end of May 2002.
CONDUCT OF THE INQUIRY

Mr Rupert Myer was appointed to conduct the Inquiry. He was assisted by a Secretariat
drawn from the Commonwealth Department of Communications, Information Technology
and the Arts and the Australia Council.
A biography of Mr Myer is at Appendix A.
The terms of reference for the Inquiry envisaged a national, wide-ranging review of the
contemporary visual arts and craft sector in a nine-month period. However, the breadth and
diversity of the sector placed limits on the scope of the Inquirys investigations.
The Inquiry decided to:
regard contemporary in the context of contemporary visual arts and craft as
encompassing living Australian visual artists and craft practitioners, and the institutions
and organisations that support their practice;
acknowledge that while Indigenous contemporary visual arts and craft are a unique,
highly visible and culturally significant component of the sector, the Inquiry had not
been asked to report specifically on Indigenous issues. However, the Inquiry decided to
ensure, through the engagement of expert Indigenous assistance, that key issues were
identified, and that an Indigenous perspective was obtained;
limit considerations of education and training issues to the tertiary sector, as required by
the terms of reference;
page 22
Introduction
recognise this was a broad Inquiry into the whole sector and that it was not directed
to, nor was it practical to, undertake a financial or operational analysis of specific
organisations or institutions; and
consider flexible funding arrangements for the sector involving the three tiers of
government, consistent with the terms of reference.
The Inquirys Issues Paper released in September 2001 foreshadowed this approach to
assist submitters and other Inquiry participants to focus on the key issues.
Inquiry methodology
The Inquiry employed a number of strategies to inform itself about the nature and
operations of the contemporary visual arts and craft sector, to encourage public and sector
participation, and to develop its recommendations. These steps were:
consultation with focus groups of practising artists and other individuals representing a
wide range of contemporary visual arts and craft interests to develop an Issues Paper for
the Inquiry;
distributing the Issues Paper as widely as possible, and inviting written submissions.
On 8 September 2001, the Inquiry invited public submissions by national and major
metropolitan press advertisements in The Australian, Sydney Morning Herald, The Age,
The Courier-Mail, The Advertiser, The West Australian, The Canberra Times, The Mercury,
The Territory News, and The Australian Financial Review. The advertisement was also
sent by direct email to individuals and organisations on list servers for the contemporary
visual arts and craft sector;
posting information about the Inquiry at regular intervals on the Inquiry website at
www.cvacinquiry.dcita.gov.au;
conducting an extensive round of face-to-face consultations with artists and craft
practitioners, government agencies, Indigenous representatives, public and private
gallery directors and arts workers, arts and craft representative organisations,
journalists, publishers, educators and benefactors. The Inquiry also met with all Inquiry
participants who specifically sought meetings to discuss particular issues;
A list of the persons and organisations consulted by the Inquiry and conferences
attended by Inquiry staff is at Appendix B;
engaging a consultant with extensive knowledge of the Indigenous visual arts and craft
sector and convening an Indigenous Reference Group (Appendix C); and
undertaking additional research, literature and Internet searches, attending conferences
and seminars on issues relevant to the Inquiry, analysing the submissions lodged
with the Inquiry and following the analysis of submissions and undertaking further
consultation on specific issues as required.
Key references used in the preparation of the Report are at Appendix D.
page 23
Consultants
The Inquiry engaged Mr Djon Mundine as a consultant to advise on issues arising from
the submissions relevant to the Indigenous contemporary visual arts and craft sector.
The Inquiry also engaged Ms Lesley Alway to advise it on the development of the
Inquirys Report.
SUBMISSIONS
One-hundred-and-ninety submissions were lodged or notified by the closing date of
24 October 2001. A list of submissions received is at Appendix E.
The Inquiry was particularly pleased that a number of individual artists and craft
practitioners made personal submissions to the Inquiry.
The submissions provided the Inquiry with useful insights and information about the status
of practitioners in the community, their cultural, social and economic contribution, financial
returns and interaction with commercial organisations and government funding agencies.
Submissions from education and training institutions, including staff and graduates,
reported on the trends and challenges in the tertiary educational sphere of the sector,
while public and commercial galleries, contemporary art spaces, craft bodies and arts
organisations made submissions about the dynamics of the sectors infrastructure.
Government agencies submitted information and views on funding and support policies;
professional organisations on intellectual property and other financial and legislative
matters including droit de suite; and individuals and institutions on Indigenous arts and
craft issues.
Submissions by State and Territory
New South Wales
64
Victoria
35
Queensland
29
Western Australia
20
South Australia
15
Australian Capital Territory
11
Northern Territory
Tasmania
TOTAL
190
Confidential submissions
A number of submitters asked the Inquiry treat their submissions as confidential.
The Inquiry has agreed to these requests and accordingly the confidential submissions
have been counted in the table above but have not been listed at Appendix E.
page 24
Introduction
STRUCTURE OF THE REPORT

Following this Introduction there are five chapters that provide the framework for the
Inquirys response to the terms of reference.
Chapter 2, the overview, scopes the sector, as required by the terms of reference, by
presenting a snapshot of the range of visual arts and craft practice and the roles and
relationships between art and craft practitioners, the sectors infrastructure, governments
and the private sector. The economic and cultural contribution of the sector is discussed and
some key statistical information about the sector is presented.
Some of the material summarised in this Chapter is necessarily duplicated in the more
detailed analysis in later chapters. Similarly, it has been necessary to duplicate some
material in more than one chapter to provide context for the discussion.
At the conclusion of this Chapter, the Inquiry has stated its Guiding Principles for the future
development of the contemporary visual arts and craft sector.
Chapter 3, Valuing artists, focuses on the individual artist and craft practitioner. It analyses
the educational, financial and legislative issues confronting artists in the passage from
student to emerging to professional and mid and late career artist, including the impact of
new technology on artistic practice.
Chapter 4, Strengthening the infrastructure, identifies and analyses the components of the
sectors infrastructure that both support artists and craft practitioners in the development,
exhibition and promotion of their work and also provide important advocacy and
professional services roles.
Chapter 5, Expanding the market, analyses the dynamics of audience development and
demand for contemporary visual arts and craft and the important role played by the
commercial galleries, auction houses and publications. The Chapter examines the scope
and opportunities for improving the promotion of the Australian contemporary visual arts
and craft sector domestically and overseas, including touring opportunities and building on
existing promotional events.
Chapter 6, Resourcing the sector, examines government support to the sector and
whether there is scope for better targeting of funding and more coordinated and efficient
processes for that support. The Inquiry examines whether there is scope for broadening the
funding base through a combination of a better understanding and promotion of existing
philanthropy and sponsorship arrangements and increased but targeted incentives.
In each of Chapters 36 the Inquiry makes Findings from its analysis of the submissions and
research, and Recommendations on matters that the Inquiry believes action is required to
enhance the promotion, development and sustainability of the sector. The Inquiry has made
less formal observations in the text on some matters that arose that were outside of its
terms of reference.
A Glossary of Terms used in the Report is at Appendix F.
page 25
IMPLEMENTATION ISSUES
Joint funding recommendations
Nine of the Inquirys 20 recommendations propose a joint funding commitment by the
Commonwealth and State and Territory governments. Under these proposals funding
increases would flow to existing or new programs administered by the Australia Council and
State and Territory arts funding agencies. As part of the post-Inquiry implementation, the
Commonwealth will need to seek agreement from the State and Territory governments to
the joint funding proposals.
The Inquiry has specified the recommended Commonwealth contribution in each case.
However, as individual State and Territory contributions will depend on consultation and
negotiation, they are shown as aggregated amounts.
Five proposals involve the Commonwealth contributing additional annual funding for
a particular purpose under one of its grant programs. As a reflection of its leadership
role, and to ensure increased State and Territory funding of the same target group,
the Commonwealth would agree to a further amount of funding, as specified in the
recommendations, if the State and Territory increases its contribution at a level negotiated
through tripartite agreements.
Under two other proposals the Commonwealth would agree to provide funding for a
particular project only if there is a significant contribution brought to the project by either
the State and Territory government and/or private support (e.g. corporate sponsorship).
There are two proposals where the Commonwealth would allocate funding to the Australia
Council which would devolve funds to a State/Territory for a jointly badged grant program
administered by the State/Territory, on the condition that the State/Territory agrees to
contribute a matching amount to the program.
This approach is intended to maximise flexibility in negotiating appropriate funding
arrangements between the Commonwealth and the States and Territories.
Timing
The Inquiry has not specified a time frame for implementation in each recommendation.
It believes that each recommendation needs to be implemented as an immediate priority,
and in the case of recommendations with budgetary implications, the Commonwealth
should provide for those recommendations in the 200304 Budget.
page 26
Introduction
Implementation Working Group

Successful implementation of the Inquirys recommendations will rely on a coordinated and
cooperative approach involving the Department of Communications, Information Technology
and the Arts and the Australia Council, other Commonwealth departments and agencies, the
States and Territories and the sector.
The Inquiry would therefore encourage the early establishment of an Implementation
Working Group chaired by the Commonwealth with appropriate representation of other
stakeholders to steer the implementation process.
ACKNOWLEDGMENTS
The Inquiry received invaluable assistance and support from many individuals
and organisations associated with the contemporary visual arts and craft sector.
Their willingness to consult with the Inquiry in a frank and open manner ensured that the
Inquiry heard the voice of the practising artist and others working in the sector. In particular,
the Inquiry wishes to thank the National Association for the Visual Arts and the Australian
Council of University Art and Design Schools for their assistance.
The Department of Communications, Information Technology and the Arts provided most of
the physical resources for the Inquiry and generously allowed its staff to assist the Inquiry.
The Australia Council and its staff contributed significantly to the Inquirys understanding of
the issues by providing advice and information.
The Inquiry would particularly like to thank Ms Victoria Lynn, Chair of the Australia Councils
Visual Arts/Craft Board, the Councils Chief Executive Officer, Ms Jenny Bott, Council
executives Mr Ben Strout and Ms Anna Waldmann, and departmental executives,
Dr Alan Stretton and Mr Les Neilson, for their support and guidance.
The Inquiry is also grateful for the helpful advice and cooperation it received from senior
executives and staff members in the State and Territory arts agencies around Australia.
Finally, the Inquiry would like to thank the staff of the Secretariat and in particular, the
Manager, Mr Jim Adamson, for their professionalism, commitment and hard work over the
course of the Inquiry.
page 27
page 28
Chapter 2
the contemporary visual arts
and craft sectoran overview
The terms of reference for the Inquiry required it to:
...scope the sector, identifying economic value chains and relationships, including those between
arts practitioners, contemporary visual arts and craft organisations, commercial entities, public
collecting institutions, collectors, benefactors, sponsors and audiences.
This term of reference gives an early indication of the many and varied elements of what
is broadly called the contemporary visual arts and craft sector, and signals that a range of
complex interactions and dependencies, both financial and non-financial, run through the
sector. The Inquiry was to find that a broad, diverse range of practices and organisational
structures and functions exist in the sector; the edges are often blurred and overlapping;
and the relationships are both complex and fluid.
It was important for the Inquiry to try to establish some boundaries in order to focus its
investigations and target its advice and recommendations to government. Accordingly, it
has had to carefully consider nomenclature and definitional issues around each of the terms
used in the title of the Inquiry.
The Inquiry also felt that it was important to establish what distinguishes the contemporary
visual arts and craft sector from other art forms and other parts of society and the
wider economy, and what it has in common. The character of the sector is an important
determinant in what can be done for both individuals and the organisations working and
operating in the sector.
In many of the submissions and consultations, the Inquiry was cautioned not to lose sight of
the central role of the individual artist and craftsperson. There is a potential to be distracted
by the dominant positions of organisations and institutions in any sector as they have,
relative to the individual, a higher profile and better access to the resources necessary to
assemble the facts and arguments to make a case for assistance.
In this Chapter, and in the report generally, the Inquiry acknowledges the significant and
fundamental contribution of individual and small groups of arts and craft practitioners,
along with the infrastructure provided by government, not-for-profit and commercial sectors,
with which they have an interdependent relationship.
The following narrative is a brief snapshot of the sector and its key participants. More
detailed information can be found in the Chapters that follow.
page 29
DEFINING AND MEASURING THE SECTOR

The Inquiry was frequently asked to explain what it meant by contemporary visual arts
and craft. In broad terms, the Inquiry adopted as a working definition: creative work by
living visual artists and craft practitioners, and the institutions and organisations that
support their practice. This assisted in focussing the Inquiry on matters of concern to
emerging and established practitioners active in creating new work, and organisations
active in exhibiting, supporting and promoting that work. This simple definition served its
purposes, and did not prove to be too limiting.
One submission described contemporary art in the following way:
For art to be contemporary it has to speak the language of the day, engage with issues of today,
and push the envelope to surpass past understandings.2
The degree to which the term was inclusive was also an issue. The types of art and craft
practice that might potentially be included are ever expanding and changing. More than one
submission confirmed the view that:
Much of contemporary art has blurred the boundaries between the conventional disciplines in art,
craft and design and the moving image. Such is the nature of our times that these can exist
side-by-side, and indeed emerge from more conventional object-based art.3
The Inquiry was keen to be as inclusive as possible and did not wish to pre-empt
submissions on relevant issues. Consequently, the Inquirys Issues Paper did not prescribe
a list of permissible subjects. A wide range of practices was subsequently represented in the
submissionsceramics, painting, glass, sculpture, tapestry, design, digital media, wearable
art, print making, to name a fewas well as the creative work of art writers and curators.
NOMENCLATURE
The issue of nomenclature in the sector itself was raised as a concern, in particular
in relation to craft and the current blurring of the lines that separate visual arts and
craft and design. It was argued with reference to statistical data available on tertiary
enrolments, that art schools have replaced the word craft with general terms such as visual
communications, graphic arts and design which may obscure the extent of interest in craft
and may have an adverse effect on funding decisions for craft.
Similarly, the use of terms such as Decorative Art and Design Curators was felt to be
clouding the true picture of what is happening in the craft sector of the visual arts.4 On the
other hand, artists will often see themselves as artists rather than a painter or a sculptor or
a glass artist.
To quote from Object, the Australian Centre for Craft and Design:
Over the last decade many aspects of the sector have changed, particularly in regard to crossover
practice between visual art, craft and design. Fluidity between fields and the hybrid nature of many
aspects of the craft and design area are commonplace and exciting aspects of our sector. Craft and
design practice is a vibrant element in a complex and changing contemporary visual culture.5
2.
3.
4.
5.
Submission: Beth Jackson.

Submission: Victorian College of the Arts.
Submission: Jane Burns.
Submission: Object.
page 30
An overview
The 1990s saw a shift away from the position that craft must retain an identity separate
from the visual arts. Trained visual artists are exhibiting in craft and design organisations,
trained craftspeople are exhibiting in contemporary arts organisations. Advances in art and
technology and the acknowledgment of the importance of Indigenous art and craft and
contemporary Asian art have blurred the boundaries further.
Indigenous artists tend to draw no distinction between practices. Craftsouth, in its
submission to the Inquiry pointed to Indigenous visual arts practice where notably there is
no distinction between craft and visual art6 as an example of the problem associated with
current hardline definitions.
Craftsouth noted that it is critical that definitions remain flexible enough to accommodate
the emergence of new types of practice to include craftspeople, designer-makers and
visual artists who specialise in ideas development and project coordination not necessarily
culminating in object making or exhibition.7
As Object noted in its submission:
Craft and design products are an important part of the material culture that help define our
complex cultural identity both within the country and internationally, through tourism and export
initiatives. Contemporary craft and design practice in Australia is confident, diverse, opportunistic
and flexible, strategically ranging over numerous interests simultaneously. It encompasses
experimental, exhibition, production and commercial work.8
Many submissions reiterated that craft practitioners themselves are increasingly insisting
on being recognised as designers, designer/makers, art/designers, craft/designers.
Many other submissions stated that craft should not be confused with design and that the
combining of the two forms was, or would be, detrimental to craft practice in Australia.
STATISTICAL LIMITATIONS
While reference is made throughout this Report to statistics from a number of different
sources, a few initial comments should be made regarding the availability of statistics and
some of the limitations on the utility of these statistics.
The availability of data on Australias cultural industries in general, and the contemporary
visual arts and craft sector in particular, has improved markedly in the past few years.
A large part of this improvement has been a result of the efforts of the ABS, through its
National Centre for Culture and Recreation Statistics, and through national coordination by
the Statistics Working Group of the Cultural Ministers Council. Also, the release in 2001 of
the Australian Culture and Leisure Classification by the ABS provides a structure
around which improvements can continue to be made in the scope and consistency of
available data.
6.
7.
8.
Submission: Craftsouth.
Submission: Craftsouth.
Submission: Object.
page 31
However, there are several areas in the scope and timing of the statistics available that have
constrained the Inquirys ability to carry out its research into the contemporary visual arts
and craft sector. Due to the cost involved in the collection and analysis of data of all types,
data is often published at a broad, aggregate level. As a result, data relating to the area of
interest, in this case the contemporary visual arts and craft sector, is often unavailable.
With respect to government funding, the statistics collated by the ABS have been analysed
by the Inquiry to develop estimates of funding support by the Commonwealth and the
various States and Territories. The statistics compiled by the ABS regarding government
funding provide funding levels for visual arts, crafts and photography and funding levels
for art galleries. The Inquiry has extrapolated funding levels at the Commonwealth, State
and Territory, and local government levels. These figures are based upon estimates of the
level of involvement of art galleries in the contemporary visual arts and craft sector.
Some important regular data collections, such as the ABS Service Industry Surveys and
reports on cultural funding levels, were released during the course of the Inquiry and as a
result provided timely, relevant data. However, some data used in this Report is now dated.
In particular, data on the numbers and incomes of visual arts and craft practitionerslargely
drawn from the ABS Census of Population and Housing and from the Survey of Individual
Artists9dates from as far back as 199293. The latest collections of both of these
important data series were undertaken during the course of the Inquiry. However, results for
each data series will only be published after the conclusion of the Inquiry.
VISUAL ARTISTS, CRAFT PRACTITIONERS AND ARTSWORKERS

In the 1996 ABS census, 80 000 people identified themselves as arts professionals.
Arts professionals are those people whose full-time or main-paid job is in the arts field.
Of these, approximately 15 800 were identified as visual arts and craft professionals or
photographers. However, it should be noted that the census has underestimated the
number of Indigenous artists in Australia. A study of art and craft centres in 1997 estimated
that there were 5 0006 000 Indigenous artists.10 The Inquiry has added 5 000 artists to
the Northern Territory artist population. Thus, the ABS census data, combined with a more
reliable estimate of the number of Indigenous visual arts and craft practitioners, indicates
20 566 full-time arts and craft practitioners in Australia in 1996.
9.
10.
C. D. Throsby, and B. Thompson, But What do you do for a Living?:

A New Economic Study of Australian Artists, Australia Council, Sydney, 1994.
C. Mercer, Creative Country: Review of the ATSIC Arts and Crafts Industry Support Strategy (ACISS), report prepared for the Culture
Section, Culture, Legal and Family Policy Branch, ATSIC, AGPS, Canberra, 1997.
page 32
An overview
Table 2.1 Employment in selected culture/leisure occupations in Australia, by State, 1996
Painter (visual arts)
NSW
VIC
QLD
SA
WA
TAS
NT
ACT
Total
797
544
476
194
230
53
80
40
2 414
Sculptor
130
146
89
42
38
18
471
Potter/Ceramic artist
583
627
464
164
205
64
17
30
2 154
Visual arts and craft

professionals
1 346
1 158
733
356
370
177 5 060
68
9 268
Photographer
2 219
1 661 1 062
456
558
133
129
6 259
Total, by State
5 075 4 136 2 824
1 212
1 401
% by State
25
20
14
41
445 5 202
2
25
271 20 566
1
100
Source: ABS 1996 Employment in selected leisure occupations (with 5 000 added to the NT artist population)
Of course, part-time arts and craft practitioners also make an important contribution to the
sector and the contribution of the 20 566 identified in the above table (whose main jobs are
as arts and craft practitioners) forms only a part of the total contribution. A further
3 150 persons were employed in public and commercial galleries in 2000.11
The median income of Australian visual artists in 1996 was $15 300, which was 60 per cent
of the median income of arts professionals as a whole ($26 900) and 57 per cent of the
median income for the total workforce ($25 500).12
Visual artists and craft practitioners work flexibly in a variety of different work
environments. Arts workers tend to be a highly mobile class of worker, and are most
commonly self-employed, offering their services in a highly competitive commercial market.
The contemporary visual arts and craft sector is largely unregulated, and arts workers
are generally unable to access the types of support other workers enjoy on a day-to-day
basis. Within the sector there are high levels of volunteerism, and a general absence of
employment-related benefits and union representation.
EDUCATION AND TRAINING

Australias arts tertiary education and training sector is composed, very broadly, of
university art and design schools, vocational education institutes, and other training
providers such as private trainers, on-the-job training and community colleges. In 2000,
there were approximately 370 visual art and craft courses offered by universities in
Australia. In the vocational education and training (VET) sector there are more than
80 institutes currently providing over 400 visual arts and craft courses.
There are also a number of different types of Indigenous art courses run at tertiary level,
including studio-based study, in-community delivered courses and art historical studies.
While many contemporary visual artists and craft practitioners are not art school graduates,
many of them have made their mark on contemporary art without formal practical art
training. There are also many people who have completed a visual arts and craft related
course who do not work as professionals in the sector. Many people move into other
industries, where their visual arts and craft skills may help them in their new endeavour,
and many pursue visual arts and craft practice concurrently with their principal occupation
in another field.
11.
12.
ABS, Commercial Art Galleries, Cat no 8651.0, ABS, Canberra, 2001.

H. H. Guldberg, The arts economy 19681998: three decades of growth in Australia, Australia Council Research Report, Australia
Council, Sydney, 2000, p. 42.
page 33
INFRASTRUCTURE: KEY ORGANISATIONS AND INSTITUTIONS

Australia enjoys a comprehensive network or infrastructure of organisations and programs
dedicated to the creation and exhibition of visual arts and craft across each State and
Territory. All three tiers of government support this infrastructure, which provides a
backbone for the research and development role of contemporary visual arts and craft.
The funding models, and therefore the resources available for each of these organisations,
vary enormously, as does the character of their artistic programs.
Major art museums

Every capital city in Australia has a major art museum, for example, the Art Gallery of New
South Wales in Sydney. These galleries have a museum function, involving the collection,
preservation, interpretation and exhibition of historical material. Major art museums
support contemporary art through purchasing works of art at first point-of-sale, through the
exhibition of their collections of contemporary art and through the use of contemporary art
in their temporary exhibitions programs.

There are craft and design organisations in every State and Territory that support a range of
craft and design practitioners. Begun as membership service organisations, many craft and
design organisations have taken on additional roles, including exhibition development and
touring, retail sales and promotion, studio management, and publication production.
Contemporary arts organisations

Contemporary arts organisations are non-collecting exhibition venues whose primary focus
is to facilitate the creation, exhibition and interpretation of artistic works created by living
artists. Contemporary arts organisations also produce publications, arrange conferences
and touring exhibitions, conduct education programs, and act as centres for local artist
communities by providing residency and studio management. There is at least one
contemporary arts organisation in each capital city.
Regional galleries
There are more than 100 regional galleries in Australia, located in rural, suburban and
metropolitan areas. Regional galleries may have historical collections, but will also purchase
and present contemporary visual art and craft through temporary exhibitions and purchase
contemporary art for their collections. A few regional galleries specialise in specific media.
page 34
An overview
University galleries
There are university galleries in every State and Territory. University galleries focus on
Australian contemporary arts and craft, as part of their aim is to support research and
education in the sector. Like contemporary arts organisations, regional galleries and craft
and design organisations, many university galleries also provide education programs,
offering activities such as open lectures, floor talks, seminars, forums, conferences and
programs for school groups.

There are now more than 106 art and craft centres in Australia. Art and craft centres are
community-based and owned enterprises that facilitate the production and marketing
of Indigenous art and craft. While some act almost solely as retail outlets, others have
a myriad of functions important to their communities. The centres provide artists with
materials, accommodation and facilities as well as documentation of works, management,
promotion and marketing services. The centres are spread over the six states and the
Northern Territory. As a group, the art and craft centres represent more than 5 000
Indigenous artists.
Currently there are around 85 artist-run initiatives operating in Australiain all States and
Territories, in capital cities, major cities and regional areas. They are primarily exhibition
spaces, sometimes incorporating studio spaces, generally run by collectives of practising
artists. Artist-run initiatives generally charge artists a fee per week to cover rent, utilities
and some limited marketing, such as invitations and press releases. They are staffed on a
voluntary basis.
Artist service organisations and associations

Artist service organisations and associations in Australia range from media-specific
volunteer-run associations and guilds developed with the aim of self-support between small
groups of practitioners, to large organisations with key national advocacy and lobbying
objectives and large memberships. National organisations include the National Association
for the Visual Arts (NAVA), the Australian Network for Art and Technology (ANAT), VISCOPY,
the Arts Law Centre of Australia and Craft Australia. Through the provision of professional
advice and service, these organisations assist contemporary visual artists and craftspeople
to attain the high standards of professionalism necessary to create beneficial relationships
between business and artists.
page 35
National Exhibitions Touring Support

There is one touring agency, titled the National Exhibitions Touring Support (NETS), in every
State and in the Northern Territory. The NETS scheme was established by the Australia
Council to support regional exhibition development. Exhibitions may tour the regional
galleries networks, but may also tour to or from contemporary arts spaces and craft and
design organisations.
Major contemporary visual art and craft events

Australia supports a number of recurrent major contemporary visual art and craft events
such as the Biennale of Sydney, the International Craft Triennial, the Telstra Aboriginal and
Torres Strait Islander Art Award, the Adelaide Biennial and the AsiaPacific Triennial of
Contemporary Art.
Contemporary artists in metropolitan, rural and regional areas are also supported by
community arts organisations and regional arts organisations in every State and Territory.
Studios and workshops

Craft practitioners often need expensive equipment (such as special kilns, glass ovens,
lathes etc.) to create work and will group together in workshops or studios to share costs.
While the studios are often initiated through practical necessity, they sometimes develop
to operate as a banner or umbrella for various numbers of artists to create and exhibit.
Examples of this would include the Gray St Workshop in Adelaide and the Union Street
Studios in Lismore.
A cooperative can face difficulties raising the finance to purchase and maintain the
necessary equipment. It can become a de facto role of art schools to allow their equipment
to be used and occasionally a particular area will have a dedicated institution that ensures
access to well maintained high cost equipment. The Jam Factory, in Adelaide, is an example
of such an institution; the Meat Market, in Melbourne, had a similar function.
AUDIENCES FOR CONTEMPORARY VISUAL ARTS AND CRAFT

In the 12 months to April 1999, an ABS survey indicated that almost 3.2 million Australians,
or 21 per cent of the adult population, attended an art gallery.13 Audiences for contemporary
visual arts and craft, while naturally smaller than the total gallery audience, are nonetheless
significant. In a survey commissioned by the Australia Councils Visual Arts/Craft Board in
2001,14 approximately 31 per cent of respondents had visited a contemporary visual arts or
craft venue in the previous two years.
Compared to the general population, attendees are more likely to be female, younger
(1829 years old), have a higher level of education, have higher incomes, and have no children.
According to the Australia Council survey, those in regional areas are only marginally less
likely than those in capital cities to attend contemporary visual arts and craft venues.
13.
14.
ABS, Attendance at selected cultural venues, cat. no. 4114.0, ABS, Adelaide, 1999.
Australia Council, Contemporary Art and Craft Audience Development Study, Draft research report commissioned by the Australia
Council and prepared by Woolcott Research and Positive Solutions, 2001.
page 36
An overview
COMMERCIAL MARKET
The commercial contemporary visual arts and craft sector and its interaction with the
wider economy can be described as a network, or chain, of individuals, businesses and
organisations. At the supply end are the visual artists and craft practitioners, who produce
original works of art and craft. At the demand end of the chain are consumers, those
individuals, businesses and organisations that purchase or view the visual art and craft
works. In between are businesses and organisationscraft and design centres, commercial
galleries, auction houses and other retail outletsthat act as intermediaries between the
producers and the final consumers.
According to an ABS survey, at June 2000 there were 514 commercial art galleries operating
in Australia, including 31 Aboriginal and Torres Strait Islander art centres.15 However, in 2001
there were 1 930 businesses listed as art galleries in Telstra White Pages.
Table 2.2 Art galleries in 200001
VIC
NSW
QLD
NT
WA
SA
TAS
ACT
Total
Telstra
484
672
344
34
153
122
77
44
1 930
ABS
118
230
61
41
22
28
513
Source: ABS 2001 (8651.0) and Telstra White Pages (2001 Internet survey by Inquiry staff )
The value of art sold through the 513 commercial galleries surveyed by the ABS in
19992000 was $218 million, of which $106 million was first sales sold on commission.16
Estimates extrapolated from a household survey conducted by the Department of
Communications, Information Technology and the Arts (DCITA) in 1997 show that the total
value of visual art and craft items (in the broadest sense) sold in Australia in 1997 was
approximately $1 821.6 million. Approximately $551.6 million was spent on visual arts; the
remainder ($1 270 million) was spent on craft items.17
Australians buy contemporary visual art and craft art from a number of different sources:
commercial galleries/dealers, auction houses, merchants such as department stores and
tourist enterprises, artist-run initiatives, arts and craft fairs, craft organisations, and directly
from the artists themselves. A great deal of Indigenous art is also sold at art and craft
centres. The most important source of total visual arts and craft sales may be direct from
the artist. 18
During 2001, approximately $70 million of art was sold in Australian auction houses
of which the majority is assumed to be secondary sales.19 The commercial sector is also
represented in a number of annual and biennial sales orientated art fairs. Pre-eminent
amongst these events is the biennial Melbourne Art Fair. There are also a large number
of smaller arts and craft fairs held in a number of locations around Australia.
15.
16.
17.
18.
19.
ABS, Commercial Art Galleries, Cat no 8651.0, ABS, Canberra, 2001.

ibid.
Department of Communications and the Arts, Cultural Trends in Australia No 7: Art and Craft Purchases 1997, Canberra, 1998, p. 18.
The household survey was quite broad, and included all manner of arts and crafts, including furniture, jewellery, clothing, ceramics and
woodcrafts. The survey included sales in retail stores, markets, fairs, specialty shops, as well as dealers, museums and galleries, and
direct from the artist.
ibid.
J. Furphy, The Australian Art Sales Digest, Acorn Media, Victoria, 2000.
page 37
A large number of prizes and awards impact on the supply of works of visual arts and craft.
These vary a great deal, from acts of private benefaction, such as the Samstag Awards, to
State gallery events such as the Archibald Prize. The awards also vary in terms of the artistic
media eligible, structure, prize and the requirements for entry.
Australia also supports the publication of a number of contemporary art and craft
magazines and journals. These publications promote the contemporary visual arts and
craft sector, encourage sales and disseminate information regarding developments in
contemporary visual arts and craft.
Commercial support for craft

There is limited commercial gallery support for craft in Australia. However, (and perhaps
because of their scarceness) the ones that exist are proactive and important to the
sector. These can include general craft galleries such as Beaver Galleries in Canberra and
Quadrivium in Sydney, but are just as often focussed on specific media, for example
Mura Clay Gallery and the Glass Artists Gallery in Sydney and Makers Mark and Mari Funaki
in Melbourne which focus on jewellery. Most craft and design organisations have well
developed retail functions.
Contemporary Australian craft is also marketed through arts and crafts fairs, through
suburban weekend markets and through many design orientated general retail and objet
dart stores which may not promote themselves as specifically supporting and promoting
craft practice, but which are nonetheless integral to the sectors financial wellbeing.
FUNDING SOURCES
Government support
Federal, State and Territory, and many local governments have programs that provide
support to contemporary visual arts and craft. Government interventions are many and
varied, ranging from infrastructure measures to support the environment in which visual
artists operate, to direct financial assistance for projects and individual artists.
Programs and projects developed and managed by visual artists and craft practitioners and
arts organisations are supported by all cultural funding agencies. Most direct grant support
for individual artists in Australia comes from the Commonwealth through the Australia
Council. However, individual artists can also apply for grants to State and Territory arts
funding agencies.
Through an analysis of ABS data,20 the Inquiry has estimated that during 19992000, the
total government commitment from the three tiers of government to the contemporary
visual arts and craft sector was $58 million. The following table indicates the relevant
contributions by the three tiers of government towards support of contemporary visual arts
and craft.21
20.
21.
National Centre for Culture and Recreation, ABS, Cultural Funding in AustraliaThree Tiers of Government, 19992000, Cultural
Ministers Council Statistics Working Group, 2002. Please note the alterations made by the Inquiry to the ABS data to estimate
expenditure on contemporary visual arts and craftthis point is discussed above under the heading Statistical Limitations.
For the purposes of the Inquiry, it was estimated that only 10 per cent of the value of support provided by State and Commonwealth
Governments for the major art galleries (at least one in each State and Territory; and the National Gallery of Australia and the National
Portrait Gallery) was estimated to flow to contemporary art and craftsince these galleries focus principally on heritage as opposed
to contemporary visual art and craft. Local Government support is principally for regional galleries, which are more involved with
contemporary workthus it was estimated that 50 per cent of support of art galleries by Local Government was relevant. The Inquiry
considered that 100 per cent of the category, Visual arts, craft and photography was support for the contemporary visual arts and
craft sector.
page 38
An overview
Table 2.3 Government funding of contemporary visual arts and craft, 19992000
Art galleries
Visual arts/craft
Total
Commonwealth
Government
$3 990 000
$14 300 000
$18 290 000
31.5
State/Territory
Government
$8 740 000
$10 700 000
$19 440 000
33.5
Local Government
$15 450 000
$4 900 000
$20 350 000
35.0
Total Government
$28 180 000
$29 900 000
$58 080 000
100.0
In addition to support through the Australia Council, the Commonwealth supports

contemporary visual art and craft through its departments and agencies, including
programs run by DCITA, the Aboriginal and Torres Strait Islander Commission (ATSIC) and
the Department of Foreign Affairs and Trade (DFAT). The following table shows the principal
contributions by the Commonwealth to the contemporary visual arts and craft sector.
Table 2.4 Principal Commonwealth support for contemporary visual arts and craft 19992000
$
9 370 000
Australia Council
Artbank*
470 000
Support for National Gallery of Australia and National Portrait Gallery
3 990 000
ATSIC (primarily art and craft centre support)
4 200 000
*Artbank amount is a self-funded contribution to the sector through art purchases
These programs are supplemented by a range of other non-dedicated Commonwealth

sources of support for contemporary visual arts and craft including DCITAs Visions of
Australia program which supports exhibitions touring, including some contemporary visual
arts and craft; DCITAs tax incentive programs which encourage gifts of cash and artwork to
many cultural organisations and institutions, including contemporary visual arts and craft;
and the Australian Broadcasting Commission (ABC), through radio and television programs
explaining and interpreting contemporary visual arts and craft. The total dollar value of
these interventions would be difficult to estimate.
page 39
The Australia Councils Visual Arts/Craft Board (VACB) funds individual artists and
organisational projects on a grant application basis. On a triennial basis it supports at least
one touring agency, one craft council and one contemporary arts organisation in every State
and Territory. Such support is generally made with the Australia Council as the junior partner
in a funding partnership with a State and Territory arts funding agency.
Other sections of the Australia Council also support contemporary visual arts and craft
practice. The Aboriginal and Torres Strait Islander Arts Board, the New Media Arts Board
and the Community Cultural Development Board all support individual contemporary visual
art and craft practitioners and projects. The Councils Audience and Market Development
and Planning, Communications and Policy Divisions also support projects that benefit
contemporary visual art and craft.
Entities supported by the Australia Council on a triennial basis include the national network
of contemporary craft and visual arts organisations, the artist services organisations NAVA
and Craft Australia, and four contemporary art periodicals. Some commercial galleries also
receive support to participate in international art fairs.
Emerging artists, curators and artist-run initiatives have received support from the
Commonwealth Governments Young and Emerging Artist Initiative through the Australia
Council as well as receiving support from the VACBs general funding programs. Some have
also received extensive support from State and Territory funding agencies.
Artbank, a self-funding Government unit within DCITA, was established in 1980 to
purchase contemporary visual art and craft from the primary market for rental to both
private and public sector buildings across Australia, and in Australian Embassies and High
Commissions. Artbank rents contemporary visual art and craft works from its collection
to over 600 public and private clients. Artbank has a stock of Australian art and craft
works valued at over $13 million, and in 200001 Artbank purchased $500 000 worth of
contemporary art and craft items.
The State and Territory arts funding agencies support contemporary visual arts and craft
through advertised grants programs and through lead agency agreements. The States and
Territories also support contemporary visual arts and craft through the support of their
local State Art Gallery when it exhibits and supports contemporary art, craft and design.
The support also extends to large capital projects to house contemporary art and craft
organisations; large and small public art projects and programs; and when other large
State-based cultural institutions (e.g. libraries, museums, new media centres) work with
contemporary art, craft and design.
Local government support most often comes through the support of regional galleries.
There are also many instances of local government support for artist-in-residencies, public
art projects, art training, specific artist projects and community art and community cultural
development projects.
Many local councils in urban areas give extensive financial support to local exhibition
venues. Artist-run initiatives have received in-kind (e.g. rent relief ) or direct financial
assistance from their local council.
page 40
An overview
Philanthropy and corporate sponsorship

Philanthropic organisations, individual benefactors and corporate supporters all play a role
in the contemporary visual arts and craft sector. The Australia Business Arts Foundation
(AbaF) estimates that in 19992000 museums and galleries received $34 million from
donations, bequests and fundraising, and $20 million from sponsorship.22 Little of this is for
the direct support of contemporary visual arts and craft. With respect to Indigenous visual
art and craft, philanthropy is virtually non-existent.
A number of programs have been introduced by the Commonwealth Government to
encourage philanthropic giving and corporate sponsorship. In the philanthropy area,
the two most important initiatives are the Commonwealth Governments Cultural Gifts
Program and the Register of Cultural Organisations. The Cultural Gifts Program provides
tax incentives for donations of significant cultural items and collections to approved (gift
deductible) public museums, art galleries and libraries. The Program is an important source
of acquisitions for Australias collecting institutions, and for many regional institutions with
limited acquisition budgets it is the main avenue for developing their collections.
New tax incentives introduced in 1999 by the Commonwealth Government include two major
enhancements to the Cultural Gifts Program, namely, exemption of gifts from Capital Gains
Tax and the ability to apportion donation deductions over a period of up to five years. Some
400 public museums, art galleries and libraries participating in the Cultural Gifts Program
benefit from this, with flow-on exposure benefits to artists through the transfer of their work
to public collections. Donations totalling $27 million were made under the Program in
200001, with the largest proportion of donations being in the visual arts category.
The Register of Cultural Organisations (ROCO) lists cultural organisations eligible to receive
tax deductible donations. ROCO includes 128 organisations providing services or support
to the visual arts who will also benefit from the increased philanthropic support incentives.
These organisations range from local art societies to community art centres, exhibition
touring agencies and other member groups such as NAVA.
In the area of sponsorship, a key government intervention was the creation of the AbaF
which is a Commonwealth company set up to facilitate sponsorship and partnership
arrangements between cultural organisations and businesses. The Commonwealth
Government also actively encourages partnership building between corporate bodies and
the community through the Prime Ministers Community Business Partnership,
a ten-member consultative team which promotes partnerships through advocacy,
recognition and facilitation roles.
22.
Australian Business Arts Foundation, More Business Support for the Arts, Newsletter, December 2001,
at www.abaf.org.au/public/0112/0112_01.html.
page 41
CULTURAL DIVERSITY
Australia is a culturally diverse nation. The 1996 census found that 14 per cent of
contemporary visual artists and craftspeople were born in a non-English speaking country.23
Data is not available on the number born in Australia of non-English speaking parents.
The Australia Council monitors its support of artists of culturally diverse backgrounds
through the Australia Council Multicultural Arts Committee (ACMAC). Through this
committee the Council has played a leading role in the promotion of diversity within
Australian art. Twenty-three per cent of successful individual applicants to the VACB in
200001 nominated themselves as being from a non-English speaking background.
The benefits of cultural diversity include: creativity, innovation and artistic expression.
It is considered to be a key element in the sustainability of the visual arts and craft sector.
A culturally diverse society can be said to advance creative and artistic development and
build audiences. Despite these benefits the submission from ACMAC stated that the full
potential of Australias cultural diversity has not yet been realised in the visual arts and
craft sector.24
Organisations such as the Asian Australian Artists Association (Gallery 4A) in Sydney
and Nexus Multicultural Arts Centre in Adelaide reflect the increasing cultural diversity
of Australian contemporary visual arts and craft. These two organisations promote
multicultural arts and artists within the context of exploring contemporary cultural relations
with Australia and challenging a mono-cultural understanding of these relations.
ECONOMIC CONTRIBUTION OF THE CONTEMPORARY VISUAL

ARTS AND CRAFT SECTOR
There are several measures that can be used to illustrate the contribution of the
contemporary visual arts and craft sector to the Australian economy. These include:
employment;
sales;
value added;
multiplier effects; and
broader economic effects.
The commercial activities of galleries, auction houses and retail outlets have been
mentioned earlier. The following indicates the contribution made by the sector through
measuring value added, multiplier effects and the broader economic and creative
contribution.
23.
24.
H. H. Guldberg, op. cit., p.120.

Submission: ACMAC.
page 42
An overview
Value added
Value added measures the contribution of an industry to GDPit is a net measure of the
size of an industrys output. Put simply, it is the value of the output of the industry, minus
the resources from other industries that were used to produce that output. Value added is
basically the sum of two components: the wages and salaries earned paid to employees in
the contemporary visual arts and craft sector; and the profit of the sector.
Using this measure, in 199697, the value of the contemporary visual arts and craft sector
was approximately $160 million. This estimate does not include the value added of arts
education activities, interest groups or government administration.
Table 2.5 Value added of contemporary visual arts and craft sector, 199697 (a)
Activities
Value added
$
The creation of visual arts and crafts
129 500 000
The collection and display of visual art and craft items

Writing about contemporary visual arts and craft in magazines,
journals and newspapers
Printing and publishing art and craft journals, magazines, and
articles in newspapers
Retailing contemporary visual arts and craft objects
Contemporary visual arts and craft education
Provision of support services to the sector
Contemporary visual arts and craft interest groups
Contemporary visual arts and craft copyright services
Total value added
9 300 000
1 500 000
16 800 000
na
3 000 000
na
100 000
160 200 000
na: Not available.

(a) For full details regarding sources and derivation of these data, see Appendix G.
According to ABS service industry surveys, the value added of the sector in 199697
was comparable with that of the record companies and distributors sector ($162 million
in 199596)25, and approximately 40 per cent that of the performing arts industries
($415.7 million in 199697).26
The financial estimate of the contribution of the sector to the Australian economy may
underestimate its true value, due to the social and external benefits it provides, as
discussed later. Many activities undertaken in the sector are unpaidfor example, the ABS
estimated that in the year to April 2001, some 106 000 people were involved in an unpaid
capacity in art and craft show organising alone.27 It also does not include the broader effects
of the sector on the Australian economy, which are discussed below.
25.
26.
27.
ABS, Business of music, Australia, cat no. 4142.0, ABS, Canberra, 1997.
ABS, Performing arts industries, Australia, cat no 8697.0, ABS, Canberra, 1998.
ABS, Work in selected culture and leisure activities, Australia, cat. no. 6281.0, ABS, Canberra, 2001.
page 43
Multiplier effects
Activities by the contemporary visual arts and craft sector also result in economic activity
from other sectors. For example, if an increase in demand were to result in higher activity
by the sector, then arts and craft practitioners would have to purchase more arts supplies,
commercial galleries would need to purchase more labour and other inputs, more insurance
and art transport services would be bought, etc. These inputs would be bought from other
industries, thus the increase in activity in the sector will have flow-on, or multiplier, effects
on other parts of the economy.
Unfortunately, no multipliers have been calculated for the contemporary visual arts and
craft sector, due largely to the aggregation problem mentioned earlier. However, multipliers
have been calculated for culture-related industries, and these can be used to give an idea of
the flow-on economic effect of the sector. For creative arts, the value added multiplier was
1.55.28 This means that for each $100 of extra demand for creative arts goods and services,
Australias GDP increases by $155 dollars. For libraries and museums, the value added
multiplier is 1.79.
Broader economic effects

Apart from its direct contribution to GDP (measured as value added), the contemporary
visual arts and craft sector contributes to GDP in a broader sense. Skills developed in the
contemporary visual arts and craft sector, as well as the general, less tangible influence of
the sector, contribute to the economic activity in many related and disparate industries.
Increasingly important is the contemporary visual arts and craft sectors interaction with the
creative industries.
Australias creative industries

The creative industries have been defined as industries in which the product or service
contains a substantial element of artistic or creative endeavour;29 they are generally
regarded as industries whose major output is intellectual property. The range of creative
industries includes activities such as advertising, design, film, photography, music,
publishing, as well as the visual arts. With digital code fast becoming the lingua franca of
the creative industries, the opportunities for collaboration between different industries
are numerous.
The contemporary visual arts and craft sector impacts on the creative industries in a
number of ways. Firstly, and most directly, the visual arts and crafts are a part of the
creative industries, providing creative output, as well as content for other creative activities.
Secondly, people trained in the sector often take these skills into other industries. Thirdly,
work done in the sector can influence other creative sectors in intangible waysthis
influence can be strengthened by collaborative projects between visual arts and craft
practitioners and people from fields such as science, industrial design and architecture.
28.
29.
ABS, Multipliers for Culture-Related Industries, report prepared by the National Centre for Culture and Recreation Statistics, ABS,
Adelaide, 2001.
R. E. Caves, Creative industries: contracts between art and commerce, Harvard University Press, Massachusetts, 2000.
page 44
An overview
There are numerous examples of collaboration between the visual arts and scientific
fieldssuch as Horst Kiechles work as artist-in-residence at the CSIROs Division of
Mathematical and Information Sciences in 1998, developing virtual environment technology
as a means of displaying and interacting with data. Oron Catts and Ionat Zurrs project,
Tissue Culture & Art, is carried out in conjunction with the tissue culture laboratories of the
Department of Anatomy and Human Biology at the University of Western Australia.
In a report to the Prime Ministers Science, Engineering and Innovation Council in 1999,
John Rimmer, then Chair of the Australia Councils New Media Arts Fund, commented that:30
the arts can greatly contribute to the Governments goals of developing a knowledge economy,
of which innovation and ideas are the key drivers. Within an environment in which knowledge is
appreciated as a valuable commodity it is the ability to keep one step ahead by pursuing on-going
research and development which provides the only competitive advantage artists and creative
people can significantly contribute to the innovative process, by providing a differing perspective,
attempting to push the technological boundaries, and by strengthening creativity.
The Royal Melbourne Institute of Technology commented in its submission that:

Aside from the economic and social benefits of an educated workforce, creative industries such as
visual arts and crafts are content producers and hence are key building blocks in the knowledge
economy. Visual arts and craft practitioners employ different processes of creative thinking and
action-based research, which provide alternative concept models, which are available to the
creative, as well as other industries. 31
It is very difficult to quantify the broader economic contribution of the contemporary visual
arts and craft sector, largely due to the myriad, and often intangible, contributions it makes.
The creative industries are seen by many as a major engine for economic growth. The former
British Secretary of State for Culture, Media and Sport stated that the most successful
economies in the 21st century will be creative ones.32 The creative industries experienced
rapid growth worldwide during the 1990s, typically double the growth of the rest of the
economy in OECD (Organisation for Economic Cooperation) countries.33
CULTURAL AND CREATIVE CONTRIBUTION

The terms of reference for the Inquiry stated that the Inquiry would articulate the
creative contribution of the sector. After consideration of submissions received,
and from its own research, the Inquiry felt there were cultural as well as creative elements
of the sectors contribution. Many submitters to the Inquiry commented on the sectors
cultural and creative contribution and the different meanings that may be attached to the
term contribution.
30.
31.
32.
33.
J. Rimmer, Clash of Cultures >>New Partnerships >> Innovation, Presentation to the 3rd meeting of the Prime Ministers Science,
Engineering and Innovation Council, 25 June 1999.
Submission: Royal Melbourne Institute of Technology.
Department for Culture Media and Sport (United Kingdom), Creative Industries Mapping Document, at: www.culture.gov.uk/creative/,
accessed 8 March 2001.
J. Rimmer, Australian Content: New Imperatives and Opportunities in the Global Electronic Marketplace, Speech to OZeCulture
conference, Melbourne, 14 June 2001.
page 45
The Inquiry considers that the cultural and creative contributions of the contemporary visual
arts and craft sector are a part of everyday life for Australians. The sector impacts on a range
of audiences, from those who are strongly involved in the sector, to those who simply view
a television commercial, or casually observe a piece of public art on their way to work. The
cultural and creative contributions made by the sector are so much a part of our lives that
they may easily be taken for granted.
Creative contribution may be regarded as the sectors input into the work of other sectors
by way of its provision of design, concept or other artistic information. This can include
activities as diverse as the design of new automobiles, to theatre and film set design,
marketing and advertising, education, science, the media and so on.
The activities in which artists engage establish a wide range of creative relationships between
industries and service providers of all kinds. They produce not only new products but also new
aesthetic expectations and increase markets for others. It is clear from the style and strategies of
commercial marketing campaigns that the creative input has been influenced by an increased level
of visual arts education producing a sophisticated understanding of contemporary
cultural imperatives.34
The value of a visual education in contemporary society was emphasised by several

submitters:
In a society that increasingly relies on written text as a means of communication, learning in the
visual arts and crafts is of critical importance to comprehensive skill development. The visual arts
and crafts encourage the development of tactile, visual and three-dimensional interpretations
of the world that encourage us to perceive differently. Developing a range of perspectives and
interactions with our society and the world at large enhances both the artists and the audiences
critical capacities. A critical approach to life in the twenty-first century contributes to the
enrichment of Australias intellectual capacity.35
The values instilled in graduates and other students through an arts education are also of
value to the wider community. Such values include encouraging different modes of thought,
alternative viewpoints, innovation, interpretation of information and communication
skills: the nature and character of art education focuses on learning other ways of seeing,
flexibility, improvisation, lateral thinking and visual realisation of particular issues.36
Cultural contribution
Participation in the contemporary arts and craft sector, as a practitioner or an audience
member, is viewed as a powerful positive influence on Australian society. The sector is
regarded as being tolerant, non-competitive, inclusive, innovative and accessible by many
Australians. While recognising that the economic or other tangible evidence of the sectors
contribution to Australian society and its constituent communities is sometimes difficult to
demonstrate in concrete terms, many submitters were concerned that the sectors cultural
contribution be recognised formally, and its full value acknowledged.
34.
35.
36.
Submission: Victorian College of the Arts.

Submission: Arts Training NSW.
Submission: Canberra School of Art.
page 46
An overview
One of the significant values of the sector is that of bringing communities and individuals
together, through participation in projects large and small:
The visual arts and craft sector makes a valuable contribution to the community in more ways than
one. Such groups get together because they have a passion and a social conscience, and in their
own way want to make a difference [] all this is done voluntarily, selflessly and simply because
we love it.37
An appreciation of aesthetic qualities is also recognised as being a valid human need,

and one which can introduce enjoyable and valuable notions into everyday life, from the
significant to the whimsical: the human scale of objects and tactile nature of the materials
used fulfil an important need in peoples daily lives, whether objects are domestic or
architectural. 38
Contemporary visual arts and craft define and interpret our national and individual
identities. The sector can be a voice for society, a commentator, a visionary, and a reminder
of our history:
Artists construct new spaces for social and cultural activity. Artistic practice is an effective means
of renegotiating and inhabiting history. Culture implies changes. The arts are an expression
of broader contemporary cultural values and are one of the principal measures of a culture
retrospectively. Without recourse to prominent cultural articulations, national identity and debate
are diminished.39
Another aspect of the sectors contribution to society is its ability to transcend borders of
age, sex, race, language and culture, allowing artists and audiences to communicate on a
fundamental level, and presenting images of society which can inspire, provoke
or challenge:
Artists value difference and therefore contribute to social tolerance and open-mindedness
regarding cultural diversity. As such, the arts play an important social, cohesive and spiritual role.
Artists also allow the unfamiliar and the exploratory to become valued.40
As well as presenting a country with representations and interpretations of its identity,

the sector can present these same aspects worldwide, establishing a record of Australian
society and culture:
A countrys identity is keenly articulated through visual culture. Art and artists are responsible
for the articulation of national identity at a national and international level. Identity is an evolving
measure and needs to be nurtured on a continuous basis. If properly nurtured the arts can instil a
sense of pride and can improve daily life.41
The development process of artworks in itself inspires constant change and evolution in
our culture:
Contemporary visual arts and craft play a powerful and central role in developing, engaging,
challenging and reinterpreting culture, evolving new forms, and creating new audiences and
new work.42
37.
38.
39.
40.
41.
42.
Submission: Vishna Stanuga-Collins.

Submission: Darani Lewers.
Submission: 200 Gertrude Street.
ibid.
ibid.
Submission: Arts Industry Council (Victoria).
page 47
Contemporary visual arts is regarded as a field in which pure ideas for their own sake are
still of value, whether or not they will eventually attain a monetary or research value. It
is a field that encourages experimentation and radical innovation, values that are often
discouraged in other sectors, because of cost or lack of time:
For me visual art and craft is an essential and often deeply perceptive way of unravelling the
gossamer quality of experience. It is a place where society can ponder. A place for ideas and skill
to be appreciated for their own sake. A place driven not by a post-industrial ethos of constant
progress, or by cultural notions of right and wrong or by societys insatiable demand for solutions.
The visual arts and crafts provide us with a space for questions to float with the humbling pleasure
of the unknowable43
The sector also values complexity and subtlety:

Cultural complexity, ambiguity and nuance, risk and invention are important factors in the
visual arts social contribution and value. Winners and losers are less evident than in the overtly
competitive activities that we use to identify national character. Thus also, ideas of product
development and consumer demand which may have applicability for the crafts, as a form of
design, are inappropriate as a measure for the visual (fine) arts 44
One of the contributions made by the sector can be loosely described as a quality of life
contributionthat is, the sector can contribute in many ways, large and small, to the overall
quality of our lives, improving how we feel about ourselves, about others, and how we are
able to move in and interact with contemporary society.
There are many examples of the use of contemporary visual arts and craft practices in the
healthcare, rehabilitation, disability, and community service sectors:
Another thing that the organisation was responsible for was starting the Inside Art/out project
under Steve Fox about five years ago. This initiative was instrumental in sending artists into
prisons here and working with the mostly Indigenous inhabitants and getting them painting again
or for the first time. This project has now grown into the Ending Offending project and is managed
by the prison, but this points to an important sustainable long-term project with identifiable social
outcomes that was started by a contemporary
art space.45
Contemporary visual arts and craft practices are also used as part of programs for
young Australians:
AWESOME is exciting, contemporary and challenges the notion that the Arts are a stuffy,
predictable pastime. Each year thousands of young West Australians participate in a wide range
of skills enhancing creative exercises which then showcase alongside professional artists at the
AWESOME festival.
AWESOME engages the Arts to reinforce a sense of community and to provide an outlet for young
people to express their individuality. In a world where all too often the creative possibilities of
our children are stifled by the need to conform, violence, and anger, AWESOME provides a safe
environment where young people are encouraged to explore who they are and what they want
to become.46
43.
44.
45.
46.
Submission: Patrick Hall.

Submission: Richard Dunn.
Submission: 24hr Art.
Submission: Awesome Arts.
page 48
An overview
Visual arts and craft works are also used in urban development and re-development
projects. For example, the Melbourne Docklands project features an integrated art program
which has been funded through a Per Cent for Art scheme. The Docklands Authority decided
to incorporate a strong arts element into the project both as a way to portray the aspirations
and ideas of contemporary society, and to make the project a welcoming and interesting
place for its community, as a means of encouraging Melbourne residents to use the space.
Contemporary arts and craft based projects have been recognised by government,
community and other groups as being worthwhile for communities:
We (the schools, Councils, community groups) place high value on such projects for their
cultural benefits and for the way they encourage community-building and increase the
self-esteem of participants.47
The sheer enjoyment found by many in arts or craft practices is also a valuable contribution
to society, providing an outlet and means of expression and comment for practitioners
both professional and amateur. The value of this contribution is equally beneficial from the
most dedicated, full-time professional with post-graduate qualifications to the weekend
arts or craft practitioner, to the most casual gallery visitor. All of these can make use of
this contribution in a serious, considered, or even spiritual way, right through to the most
lighthearted and whimsical way:
Visual art and craft are part of everybodys life. The contribution towards enjoyment,
aesthetic outlook, design and general social and cultural capital of our society is invaluable
from this sector.48
Scientists have noted, and continue to find evidence that, from the earliest human societies
to the present day, the practice of visual arts and craft is a significant and valued human
trait, even if we are not always able to explain why this should be so.
Contemporary craft is notable in particular for its contributions to the design sector, and its
emphasis on functional and experimental objects. The sector is also noted for the high level
training and for its accent on practical skills and knowledge of materials:
Craft practitioners engage in a range of education and training systems, both formal and informal,
and require advanced training levels in skills pertinent to their profession. A successful craft
practitioner requires superior knowledge of materials and technology, a high level of competence
and dexterity in working craft media and internationally accessible training in the generation of
creative and conceptual processes.49
The benefits of an education in the craft sector can therefore be felt in a number of other
sectors of Australian society, from education to industrial design to healthcare. The practice
of a craft is recognised as having therapeutic and emotional benefits, as well as being
accessible to all members of the community:
As classically functional art, contemporary crafts economic and cultural contributions are
interwoven. It has the capacity to both inform and enthuse in the range of design artsinterior
and industrial design, architecture and urban design. It is also an explicitly accessible form of
visual art which is both highly appealing and relatively affordable.50
47.
48.
49.
50.
Submission: Kevin Free.

Submission: Nexus Multicultural Arts Centre.
Submission: Craft Australia.
Submission: Jam Factory.
page 49
The craft sector has a significant role to play in interpreting and commenting on Australian
culture, and also plays a strong role in the research and development contribution of the
sector, particularly through its links with the design sector:
Craft and design products are an important part of the material culture that help define our
complex cultural identity both within the country and internationally, through tourism and export
initiatives. Contemporary craft and design practice in Australia is confident, diverse, opportunistic
and flexible, strategically ranging over numerous interests simultaneously. It encompasses
experimental, exhibition, production and commercial work. Crafted objects are among the most
persuasive physical embodiments of contemporary social concerns. This is not to say that objects
are necessarily political in intent, but that they are reflective of contemporary Australia and that
they occupy special places in our hearts, homes and museums. Some will eventually become
potent signifiers; gauges by which we can appraise ourselves, and by which others appraise us
[] artists are social commentators, critiquing its precepts, more and structures. While not
all artists are extreme in their commentary, all contribute to the processes of reflection and
anticipation, making the stock for a savings bank of the soul. Craft as social criticism (or social
capital as Eva Cox has described arts practice), comprises a complex process of thinking, making
presentation and discussion.51
Valuing the contribution

There is a perception in the sector that culture and artistic achievements are less highly
valued in contemporary Australian society, than, say, sporting or business achievements.
Submissions expressed concern that, despite extensive overseas success and recognition
for Australian visual artists and craft practitioners, contemporary arts and craft practice
is not marketed well to Australians, and in some communities is regarded as a pastime
or hobby at best, and a pointless exercise with no valid end product at worst: within an
economic rationalist environment it has become increasingly difficult to argue for values
other than those which are economic in purpose and competitive in realisation. 52
This lack of recognition has led to a dichotomous situation for many in the sectorthey may
be recognised, feted and successful in overseas markets, but almost unknown at home:
The nation actively markets itself to the world via its culturein particular via Indigenous artyet
often fails to sell its message to its own population. This should be a priorityotherwise so many
other issues such as tax benefits/reform for the arts may not succeed.53
This situation has lead to many in the sector feeling that although they have much to offer,
and although their skills may contribute to some aspects of other sectors, they are not
being allowed to take up the role in society of a major contributor and driving force. Visual
artists and craft practitioners feel that their contribution often remains unacknowledged and
almost clandestine, with their works and ideas taken on by other sectors when required, but
at other times ignored or devalued:
Much of the work in this sector is hidden and unquantifiable. It is the nature of the sector that
artists often work alone and working on a grass-roots level in their community or workshop. In an
environment of limited support, practitioners are characterised by the Australian ethos:
Lets just create and make it happen, lending a vitality and relevance to work that is largely
taken for granted54
51.
52.
53.
54.
Submission: Object.
Submission: NAVA.
Submission: Mackay Artspace.
page 50
An overview
A further disadvantage for the sector is the stigma of elitismmembers of the sector feel
that the accusation of elitism within contemporary visual arts and craft is not warranted,
and is based on stereotypic ideas about the sector, rather than on reality. However, research
has indicated that one of the main reasons non-regular visitors to galleries and other
exhibition venues are reluctant to visit is a fear of encountering elitist attitudes.55
In the sports sector, elite sports people are mostly viewed with admiration and appreciation
and are regarded as role models whose achievements are to be celebrated. In the arts, the
accusation of elitism is a negative one. Artists are likely to be branded as outsiders whose
achievements are obscure and not worth a great deal outside their own sector.
Just as many Australians participate in sporting or physical activities, often without the
specific intention of doing so (going for a walk on a pleasant afternoon, playing cricket with
their kids, and so on), many Australians also participate in the contemporary visual arts and
craft sector in a similarly casual way. Australian public spaces would look unusual without
their quota of sculpture, murals or other artworks. This would seem to demonstrate that we
can assimilate arts and craftworks and practices into our lives more easily than we think,
and that the sector is not, therefore, impenetrably elitist or exclusive.
Many submissions called for formal recognition of visual artists and craft practitioners
status as contributors to Australian society, and for their work to be acknowledged as being
of value to society and industry. The enthusiasm and commitment which artists contribute
to the community goes largely unacknowledged, although they may contribute significantly
on a daily basis in fields such as education, training, design and even healthcare.
There has to be a real value placed on cultural work. The contribution artists make to society has
to be re-valued and acknowledged.56
Artists produce Australian culture. They also subsidise it heavily. Artists time and energy, were it
costed out properly, would probably surpass the investment made by governments in the sector. It
is a daily miracle that intelligent young people choose to dedicate themselves to creative practice,
but who would like to live in a world where this was not so?57
55.
56.
57.
Australia Council, Australians and the ArtsA Report to the Australia Council from Saatchi & Saatchi Australia, Australia Council,
Sydney, 2001.
Submission: Art Gallery of NSW.
Submission: Artists Foundation of WA (AFWA).
page 51
Indigenous art and craft

A significant cultural contribution also originates from the countrys Indigenous arts and
craft community. Indigenous artworks have a positive effect on Australias artistic and
cultural reputation worldwide, attracting tourists and arts students to the country:
Recognition is due that the Indigenous arts and crafts industry has made a tremendous
contribution to the Australian economy beyond the arts sector, by creating an increased interest in
Australia as a tourism destination and the opening up of many new destinations in Australia. This
has also had many additional social benefits including an increased understanding and respect for
the strength and complexities of Aboriginal and Torres Strait Islander cultures [] the contribution
of Indigenous artists and craftspeople to both the social and economic well being of the Australian
community is extremely significant and should be valued accordingly.58
The existence, support and promotion of a strong Indigenous arts and craft sector can be a
more accessible way for non-Indigenous Australians to engage with Indigenous culture.
It is also a way for our Indigenous artists to take their culture and interpretations outside of
the boundaries of their communities:
Australias international profile is undergoing a sea-change, where we are increasingly being seen
as a sophisticated culture, both urban and engaging with our Indigenous cultures. This is partly
due to our film industry and the fine arts market for Indigenous works. It is also fed by a growing
and largely unrecognised stream of visual arts and crafts works.59
Just as the sector as a whole provides enormous benefits, cultural, social and economic to
the community, so too are Indigenous artists able to bring these advantages both to their
immediate communities, and to Australian society in general. The rewards of promoting and
supporting traditional cultures are out of all proportion with the resources needed to do so:
it has the potential to sustain and nourish Indigenous communities and reward relatively
minor government investment with enormous cultural, social and economic rewards.60
The arts as a profession, or main activity, are much more prevalent in Indigenous
communities than in other parts of Australian society. This is an aspect of Indigenous
society which is not much commented on when Indigenous issues are being discussedas
in non-Indigenous communities, concerns about adequate infrastructure, healthcare and
education predominate, and the arts and craft are often considered by non-Indigenous
policy makers to be a luxury, or merely a pastime, not a significant employer. The
significance of arts and craft practice in Indigenous communities needs to be taken into
account, therefore, and supported adequately:
While there are issues related to social justice, land rights, deaths in custody, health etc. that
specifically need to be considered in relation to Indigenous arts, many Indigenous people
consider the arts to be their primary area of activity or profession. For this reason training and
skills development delivery and resourcing need to be reconsidered and targeted better in remote
Aboriginal communities [] the fact that so many Indigenous people do perceive the arts as a
major employment opportunity, is telling and means that arts training delivery and outcomes need
to be fully supported in order to ensure that Indigenous artists are fully aware of industry issues
and able to fill high skilled positions61
58.
59.
60.
61.
Submission: ATSIC.
Submission: Hetti Perkins.
Submission: Association of Northern, Kimberley and Arnhem Aboriginal Artists (ANKAAA).
page 52
An overview
The Inquiry believes there is a growing recognition and appreciation of the creative and
cultural contribution of the contemporary visual arts and craft sector. Surveys of Australian
attitudes indicate that the majority of Australians consider that having some creative skill
has a high or fairly high value (88 per cent),62 and that Australians are responsive to the
arts and value artists.63 As demonstrated elsewhere in this Report, governments provide
significant financial support to arts and craft practitioners both directly and indirectly,
with the aim of ensuring that Australia has a culturally vibrant and sustainable
contemporary visual arts and craft sector. Government leaders also reflect this support
in their public statements:
I regard the artistic achievements of this country and the artistic excellence of this country
every bit as importantly as I treasure and value all the sporting prowess and the sporting
achievements of this country. A nation for all its people is a nation that honours artists as
much as it honours sportsmen64
However, there is still a sense in the sector that there is scope for more frequent and direct
public statements of support for the sector and the arts in general from those who lead and
shape public opinion and perceptions. The Inquiry shares this view and would encourage
greater public acknowledgment and celebration of the achievements of Australias visual
artists and craft practitioners.
This Chapter has provided a brief overview of the contemporary visual arts and craft
sectorbut gives, nevertheless, some insight into its breadth, diversity and complexity.
This is a sector that is typified by the new and the experimental and which crosses and
dissolves art form boundaries. It also includes significant artistic activity by Indigenous
artists. It is a sector which encompasses many individual visual and craft artists who
typically have a low income from their cultural practice and may often have a second job
to supplement this. Many art and craft practitioners may have formal qualifications in their
field, but some may not.
The presence of arts and craft practitioners in most communities across Australia means
that the sector is geographically widespread, multi-layered in terms of the levels of
professionalism of practitioners and organisations, and heterogenous in its creative vision.
It has been moulded and shaped both by grass roots influences and imposed government
policies. These features appear to serve the sector well, and give it strength and dynamism
so that any notions of restructuring the sector are likely to be impractical and unnecessary.
Contemporary visual artists and craft practitioners are supported by a comprehensive
infrastructure of organisations and programs, many of which are funded by one or more of
the three tiers of government. The infrastructure also includes non-government elements
such as commercial galleries and auction houses.
Private philanthropy and corporate sponsorship also play an increasingly important role in
supporting the sector, through individual donations to visual arts and craft organisations,
through donations of contemporary work to public museums, through the grants programs
of charitable foundations and through sponsorship partnerships in support of major
cultural events.
62.
63.
64.
Australia Council, Australians and the ArtsA Report to the Australia Council from Saatchi & Saatchi Australia, Australia Council,
Sydney, 2001.
Australia Council, Planning for the FutureIssues, Trends and Opportunities for the Arts in Australia, Discussion Paper, Australia
Council, Sydney, February 2001.
Transcript of the Prime Minister, John Howard MP, Launch of the Tarrawarra Museum of Art, North Melbourne 24/4/02.
page 53
This sector makes an important economic contribution to Australia. The market for
contemporary visual arts and craft ranges from audiences for exhibitions, to renters of art
through such organisations as Artbank, to buyers who may include private collectors and
public art museums. At the broader level, the sector may be seen as part of the growing
phenomenon of creative industries, which will be increasingly significant to our economy.
However, it is the sectors cultural and creative contribution to the Australian community
which is most significant, instilling as it does a quality-of-life element which transcends the
practical and the monetary to embrace innovation, imagination and beauty.
page 54
An overview
GUIDING PRINCIPLES
Having reviewed the composition and dynamics of the contemporary visual arts and craft
sector, and having considered the visions and aspirations of many participants expressed
through submissions and consultations, the Inquiry has formulated some principles for the
sectors future direction.
The Inquiry believes that such principles can provide a set of common objectives for the
sector, governments, and the private sector to ensure that Australias visual art and craft
culture has a vibrant and sustainable future. These principles underpin the Inquirys
recommendations, and should inform their implementation and future policy development
for the sector.
The guiding principles formulated by the Inquiry are as follows:
Australia should value, foster and promote the creativity, innovation, diversity and
excellence of its Indigenous and non-Indigenous contemporary visual arts and craft
practitioners, and acknowledge their cultural, social and economic contribution at an
international, national and regional level.
Australia should recognise the value to its national well-being of a life long cultural
education and the importance of a continuum of education in the arts from primary to
tertiary level.
Australia should ensure that vibrant, strategic, adaptable and sustainable organisations
nurture and support Australian contemporary visual arts and craft practitioners in
developing their creativity, skills and professionalism, and to exhibit, promote and
market their work.
Australian visual artists, craft practitioners and their organisations should have the
opportunity to maintain pace and engage with changing international standards in arts
practice and exhibition, including advances in technology.
The contemporary visual arts and craft sector, through its publicly-funded and private
organisations, should encourage and facilitate the cultural engagement of the broader
Australian community. It should stimulate demand through initiatives and programs that
develop and educate audiences, and provide interpretation and access, including by
touring contemporary arts and crafts exhibitions to non-metropolitan Australia.
Australian governments play a critical role in fostering and maintaining a dynamic
contemporary visual arts and craft sector. At the Commonwealth level the legislative
framework impacts upon visual art and craft practitioners throughout their working
lives. At the three levels of government, policy should be developed, implemented and
evaluated in consultation with the sector. Governments need to share knowledge and
experience and strive for a coordinated approach within and across governments to
achieve better targeted and synergistic outcomes that will enhance sustainability.
At all times governments and the sector should meet high standards of transparency and
accountability, and the rationale for funding, and the responsibilities of all parties should
be clear.
Australia should continue to develop and foster an environment that encourages
individual and corporate benefaction and sponsorship as a means of broadening the
support base for the contemporary visual arts and craft sector.
page 55
page 56
Chapter 3
valuing artists
In this Chapter, the Inquiry focuses on issues directly affecting the individual artist and craft
practitioner and the implications of those issues for the future development, sustainability
and promotion of the sector.
From the outset the Inquiry was mindful of the fact that, notwithstanding the generally
higher profiles and activism of arts organisations and the significance of their contribution,
the creative individual is central to developing and sustaining a vibrant contemporary visual
arts and craft sector. Therefore, where possible, the Inquiry included practising artists in
its consultations and encouraged artists to make submissions. Around a quarter of the
submissions received were from individuals, many of whom described themselves as
practising artists or craft practitioners.
The position of individual artists and craft practitioners is mentioned specifically in some
but not all of the terms of reference for the Inquiry. In order to ensure the issues relevant to
individuals and through them to the sector were adequately addressed, the Inquirys Issues
Paper was broadly structured around the phases in the professional life cycle of an artist or
craft practitioner. This Chapter adopts a similar approach, reflecting the passage from art
student and then emerging artist to professional and mid and late career artist and grouping
the issues accordingly.
At each of these stages, talented individuals may decide to either continue to pursue
their vocation or change direction, with the subsequent loss to Australia of their potential
creative contribution. The Inquiry believes that valuing artists involves identifying not only
how training might be structured and support might be directed to encourage and nurture
the best talents, but also examining whether there are other barriers and obstacles that
might hinder their capacity to sustain a creative practice that might be removed.
Within this framework this Chapter firstly looks at the artist population then examines:
Whether there are adequate training facilities and places available to ensure that
Australia maintains a pool of creative, innovative visual artists and craft practitioners
producing works of excellence by international standards.
The employment and income prospects for graduates and emerging artists and whether
the numbers of students graduating in visual arts and craft have a bearing on this.
Is sufficient information made available to prospective students about the realities
of the marketplace and the skills needed to establish and operate a practice? What
mechanisms might make sure that emerging arts graduates are not lost in the transition
from art school to successful practice?
How grants and other support programs for individuals could better target and nourish
outstanding talent.
Whether the circumstances of artiststheir professional status and the nature of their
work practicesneed to be better acknowledged and understood by governments and
society generally so that artists are not disadvantaged compared to other citizens in
relation to taxation, social security, superannuation, insurance, industrial relations,
occupational health and safety and other administrative regimes.
page 57
How artists intellectual property rights might be better protected and enforced.
Whether artists and their families should be able to share in the increased value
of their work.
THE VISUAL ARTIST AND CRAFT PRACTITIONER POPULATION

In the 1996 ABS census, 80 000 people identified themselves as arts professionals.
Arts professionals are those people whose full-time or main-paid job is in the arts field.
Of these, approximately 15 800 were visual arts and craft professionals or photographers.
According to census data, the numbers of visual arts, craft and photography practitioners
grew at an average annual rate of 3.6 per cent between 1986 and 1996. This compares with
an average rate of 4.4 per cent for all artists, and 1.4 per cent for the total workforce.
The census only identified approximately 400 Indigenous visual arts, craft and
photography practitioners.
There are a number of problems with using the census for estimating the number of visual
arts and craft practitioners in Australia, and these problems may lead to an underestimation
of the size of the industry. Firstly, visual arts and craft practitioners frequently hold more
than one job and, for census purposes, their occupational classification may be related to
their non-arts work. Also, the census underestimates the number of Indigenous visual arts
and craft practitioners, due in part to classification by their non-arts occupation, and also
due to the geographical isolation of many Indigenous artists. A study of Indigenous art
centres in 1997 estimated that there were between 5 000 and 6 000 Indigenous artists.65
This estimate is largely supported by a 1999 survey66 of art centres, which estimated that
there were 4 500 Indigenous artists represented by the art centres surveyed. The ABS
census data, combined with a more reliable estimate of the number of Indigenous visual
arts and craft practitioners, suggests that there were approximately 20 000 full-time visual
arts and craft practitioners in Australia in 1996, including Indigenous Australians.
Of course, part-time visual arts and craft practitioners also make an important contribution
to the sector. The significance of this contribution is emphasised by an ABS survey which
found that in the 12 months to April 2001, there were approximately 270 000 people who
had some paid involvement in visual arts and craft activities.67
The other major source of employment in the contemporary visual arts and craft sector is in
galleriesboth public and commercialand art museums. A survey of public art galleries
and museums in 2000 (which includes state and regional galleries) found that there were
1 741 people employed68 in this sector. A survey of the commercial gallery sector found that
there were 1 409 people employed in 2000.69
65.
66.
67.
68.
69.
F. Wright, and F. Morphy, (eds), The art and craft centre story: a survey of thirty-nine Aboriginal community art and craft centres in
remote Australia, Volume 1 Report, ATSIC, Canberra, 1999.
ABS, Work in selected culture and leisure activities, Australia, cat. no. 6281.0, ABS, Canberra, 2001.
ABS, Museums, cat no 8560.0, ABS, Canberra, 2001.
ABS, Commercial Art Galleries, cat no 8651.0, ABS, Canberra, 2001.
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Valuing artists
ARTISTS INCOMES
There is relatively little comprehensive recent data on the income levels of Australian visual
arts and craft practitioners. However, the data available tends to suggest the income of
visual arts and craft practitioners is lower than for the workforce in general.
Table 3.1 shows that in the 1996 census, the most recent income data available, the median
annual income (from all sources) of visual artists and potters ($15 300 and $13 300,
respectively) was lower than that for other artists, and of the total workforce. Between 1986
and 1996, real median incomes of visual arts and craft practitioners fell by an average of
between 1.6 and two per cent per annum, compared with an average of 0.4 per cent for the
economy in general.
The average income of visual arts and craft practitioners reported in the 1996 census
was higher than the median incomes ($18 231 and $15 287 for visual artists and potters,
respectively). This indicates there are a smaller number of artists at the higher end of the
financial scale, while a larger number of artists earn lower incomes.
Table 3.1 Estimated median income (all sources), 198696 (199697 dollars)
Average
annual
change
%
1986
1996
($)
($)
Visual artists (except potters and

unspecified)
18 000
15 300
-1.6
Potters and unspecified visual artists
16 300
13 300
-2.0
Artists and related professionals

(undefined)
24 500
23 600
-0.4
Photographers
28 300
22 800
-2.1
Designers and illustrators
29 300
28 200
-0.4
Journalists and related professions
38 200
37 300
-0.2
Authors and related professions
31 300
27 500
-1.3
Film, TV, radio and stage directors
38 700
33 000
-1.6
Musicians and related professions
23 700
20 500
-1.4
Actors, dancers and related professions
21 800
19 400
-1.2
Media presenters
30 800
28 000
-0.9
TOTAL Arts professionals
28 800
26 900
-0.7
TOTAL Workforce
26 500
25 500
-0.4
Source: Census data, cited in Guldberg, 2000.
page 59
Although not a representative survey, a submission to the Inquiry supports

this assessment:
Eighty-two per cent of practitioners have gross income from all sources of less than $15 000 with
negative income from their art. Their average taxable income is $11 300 with an average tax refund
of $620
Thirteen per cent have gross income between $15 000 and $40 000. This group is more likely to
have positive income from their art if the art based income forms more than half of the total the
break-even turnover is about $15 000 $20 000 although that can vary from year to year
The remaining five per cent had average gross income of $88 000, practically all of it from the art
practice, with annual tax liabilities of about $27 000
The reason why such a large percentage of the sample seems to be at such a low income level may
be due to my practice being involved mainly at the emerging end of the arts; it may be indicative of
the market as a whole.70
Due to the generally low returns from their primary artistic activities, visual arts and craft
practitioners regularly take other work to help support their practice. The census data
estimates total income for arts professionals, not just that income earned from their primary
artistic occupation.71
Visual arts and craft practitioners are often motivated in their activities by other
considerations. As the Painters and Sculptors Association submitted.
Artists, generally, are not predominantly financially motivated. This does not mean that they dont
want to make money. It means that their priorities lie in attempting to create great works of art and
they are not prepared to compromise their art in order to maximise their profits.72
As a result, all other things (including skills and qualifications) being equal, the returns to
visual arts and craft practitioners may be lower than those in the wider workforce.
FINDINGS
The incomes of contemporary visual arts and craft practitioners in Australia are lower
than that of the general workforce, and of artists in other fields. Contemporary visual arts
and craft practitioners commonly supplement their arts-related incomes with income
from other occupations.
70.
71.
72.
Submission: Brian Tucker.

A survey by Throsby and Thompson (1994) found that in 199293, 37 per cent of median visual artists incomes came from their
primary arts activity, and 54 per cent of median craft practitioners income came from their primary arts activity. In 199293, 74 per cent
of visual artists and 50 per cent of craft practitioners earned less than $10 000 from their primary artistic activity.
Submission: Painters and Sculptors Association.
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Valuing artists
EDUCATION AND TRAINING

This section examines whether there are adequate training facilities and places available to
ensure Australia maintains a pool of creative, innovative visual artists and craft practitioners
producing works of excellence by international standards.
In its terms of reference the Inquiry was asked to:
Report on the current trends in the training of visual arts and craft practitioners at tertiary
level for the sector, including graduate numbers, and assess the impact of these trends on the
sustainability of the sector.
Responses to the Inquirys Issues Paper reinforced the view that the education and
training of Australias visual arts and craft practitioners is a key issue in the sustainability
of the sector. Comments received also sought to impress on the Inquiry the importance
of recognising the significant contribution primary and secondary arts education, as well
as tertiary training, make to the sustainability of the sector and society in general. Others
felt the Issues Paper implied that the growth in the number of graduates in visual art and
craft was detrimental to the sustainability of the sector, and that some criticism of tertiary
training institutions was also implied.
In its submission, the Australian Research Council (ARC) expressed concern about the focus
being only on the education and training of undergraduate visual arts and craft practitioners
and their transition into employment:
the contribution of universities to Australian arts and creative culture is greater than this The
universities make up one of the channels through which Government support for the sector is
provided. Professional artistsas staff and postgraduate research studentsgain access to
equipment, facilities and space. As significant is the stimulating intellectual and creative milieu,
collegial support and feedback, and opportunities to exhibit offered by quality university
art schools.73
Other submitters were concerned about the lack of attention to non-academic training.
One submission indicated concern that academic interests and universities would dominate
the attention of the Inquiry. The submitter commented that this would only reinforce the
currently held belief that art is an elitist activity.74
In another submission it was commented that:
there is too much emphasis placed on tertiary graduates (particularly university grads). There are
plenty of artistically minded people out there who prefer to learn vocationally and want to keep
close to their roots. They may not have a lot of money, or even a lot of confidence to do tertiary
studybut they have passion.75
The Inquiry notes there is no prescribed pathway for entering artistic practice.
The term of reference also stimulated debate about the resources available to tertiary visual
arts and craft training institutions and the training needs in particular art forms, especially
in craft, and in the area of Indigenous visual arts and craft.
73.
74.
75.
Submission: ARC.
Submission: Peter Wilde.
Submission: Christine Polowyj.
page 61
The Inquirys approach

The Inquiry has addressed the issues relevant to this term of reference in its consultations
with, and its analysis of, submissions from tertiary training institutions, State and Territory
government arts agencies and the Commonwealth Department of Education, Training and
Science, and other interested groups and individuals. A major submission was lodged by
the Australian Council of University Art and Design Schools (ACUADS).
ACUADS was established in Australia in 1981 as the National Conference of Heads of Art
and Design Schools, and as ACUADS in 1994. It is the peak body for tertiary art and design
education and as a national association it represents 30 university art and design schools
around the country.76
The Inquiry has been mindful that it was not asked to inquire into the state of arts education
in Australia. While it received views through submissions and consultations about whether
there are too few or too many art schools, and about education, funding, resources and
structural issues, the Inquiry has not felt it necessary or appropriate to attempt to reach
conclusions or formulate recommendations about broader tertiary education policy
affecting contemporary visual arts and craft.
Nevertheless, in order to report on the current trends in education and training, the Inquiry
felt it necessary to provide some context, and to acknowledge the dynamics underpinning
the trends. Hence some funding and related issues that impact on tertiary education and
training in the contemporary visual arts and craft are reviewed.
Similarly, the Inquiry has not undertaken a detailed study of the issues surrounding primary
and secondary arts education, as this would be to go beyond its terms of reference which
reflect the fact that these aspects of education are primarily the responsibility of State and
Territory governments. At the same, time the Inquiry acknowledges the importance of the
arguments about the need for an appreciation and understanding of the value of art to be
fostered in the early years of education, as part of a broader cultural policy approach to the arts.
The tertiary training environment

The Australian tertiary sector is a two-tier system. The two tiers are Australian universities
and the Vocational Education and Training (VET) institutions. In the past, universities were
less vocationally oriented and VET institutions were highly vocationally-oriented. In recent
years, the educational aims have become increasingly similar. The two tiers award differing
types of degrees. The VET tier focuses on bachelor and lower level awards, whilst the
university tier generally awards bachelor and higher degrees.
76.
Submission: ACUADS.
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Valuing artists
The Commonwealth Government contributes roughly two-thirds (66.4 per cent) of the
revenue received by publicly subsidised higher education institutions. In 2001, the
Commonwealth provided over $5.86 billion in funding for higher education through the
former Education, Training and Youth Affairs portfolio. Some 40 of the 45 higher education
institutions receiving operating grants from the Government offer courses of study in visual
arts and craft.
Universities have a high level of autonomy in making decisions about the distribution of
student places between disciplines and across levels of study. Universities are free to select
students and determine enrolments by field of study in line with their strategic plans and in
response to factors such as student demand and community priorities.
The Inquiry received comments on funding issues in a number of submissions. The ACUADS
submission encapsulated most of the key concerns. They noted the necessity of further
financial support, inability to meet demand for places, reduced staffing levels, increased
capital works but declining support for studio-based activities, and that art school
graduates generally continue to use the schools facilities after graduation.
Within even the most supportive university environments, visual art studies, at both
undergraduate and postgraduate level, are not funded at appropriate levels. The Council believes
that art and design funding should be established on a similar index to that of science and other
laboratory-based disciplines.77
ACUADS noted that greater financial support is needed if the tertiary sector is to keep
pace with changes in new technologies and Australia is to capitalise on the expanding
opportunities provided by the new economy. The University of South Australias submission
noted it costs ten times as much to run an IT studio as it does to run a standard visual
arts studio.78
ACUADS also noted that within the universities, new relationships have opened up new
cross-disciplinary opportunities for student study programs and for research initiatives
working across departments, offering scope for industry connections. In this case, industry
connections can include cultural institutions, as well as conventional private sector industry
and entrepreneurial businesses.79
These views were generally reinforced in submissions from individual tertiary art schools
in metropolitan areas and in regional centres such as Cairns and Canberra, and in the
Inquirys consultations with the sector. There was a particular emphasis on the need for the
costs associated with studio-based disciplines and new technology to be recognised
in funding arrangements.
Commonwealth funds for vocational education and training supplement those provided
by State and Territory governments, which are responsible for their own training systems,
including courses in contemporary visual arts and craft. The Commonwealth contributes to
the costs of delivery of vocational education and training and infrastructure (capital) costs
by providing funding to the States and Territories, rather than to individual institutions.
Commonwealth funds are provided to support the development of a national VET system.
77.
78.
79.
Submission: ACUADS.
Submission: University of South Australia.
Submission: ACUADS.
page 63
Information and resource sharing

There was a call for greater information sharing within the contemporary visual arts and
craft educational sector. ACUADS called for the setting up, and publication, of a database
with visual arts and craft educational possibilities. This would easily enable potential
students to access information about university subjects, placement numbers and courses.
The same submission also called for better information sharing between the different visual
arts and craft education facilities. It argued that funding should be provided for the creation
of better linkages between TAFE and universities.
The NAVA submission called for the Commonwealth Government to coordinate intergovernment policy and funding related to visual arts and craft education and training.80
Craft Queensland recommended a national educational taskforce be established to develop
and deliver high quality training opportunities for visual arts and craft teachers at all levels
of education.81
In the realm of resource sharing, the Adelaide Institute of TAFEs Roma Mitchell Arts
Education Centre has close ties with the University of South Australia, the South Australian
School of Arts and Adelaide Central School of Arts. Students undertake cross-institutional
enrolment and the institutions have formal arrangements for transferral of credit for
externally undertaken courses or units.82
Other universities also work in supportive arrangements, such as Queensland College of the
Arts with South Bank TAFE in Brisbane and Curtin University of Technology and the Central
Metropolitan College (CMC) of TAFE. An agreement between Curtin and CMC TAFE allows
the sharing of ceramic and printmaking facilities and some course components for mutual
benefit. These two institutions have signed a Letter of Understanding that formalises their
collaboration and an articulation from CMC TAFEs Diploma and Advanced Diploma courses,
into the BA and Postgraduate streams at Curtin.
The Victorian College of the Arts (VCA) has established a relationship with the Victorian Arts
Centre. The VCA, as a Registered Training Organisation, accredits aspects of the technical
training in the performing arts, which they co-deliver, to a degree course at the VCA.
The Inquiry noted that specialisation by certain schools in particular art forms is an efficient
use of resources. However, there are additional costs for students if they are required to
move interstate to study. Opportunities exist in the tertiary education sector for greater
information sharing and better linkages.
80.
81.
82.
Submission: NAVA.
Submission: Craft Queensland.
Submission: Adelaide Institute of TAFE.
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Valuing artists
Trends in course types and availability

University art schools
In 1997, 14 910 tertiary courses were provided across all fields of study in
Australian universities:
310 courses were offered in visual arts and craft, or two per cent of the total number
of courses; and
Of these, there were 159 courses offered in Fine Arts (51.2 per cent of all visual arts and
craft courses).
In 2000, 19 834 tertiary courses were provided across all fields of study in
Australian universities:
the number of visual arts and craft courses had increased to 370 or 1.9 per cent;83 and
f these, there were 198 courses offered in Fine Arts (to 53.5 per cent).84
Decreases were recorded in the subject areas of craft and the conservation of art and
cultural materials from 1997 to 2000, decreasing from 19 courses to 14, and 17 to 15
respectively. A full table is listed below:
Table 3.2 Number of university courses by field of study and year
1997
1998
1999
2000
% change
19972000
Conservation of art and

cultural materials
19
21
15
14
-26.3
Crafts
17
17
17
15
-11.8
Film and photographic arts
47
58
58
64
36.2
159
174
198
198
24.5
68
75
80
79
16.2
107
115
122
124
15.9
43
51
50
60
39.5
TOTAL Visual arts and craft
310
345
368
370
19.4
TOTAL
460
511
540
554
20.4
Fine arts
Graphic arts and design
Visual and performing arts general
Visual and performing arts other
Source: Department of Education, Science and Training (DEST) submission
83.
84.
Department of Education, Training and Youth Affairs, Students 2000: Selected Higher Education Statistics, Canberra, 2000.
Submission: DEST.
page 65
Post-graduate study
As with undergraduate courses, a diverse range of courses are offered by universities
around Australia.85 These range from short, specialised study programs supplementary
to the undergraduate degree, to more formal qualifications, including graduate diplomas,
Masters, PhDs, and for those artists seeking to become art teachers, Diplomas of Education.
Postgraduate study in visual arts and craft is becoming an increasingly important
component of tertiary education for artists, given the competitive market place.
VET courses
There are in excess of 680 visual arts and craft related VET courses currently offered by
approximately 30 institutions around Australia. A list of tertiary institutions offering visual
arts and craft courses is at Appendix H.
Course availability and demand trends

The Inquiry found it difficult to accurately identify trends in course development and
availability because of the wide variations in course names and descriptions.
In consultations with the sector the Inquiry was informed that the old terminology such as
fine arts was being transformed by the new technology components of many courses.
It was also suggested that many former craft students would now be enrolled in such
courses and hence not separately identified.
Tertiary institutions have responded to changing interests and demand and now provide
courses covering:
multimedia;
animation;
website development;
digital video;
film; and
IT-related developments.
This has led to new degrees in Digital Arts and Multimedia studies and the Inquiry was
informed that demand outweighs supply of places available. Examples are:
The University of Western Sydney is instituting animation as a major strand within
their BA Design (Visual Communication). Recent purchases of new high tech
equipment have allowed the School to institute a degree that is a response to the
changing world technologies.
Queensland University of Technology has a new Bachelor of Digital Design starting in
2002 and a new Digital Art and New Media major in the Fine Arts Degree.86
The Tasmanian School of Art intends to introduce a combined degree with the Faculty of
Commercea Bachelor of Fine Arts/Information Systemsfrom which graduates will
move into management positions with expertise in graphic design, web design and
like fields.
85.
86.
Submission: ACUADS.
Submission: ACUADS.
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Valuing artists
ACUADS pointed to the trends in the rationalisation of courses across the country with
several courses in printmaking and ceramics closing down and the visual arts courses within
Charles Sturt University closing completely. This approach requires students to be willing to
travel to where courses are offered. The Inquiry was informed that most students still prefer
to complete their first degree in their home state as their mobility is limited by financial
constraints. Nevertheless, there has been further movement within the sector towards selfregulation resulting in the emergence of areas of special emphasis in particular schools.
ACUADS indicated support for the principle of specialisation and diversification within
universities across Australia:
The current practice of self-regulation in university Art & Design Schools and the TAFE sector
needs to be encouraged to continue to enhance the focus and specialisations they offer as part of
a nationally co-ordinated art education program.87
Craft
In its submission, Craft Australia called for the provision of incentives to tertiary institutions
to reinstate specialised craft and design training and qualifications and to re-equip craft
studios. Craft Australia also recommended the provision of incentives to set up craft centres
of excellence.88 The Roma Mitchell Arts Education Centre, the Hand Weavers and Spinners
Guild of NSW and the Sturt Craft Centre were among others who expressed concern about
the state of craft training.
One submission recommended that purpose built and solely dedicated centres of learning
of craft that are staffed by experts in their field be supported by the Government. The
centres could offer training that encompasses sales, marketing and other practical skills
and could operate as commercial outlets for the sale of student and staff work.89
A number of submissions called for reinstatement of specific craft courses. However, the
Inquiry was informed that demand for traditional craft courses has diminished.90
Tertiary courses for Indigenous artists

University art and design schools have played, and continue to play, an important role in the
growth of multicultural and Indigenous cross-cultural awareness.
Courses currently run at tertiary level take a number of forms:
Studio-based study of contemporary Indigenous art, usually delivered by Indigenous
staff for Indigenous students (Queensland College of the Arts, Curtin University).
Generic programs that require identical standards for all students, regardless of
cultural background. These work on the principle of changing curricula to be inclusive
of Indigenous peoples and providing additional support (e.g. tutoring and materials) to
reach university required standards. The employment of Indigenous staff and cultural
protocols workshops for all staff are usually essential components of the success of
this approach.
87.
88.
89.
90.
Submission: ACUADS.
Submission: Andrew MacDonald.
Submission: ACUADS.
page 67
In-community delivered courses take the art school to the community. These have
advantages in some instances in that students are not removed from their social
structure where learning is often better contextualised with elders and other community
life is included. There, students are not placed in stressful situations (particularly
important for young women students) and a two-way process occurs that leads to
greater innovation and productivity. At the Northern Territory University this approach
has been highly successful.
Art historical studies in the practices and work of established artists. These programs
are generally delivered and studied by non-Indigenous people.
Indigenous studies curricula are aimed at encouraging:
improved awareness of the peoples shared understandings and differences;
cultural maintenance through empowering Aboriginal and Torres Strait Islander peoples
with knowledge of their contribution to Australian society; and
cultural brokerage through exchange. Arts exchanges often precede other commercial
and political enterprise in building trust and respect between peoples. In many societies,
a longstanding exchange provides a significant advantage in other transactions.
Trends in enrolments
Between 1990 and 2000, enrolments in university visual arts and craft courses, as measured
by equivalent full-time student unit (EFTSU),91 have increased by 42 per cent (Table 2),
a similar increase to the total of all university fields of study. The growth in EFTSU was
strongest for the graphic arts and design courses, while the data suggests that the EFTSU
for craft courses declined significantly over the period. This data must be used with caution,
however, as it is possible that some of the decline in craft EFTSU is as a result of students
studying craft within fine arts degrees.
Table 3.3 EFTSU in selected Australian university visual arts and craft courses
1990
1995
2000
%
Growth
19902000
Art
8 783
9 705
10 819
23.2
Graphic arts/fashion design
1 795
2 523
3 999
122.8
942
792
533
-43.4
1 644
2 164
3 313
101.5
13 164
15 184
18 664
41.8
383 838
467 748
557 763
45.3
3.43
3.25
3.35
Field of study
Crafts/ornaments
Other visual/performing arts
TOTAL Visual arts and craft
TOTAL EFTSU
Percentage of all enrolments
91.
The EFTSU measure does not measure the number of students, but rather the load on staff. Hence part-time and post-graduate
students have a respectively lower and higher load rating, than full-time undergraduate students.
page 68
Valuing artists
Demand for visual arts and craft courses at Australian universities

There is very high demand for places in visual arts and craft courses. Of the courses with
first preference enrolments, the majority experienced an excess of demand for first year
places over places available, in some cases by up to 600 per cent.92 Only a small number of
courses were under-subscribed in the first round of offers.
Vocational education and training

In 2000, there were almost 49 000 VET students enrolled in visual and performing arts
courses (Table 7). It is estimated that the majority of these students were enrolled in
visual arts and craft courses. For example, in 1998 approximately 88 per cent of visual and
performing arts students were in visual arts and craft streams.93
Table 3.4 VET enrolments in arts courses, 19962000
Visual and performing arts general

Conservation of art and cultural material
Crafts, ornaments
Dance
Dramatic arts
Film and photographic arts
Fine arts
Graphic arts and design
Music
Fashion design
Visual and performing arts other
TOTAL Visual and performing arts
1997
12 784
74
7 829
621
1 311
3 872
7 096
6 919
4 606
2 362
1 694
49 168
1998
13 420
211
7 178
259
1 024
3 997
6 601
8 916
4 376
1 391
1 465
48 838
1999
52 046
2000
48 700
Source: National Centre for Vocational Education Research (NCVER) unpublished data.
Comments on enrolments
The responses to the Inquirys Issues Paper centred on comments that:
The number of students seeking entrance to visual arts courses continues to exceed the
number of places on offer.94
The ABS figures do not necessarily reflect a proliferation of courses or students.95
There is often a flow-on from course to course within institution from an undergraduate
degree to postgraduate study. There is also a flow-on from institution to institution, for
example from TAFE to universities.
92.
93.
94.
95.
Submission: ACUADS.
Disaggregated data on VET enrolments in visual and performing arts courses is not available after 1998.
Submission: ACUADS.
See http://acuads.curtin.edu.au/
page 69
Not all students who enrol are seeking employment in the visual arts and craft sector.
There is an increasing number of people returning to study after completion of their
first careers. This group of students is seeking engagement at a highly intellectual
and practical level but with no expectation of moving into the work force. Art schools
have a large percentage of mature age students (often as high as 50 per cent) and the
opportunities for their education need to be accommodated within the tertiary sector.96
ACUADS cited the University of Southern Queensland, where the Bachelor of Visual
Arts attracts a large number of mature age students, with the 2001 intake consisting
of over 30 per cent non-school leavers including professional and business people.
Enrolments of Indigenous students

While Aboriginal and Torres Strait Islander (ATSI) art has emerged as a major driver in
the visual arts both in production and in sales of work, universities currently have a low
participation rate of Indigenous people within art schools (less that one per cent nationally).
ACUADS informed the Inquiry it was attempting to redress this and that its recent
conference in Darwin, The Meeting PlaceTwo Way Education and Other Cross Cultural
Approaches, aimed to:
introduce Top End Aboriginal art practices at its source in local communities to a wider
audience of tertiary art educators;
critically assess teaching and research methods currently applied to Indigenous students
and issues arising from cross-cultural engagement; and
investigate teaching methods that recognise cultural differences and needs, and explore
intercultural representation in new and established media.
A number of submissions called for the Inquiry to develop measures to encourage ATSI
people into formal tertiary educational facilities. Some of the issues around the area of
Indigenous visual arts and craft are highlighted by these submissions, including the need
for in-depth research projects to discover the pathways and value chain for Indigenous art
and artists:
ATSIC called for the differences between ATSI and other ways of learning to be
recognised. ATSI contemporary visual arts and craft is culturally informed through
community based systems of education and training. This contrasts with the formalised
and institutionalised form of education common within the non-Indigenous Australian
sector. Of concern to ATSIC is the lack of ongoing and culturally appropriate training for
ATSI visual artists and craft practitioners in new techniques and methodologies.97
The Northern Territorys Department of Arts and Museums submitted that the majority
of the Territorys Indigenous artists live in communities that embed artistic skills in
customary kin-based apprenticeship systems. In these communities training in visual
arts and craft is a matter of cultural protocol. The right to stories and to utilise motifs
is also bound into this system. In this context commercial art practice, while still a
significant cultural activity, is primarily designed to increase low household income.98
96.
97.
Submission: ACUADS.
Submission: ATSIC.
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Valuing artists
Submissions highlighted some of the more everyday problems in the realm of Indigenous
visual arts and craft education and training in the Northern Territory. These difficulties include:
the fact that English is often a second or third language for Indigenous peoples; and
that transport to and accommodation in major towns (where most tertiary institutions
are located) may be unavailable and/or expensive.99
The Inquiry was informed that a number of measures should be adopted to encourage
Indigenous persons into formal visual arts and craft education:
the establishment of competitively awarded HECS free places in tertiary fine and studiobased arts courses;
the creation of Indigenous curator training programs;
that Abstudy should cover the costs of visual arts and craft students materials while
studying; and
that Indigenous visual arts courses (preferably given by Indigenous teachers) be
integrated into compulsory foundation courses at all art schools.100
ACUADS has expressed concern about the low number of Indigenous Australians currently
either qualified or becoming qualified visual arts and craft practitioners. There is a need
to establish support services and a culturally appropriate environment in order to
encourage Indigenous Australians into formal visual arts and craft education. Currently
extra funding is not provided to arts schools to implement such changes to existing visual
arts and craft courses.101
98.
99.
100.
101.
Submission: Department of Arts and Museums (NT).

Submission: Marina Strocchi.
Djon Mundine, 2002.
Submission: ACUADS.
page 71
FINDINGS
The numbers of courses available in visual arts and craft rose from 1997 to 2000. All subject
areas experienced an increase in course numbers with the exception of craft and the
conservation of art and cultural materials.
New technology is having a major impact on the types of courses being offered and the
demand for courses offering technology components is high.
Enrolments in visual arts and craft courses have increased over recent years, and have stayed
relatively stable as a proportion of all enrolments. The fastest growing field of study in terms
of enrolments has been the graphic arts and design sector, while enrolments in traditional
craft courses have declined.
Demand for visual arts and craft courses generally exceeds places available.
Due to the relatively high number of enrolments by non-vocational and mature age
students, enrolment numbers may not be an accurate indicator of the supply of art and
craft practitioners.
Specialisation by certain schools in particular art forms is an efficient use of resources
but imposes additional costs on students if they are required to move interstate to study.
Opportunities exist in the tertiary education sector for greater information sharing and
better linkages.
A range of courses focussing on Indigenous art has been developed with differing delivery
methods and purposes to meet the needs of the Indigenous and non-Indigenous communities.
Profitable and full-time professional practice is not always the goal of every visual arts and
craft student. There are many factors that structure a persons decision to study in this field;
there are factors beyond the economic that inform artistic practice.
There may be a case for establishing support services and a culturally appropriate
environment in order to encourage Indigenous Australians into formal visual arts and
craft education.
page 72
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GRADUATES AND EMERGING ARTISTS

This section examines the employment and income prospects for graduates and
emerging artists, and whether the number of students graduating in visual arts and craft
has a bearing on this.
Employment data
In assessing the value of a tertiary arts education, the simple equation of the number of graduates
measured against the number of employment opportunities is far too simplistic. An arts education
at tertiary level provides graduates with skills that make a significant impact on the cultural health
and wealth of the community.102
The Commonwealth monitors broad trends in the demand for graduates. A key source
of information is the Graduate Destination Survey, which is an annual survey of recent
higher education graduates, funded by the Department of Education, Science and Training
(DEST) and conducted by the Graduate Careers Council of Australia. The survey provides
information on graduate destinations by field of study for graduates available for full-time
employment. The surveys results indicate the proportion of graduates who were in full-time
employment, employed part-time and seeking full-time employment and not working and
seeking full-time employment.
An analysis of the demand for visual arts and craft graduates published in a recent ABS
publication Supply and Demand for Arts Practitioners found that a high proportion of visual
arts and craft students experience difficulty in finding employment after graduation.103
In 2000, 60.9 per cent of visual and performing arts graduates were in full-time employment
six months after graduation (not necessarily in an arts-related field). The average for all
graduates was 83.6 per cent. In general, visual arts and craft graduates may be fairing
marginally better in finding full-time employment than in previous years, for example,
in 1996, only 53.6 per cent of graduates were in full-time employment six months after
graduation.104 This may be due to the general trends within the wider job market, rather than
an increasing demand for those with qualifications in the visual arts and crafts.
102.
103.
104.
Submission: ACUADS.
ABS, Supply and Demand for Arts Practitioners, Canberra, 2001.
Submission: DEST, Graduate Destination Survey results.
page 73
Table 3.5 Visual and performing arts tertiary graduates, 19962000
1996
%
1997
%
1998
%
1999
%
2000
%
53.6
53.3
57.3
62.8
60.9
not working
19.7
18.9
16.6
13.9
15.8
working part time
26.7
27.8
26.1
23.4
23.3
77.6
79.6
80.8
83.6
83.1
10.4
8.9
6.7
6.9
12
11.6
11.2
9.7
10
Year finished degree

VISUAL AND PERFORMING ARTS
Employed full-time
Seeking full-time work
TOTAL GRADUATES
Employed full-time
Seeking full-time work
not working
working part time
Source: ABS, Supply and Demand for Arts Practitioners, 2001
The ABS document Demand and Supply for Arts Practitioners 2001 census data shows that
there were 40 813 persons employed in visual arts and craft related occupations. Of these,
26 835 people possessed a tertiary qualification and 12 470 held qualifications in visual and
performing arts or craft-related subject.
Table 3.6 Qualifications of workers in visual arts and craft occupations, 1996
Qualifications
Visual and
performing arts
and craft
Other
None
Total
Visual arts and craft

professionals
1 899
3 074
4 545
9 518
Photographers
1 825
1 566
2 868
6 259
Conservators/curators
205
743
175
1 123
Designers/illustrators
8 541
8 982
6 390
23 913
12 470
14 365
13 978
40 813
Occupation
TOTAL
Source: ABS, 2001.
The ABS also examined the employment status of those with qualifications in the visual arts
and crafts. This data set shows that these persons are not likely to be employed full-time in
a field related to their degree. Those with qualifications in graphic arts and design are the
most likely to be employed in a related field, whilst those with qualifications in the field of
art and craft are the least likely to be employed in a related field.
page 74
Valuing artists
Table 3.7 Occupations of those with visual arts and craft qualifications, 1996
Qualification (field of study)

Arts occupation
Other occupation
Unemployed
Art and craft
1 846
9 514
1 647
Photography
1 815
3 304
545
Graphic design
6 934
8 398
1 539
Visual and performing

arts general
2 799
8 254
2 643
13 394
29 470
6 374
105
TOTAL
Source: ABS, 2001
In 1996, only 7.0 per cent of recent visual arts and craft graduates from the VET sector were
employed in the arts. Persons from the field of Graphic Arts and Design were most likely to
be employed in the arts.106
In summary, the ABS data shows that at the time of the 1996 census only a minority of
practising contemporary visual artists and craft practitioners had formal qualifications in
visual arts and craft. Additionally, a large percentage of visual arts and craft graduates were
employed in fields not directly related to their qualifications.
Comments on employment data

The Inquiry received a number of comments about the ABS employment data published
in its Issues Paper. The definition of employment within the field of visual and performing
arts by the ABS is problematic because it classifies respondents by their main field of
employment, not preferred field or vocation. The Artists Foundation of Western Australia
commented that the data showed:
how hard it is to quantify this area of the arts. In census forms, for example, an artist may state
their occupation as the job which pays the rent (waitress, driver, teacher, etc.) or unemployed/on
benefits. Perhaps the next census could change its wording to accommodate the reality.107
The ABS data may not give an entirely accurate picture of the state of employment for visual
arts and craft practitioners after graduation, as it may exclude those employed in higher
education in teaching roles, but who also engage in artistic practice.
Concern was also expressed about DESTs Graduate Destination Survey. ACUADS argued
that the survey:
Does not provide accurate information to chart the success of graduates from art and design
schools across the full range of employment opportunities and activities.
105.
106.
107.
Arts occupations includes visual arts and craft, as well as design, media and performing arts occupations.
ABS, op. cit., 2001.
Submission: Artists Foundation of Western Australia.
page 75
There was also criticism that the survey is conducted too soon after graduation (six months)
to accurately measure the employment prospects of visual art and craft graduates. It was
argued that the nature of art and craft practice is such that there is no clear-cut vocational
pathway into full-time employment for the visual artist. This dilemma was clearly articulated
by the National Institute of the Arts (at the ANU):
Often, while there is no actual job to go to on graduation, the creative artist creates his/her
own opportunity.108
Another group that is hard to quantify consists of those graduates who engage in art
making practices on a part-time basis in tandem with paid employment. These people
are not looking for a single ordered life-style but find fulfilment through their art practice,
supplementing their income through other avenues.109
ACUADS called for a more detailed study into the employment of art school graduates,
including those not seeking regular employment but who nevertheless make a
contribution to the creative life and cultural health of the community. Such a study should
cover a longer time frame and identify when and how (graduates) art studies have
influenced whatever occupation they have chosen to undertake.110
The submission from the University of Tasmania included a longitudinal study of the
employment destinations of all postgraduate students since 1983. This study shows that
none of the 114 graduates is currently unemployed. Whilst the current whereabouts of
nine postgraduates is unknown, the remainder are in full-time employment or full-time
study. Only one postgraduate is working in a field unrelated to visual arts and craft. Thirtysix are teaching at the tertiary level, and ten are teaching at the secondary and primary
levels. Eleven of the postgraduates are employed in the arts promotion field, whilst 14
are professional artists and 23 are freelance artists. A further six are undertaking further
tertiary study and one was deceased.111
The Furniture Design School at the Tasmanian School of Art submitted that since the early
1980s all furniture design graduates from the School have become fully employed as
designers and have established a number of initiatives.
FINDINGS
The available data points to visual arts and craft graduates experiencing comparatively higher
unemployment in the immediate post-graduation period. Longer-term employment prospects
appear more favourable. There is a need for better data collection on graduate employment
in the contemporary visual arts and craft sector and the wider economy.
108.
109.
110.
111.
Submission: ANU.
Submission: ACUADS.
Submission: ACUADS.
Submission: University of Tasmania.
page 76
Valuing artists
The value of arts training

Despite some graduates experiencing difficulty in finding employment immediately in the
short-term, many submitters felt that arts training received brought significant benefits to
graduates and the broader community. Many submissions emphasised the value of arts
training in equipping students to be part of a flexible and multi-skilled workforce.
NAVA stated the position in the following way:
many people with arts training bring their much needed and valued skills into a range of
other industry sectors. In this current climate it is the very skills of lateral thinking, innovation,
adaptability, entrepreneurism, multi skilling and communication which are increasingly sought
after and valued within the corporate and industrial world.
The NAVA submission expressed reservations about measuring the value of the
contemporary visual arts and craft sector via standards such as employment opportunities
and destinations, and acquired skill sets. The submission directly addressed what they call
the civic benefits of visual arts and craft education and training. These are benefits accrued
by the arts and craft graduate in addition to the economic benefits of such training. NAVA
claimed these wider ranging benefits are not a focus of government policy:
Governments and other policy bodies need to broaden their understanding of arts
activity to embrace the arts in all its diversity instead of trying to contain it within a narrow
economic mould.112
The Inquiry also noted that the emphasis on creative industries has elicited some concern
about the risks of narrow training as opposed to broad education.
In the thirty schools affiliated through ACUADS, the potential of our graduates to take creative
practices out into the world has never been more apparent. However, these creative industries
must be seen as consisting of and formed from a nexus of history, theory, experiential learning and
creative thinking. There is a great danger that short fix solutions will create a legion of technicians
with little or no capacity to engage intelligently and critically with the technology they employ.113
Improving prospects for graduates and emerging artists

While participants in the Inquiry stressed the wider benefits of tertiary training in art and
craft, there was a recognition that those graduates who wished to pursue a vocation in
the sector faced some difficulty in the transition period between art school and a working
practice.
The danger period for a graduate is the first five years after graduation where no support networks
are set up for either pastoral or financial support. Artist collectives have the potential to be selfsufficient, but such groups face many pressures. Unless initial financial support is forthcoming,
the difficulties impact negatively on the groups. Some institutions are attempting to fill this
void with mentorship programs in various forms, for example Victorian College of the Arts and
Queensland College of the Arts.114
Emerging artists face a large number of obstacles in becoming full-time, professional artists.
Rates of attrition are high:
112.
113.
114.
Submission: NAVA.
Submission: ACUADS.
Submission: ACUADS.
page 77
I turned to my friends, past art school students, to see where they were with their art careers and if
they could advise me about how to get a one-person show. Not one of these friends had achieved
the magic of being a solo exhibitor; in fact most had stopped producing art and were working in
jobs quite remote from their art training.115
Once outside the education system, it falls to emerging artists to fund their art practice, to
find opportunities to show their work, and to handle documentation such as applications for
grants, tenders for work and proposals for galleries. Many artists consider that they are not
prepared for the realities of life as a professional artist or craft practitioner while undergoing
their training.
Art school graduates face a double dilemma: they predominantly find it difficult to secure
opportunities to show their work, and they find it difficult to apply successfully for grants
and other funding with no track record of (preferably solo) shows supporting their work:
it is a great shame that emerging artists are still not supported by dealers, buyers,
philanthropists, curators and arts funding bodies to the extent they need, or deserve116
Assistance for emerging artists

Assistance is available for emerging artists, notably from the Australia Council, which offers
grants of $5 000 to $10 000 through the New Work category. Assistance is also available
from a range of State, Territory and local government programs. The Commonwealth
Governments Young and Emerging Artist Initiative Scheme is also administered by the
Australia Council and benefits organisations that assist practitioners. These programs are
discussed elsewhere in this Report.
Professional practice
Concern was expressed in submissions and elsewhere that many artists consider that they
are not prepared for the realities of life as a professional artist or craft practitioner while
undergoing their training (which more and more frequently extends to post-graduate level):
How do you go about surviving in the real world after art school? I wish this topic had been taught
as a mandatory survival course where I was at university [] university did not equip me with the
knowledge I needed to survive the transition from art student to professional artist. Let alone did
art school teach me how to get an individual exhibition or a studio, write submissions, apply for
grants and cope with all the other factors that are a daily part of an artists professional life.117
and:
the visual arts/craft institutions and infrastructure needs a revamp and a change in artistic
educational direction. Students coming to Roar may have potential talent, but on the whole
are poorly equipped for the realities of making a living from their art. I refer specifically to
presentation, administration and marketing.118
115.
116.
117.
118.
D. de Williams, How I got my first solo exhibition, from Artists Talk, West Space, 2000, page 32.
Submission: Roar Studios.
D. de Williams, op. cit., page 31.
Submission: Roar Studios.
page 78
Valuing artists
Although many undergraduate courses offer professional practice units covering such
topics as performance expectations, small business practice, information about funding
opportunities and how to prepare promotional material,119 these courses (although they may
be compulsory) are not necessarily undertaken, or undertaken fully by all students enrolled,
for a variety of reasons. Some submitters have expressed concern that students may not be
interested in studying business practice while busy with art study, and that opportunities to
do so will always have to compete against students desire to develop their art practice.
It has also been suggested that less than enthusiastic attitudes towards business training
may have to do with the fact that even those institutions providing visual arts and craft
training may consider it unlikely that many of their graduates will have the opportunity to
practice as a full-time artist:
Art courses generally do not set out to enable their students to make a living on their art. The
assumption is that this is so unlikely that little attempt to shape a course to achieve this end is
made [] matters of quoting, scheduling, commissioning, procedures, contract, copyright, moral
rights, client psychology, subcontracting etc. are not taught [] leaving potentially talented and
successful students without the basic business knowledge to conduct an art practice 120
However, art schools have to negotiate various students interests, and various
requirements placed upon them by their parent institutions, and have finite budgets with
which to do so. They may not be able to ensure that every student actually undertakes
business training, or that such courses are as comprehensive as some users would like,
nonetheless many tertiary institutions and other training bodies do offer professional
business training. A further stumbling block is that on occasion the marketplace may evolve
faster than the curriculum, with new business situations arising for which students have not
been trained.
The Inquiry was informed that ACUADS and NAVA are considering collaborating to develop a
standardised, national curriculum for professional practice units.121
Submissions stressed the need to provide young and emerging artists with mentors, who
are established visual arts and craft practitioners employed and/or practising outside the
tertiary sector. The Inquiry believes that mentors can provide the emerging art or craft
practitioner with a range of experience and contacts in the field.
The SA Youth Arts Board122 and ACUADS123 identified the need for mentoring and training
to support and nurture young visual artists on completion of their tertiary study. This
should also include networking opportunities through residencies and free membership to
professional and other associations.
119.
120.
121.
122.
123.
Submission: ACUADS.
Submission: Association of Sculptors of Victoria.
Submission: ACUADS.
Submission: SA Youth Arts Board.
Submission: ACUADS.
page 79
FINDINGS
Tertiary training in visual art and craft can equip graduates with a wide range of marketable
skills. However, graduates seeking work as artists can face difficulties in the early years
after graduation.
The provision of support to young and emerging artists in their practice is an investment at
a critical stage in their careers.
The incorporation of professional practice units in courses is being jointly encouraged by
the sector and the training institutions to assist graduates to successfully operate an arts
practice on a business footing.
The Inquiry believes the mentoring of young practitioners by established artists is an
effective means of developing emerging artists and helping them build their practice and
networks. Skills transfers and mentoring remain of significant value through the careers of
contemporary visual arts and craft practitioners.
The Inquiry was presented with strong arguments about the cultural and economic value
of tertiary education in the arts. The Inquiry did not see any evidence that graduate
numbers are having a detrimental effect on the sustainability of the sector in terms of its
artistic vibrancy, creativity or innovation. The Inquiry does not believe there is a case for
a significant overhaul of tertiary education in the arts in terms of the number of schools,
courses or places on offer, or that limits should be placed on enrolments.
page 80
Valuing artists
RELATIONSHIP BETWEEN THE ARTIST AND THE

COMMERCIAL GALLERIES
The commercial galleries are an important and integral part of the contemporary visual arts
and craft sector. Most established artists have been supported and nurtured by commercial
galleries. However, it is quite unusual for an emerging artists work to be taken on by a
commercial gallerysuch a show would generally be regarded as too high a risk. Visual
artists and craft practitioners are often aware of this situation, and many would not consider
approaching commercial galleries. Should an artist be successful in gaining an opportunity
to show their work, there are a number of different arrangements that might be instituted.
For visual artists, it is most common to have full gallery representation, where the gallery
acts as the artists exclusive representative in the market. In contrast, for craft practitioners,
it is common for there to be multiple gallery and/or retail outlet representation.124
Selling-on consignment is the most common arrangement for the sale of both visual art and
craft. If the work is sold, the seller claims a commission, and the remaining proceeds of the
sale are remitted to the artist. The alternative to consignment is for the seller to purchase
the work outright from the artist.125
While consignment arrangements are the most common commercial arrangement for the
sale of contemporary visual arts and craft, the levels of service provided to the artist and the
type of promotional activities undertaken by the gallery vary. They range from full gallery
representation, to a single exhibition promoted by the gallery, to work held for sale in the
stock room of a gallery or shop floor of a retail outlet. In some circumstances, services
provided to the artist may involve a combination of the above.126
A recent development in Australia is for some established artists to be represented by arts
managers. The role of an arts manager varies, and can include providing financial services,
acting as an advocate and negotiator for the artist with the commercial galleries, and
providing a salary to the artist during the production phase. While this is not yet a common
practice, this form of patronage has the potential to provide much needed support to
emerging artists seeking commercial sales and promotion of their works.
The role of the commercial galleries, dealers, auction houses and other participants in the
sale and promotion of works of contemporary visual arts and craft is discussed elsewhere in
this Report.
124.
125.
126.
VAIGRP, The Code of Practice for the Australian Visual Arts and Craft Sector, NAVA, Sydney, 2001, p. 19.
ibid.
ibid.
page 81
Commission levels
Artists are reliant upon their own efforts and resources when negotiating with commercial
operators, which can lead to a disparity of bargaining power between the artist and the
commercial gallery or dealer.
One area of disputation is the level of commission charged by commercial galleries on
sales of works of visual art and craft. The commission rate charged by commercial galleries
generally varies from 33 per cent to 40 per cent, and in some cases reaches 50 per cent.
An artist may also be expected to pay many of the costs associated with having an
exhibition at a gallery, and some galleries may take a proportion of a commission or prize
that an artist wins.127
A submission from a group of art practitioners indicated that when combined with the GST,
commission fees are excessive, and place a burden on the artist seeking to exhibit. Further,
galleries are not obliged to cover exhibition costs:
These costs place an enormous burden on the artist and in effect mean that an artist is now
responsible for partially funding their own exhibitions. In terms of gallery representation the
gallery is under no obligation to guarantee that they cover the artists costs associated with an
exhibition through the sale of artworks.128
On the other hand, commercial galleries submitted that commissions on sales are low in
Australia compared with other countries.129
To address the sectors concerns in this area, the Visual Arts Industry Guidelines Research
Project (VAIGRP) released a voluntary industry Code of Practice in 2001 (the Code).130 The
Code is intended to set best practice standards for relations between visual artists and
craft practitioners and the commercial sector, including commissions.131
Adoption of the Code is voluntary. It is also too early to predict the impact that the Code
will have on the contemporary visual arts and craft sector. If the sector chooses to adopt
the Code, the impact may be significant.
Trust accounts
As discussed above, commercial galleries are not generally required to purchase stock, as
artists often leave works of art for sale with the gallery on a consignment basis. Galleries
receive payment for works sold, and in turn, make payments to artists for the original
work. Thus, there is a period between the sale of the work, and the later payment of the
artist, when the gallery has complete control over the payment received for the work.
Evidence presented in submissions indicates that while some galleries consistently
pay artists promptly, other commercial galleries use the revenue from sales of works as
working capital.
127.
128.
129.
130.
131.
Submission: Sandra Cook, Michael Nicholls, Mitch McAuley, and Bronwen Colmen.
ibid.
Submission: Utopia Art and the Watters Gallery.
VAIGRP was a collaborative project of the Power Institute at the University of Sydney, NAVA, the Australian Centre of Industrial Relations
Research and Training (ACIRRT), the Art Gallery of New South Wales, Simpsons Solicitors and the School of Economics and Finance at
Macquarie University.
VAIGRP, op. cit.
page 82
Valuing artists
Submissions suggested that a solution to this problem would be to require commercial

galleries to operate trust accounts for their artists.132 Payments received for the sale of a
work of art should be placed in the trust account, and payments would then be made from
the trust account to the artist, and the commission from the sale paid to the gallery. Some
galleries have indicated a willingness to operate trust accounts.
Nevertheless, a number of commercial galleries oppose the introduction of trust accounts.
In its submission, the Painters and Sculptors Association noted some galleries argue that:
the relationship between the gallery and the artist is on the basis of trust and to bring in
financial and legal restrictions, [would] destroy that relationship.133
The counter argument made in submissions is that the relationship of the artist with the
commercial gallery will not necessarily deteriorate as a result of more clearly articulating the
relationship between the parties.134
The Code states that payment to the artist or craft practitioner should occur within 30 days
of receipt of payment by the seller. The Code also states that:
The proceeds of a sale minus the sellers commission should be lodged in an account separate
from the sellers funds. Payments to the artist/craft practitioner should be disbursed from this
account. The funds in the account should not be used for any other purpose.135
The Code also protects the interests of the artist by recommending that payment in full
within 30 days is to be preferred to payment by instalments.136 Further, the Code makes
suggestions in relation to consignment receipts and annual stock take.137
FINDINGS
Whilst acknowledging that agreements between artists and galleries vary, the VAIGRP Code
of Practice sets industry standards for commissions which may standardise practice for the
benefit of all parties.
The Inquiry notes that some galleries operate trust accounts on behalf of the artists
represented by the gallery. This practice may become more widespread as galleries may
elect to operate trust accounts to attract and retain artists. This practice is also endorsed in
the VAIGRP Code of Practice. The Inquiry believes there is value in operating trust accounts,
and commends both the Code and the practice in this regard.
132.
133.
134.
135.
136.
137.

ibid.
ibid.
VAIGRP, op. cit., p. 24.
ibid., p. 23.
ibid., p. 21.
page 83
ARTISTS FEES, LOAN FEES AND EXHIBITION FEES

One source of income for visual artists and craft practitioners is payment associated with
the exhibition and public display of their works. There are three types of fees: artists fees,
loan fees and exhibition fees.
The first two types of fees, artists fees and loan fees, are based upon the principle that
artists have an ongoing interest in the exhibition of their works, and that artists should
receive some benefit from the temporary exhibition of their works in public spaces. Artists
fees may be paid to an artist for participating in a temporary exhibition. They are usually
a payment for the display of a work owned by the exhibiting institution. Loan fees are fees
paid to artists for the display of their works of art or craft in an exhibition where the artist
retains ownership of the works.
In addition to artists fees and loan fees, a third type of fee may be paid to artists according
to the professional services provided by the artists towards the exhibition. Exhibition fees
are paid to an artist in compensation, either partial or full, for the costs incurred by the
artist in relation to the exhibition. Costs include time, effort and materials used to produce
the work of art, in situations where the work was created specifically for the exhibition.
Other fees that may be paid include accommodation and flight costs for the artist to create,
recreate, install or simply attend the exhibition.
Currently, the payment of fees in Australia is reliant upon voluntary arrangements, and
consequently the level and method of payment varies for artists fees, loan fees and
exhibition fees.138 Some visual artists receive loan fees for exhibitions of their work, in the
form of an honorarium, under licensing agreements.139 However, the Inquiry is aware there is
no uniformity of practice.140 There are also circumstances where the value of the artists fee
will be put into the cost of the installation process, a cost that will often be borne
by the artist.
Australia Council policy

The Australia Council has supported the principle of artists fees over the last 30 years.
Over that period, a number of models were developed for the payment of artists fees, loan
fees and exhibition fees. In 1983, the Visual Arts Board decided that it should put in place
a policy stipulating that organisations supported by Operational Grants (the equivalent of
todays Triennial Grants) should pay exhibition participation fees to artists. An exhibitions
fee schedule was established by the New South Wales Artsworkers Union, and this schedule
was endorsed by the Visual Arts Board and recommended in principle to the Contemporary
Arts Spaces.141
The schedule was published in the Visual Arts Board Programs of Assistance booklet from
1986 until 1996, and any organisations applying for funds to develop an exhibition were
expected to use the Schedule to develop a budget for artists fees and art loan fees.142
During this time it became common practice for additional funding to be allocated by the
Visual Arts Board for artists fees.
138.
139.
140.
141.
142.
For more information, see S. Simpson, The Loan of Work for Public Exhibition, Simpsons Solicitors, Sydney, p. 2,
at www.simpsons.com.au/library/documents/visarts/visarts89/5loanofw.pdf.
Information provided by the Chair of the Visual Arts/Craft Board of the Australia Council, 3 December 2001.
VAIGRP, op. cit., part 1.2.
K. Brown, Review of the Visual Arts Boards Program of Assistance for Contemporary Arts Spaces, Australia Council, 1985.
Australia Council, Visual Arts/Craft: 199496 Programs of Assistance, Sydney, 1994.
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Valuing artists
In 1996 the Schedule of Fees was dropped from the new Council-wide Handbook. Since that
time, artists fees have not been a formal requirement for triennial funding arrangements.
Nevertheless, artists fees are still usually a component of budget estimates submitted to
the Council as part of applications for grant assistance.
The current policy statement issued by the Australia Council regarding artists fees is found
in their Support for the Arts Handbook 2002:
The Australia Council aims to ensure that artists employed as a result of a grant receive pay
and conditions appropriate for their work and professional skills. Pay scales and conditions are
often prescribed by industrial awards and agreements, such as those monitored by the Media,
Entertainment and Arts Alliance. In other cases, artist organisations such as the National
Association for the Visual Arts recommend appropriate pay rates. Where an award or an industry
standard clearly applies, applicants must comply with those rates of pay.143
As yet, there is no current Schedule of Fees to guide organisations in the payment of artists
fees, exhibition fees and loan fees.
Voluntary Code of Practice

The VAIGRP Code of Practice does not include schedules of artists fees, loan fees or
exhibition fees . However, the Code does include guidance for artists loaning their works to
galleries for exhibition, and checklists for contracting.
The Code emphasises the importance of loan fees, artists fees and exhibition fees as a
source of income for artists, and exhorts all exhibitors to pay adequate fees to artists.
Specifically, the Code states that fees payable to artists should include one or more of the
following, depending upon the particular circumstances:
artists fees for costs associated with promoting the exhibition, openings and private
views, installation and transportation of art works;144
loan fees for the loan of existing works; and
exhibition fees for the labour costs associated with the creation of an art or craft work,
including ephemeral work such as audio-visual and performance art, where the artist or
craft practitioner creates, installs or presents the work on-site, and fees for associated
lectures, talks, curatorial and administrative work.
As this Code was only released last year, it is difficult to predict the extent to which industry
practice will be altered as a result. It is possible that the entitlements of artists to payment
of exhibition fees will be standardised to some extent if schedules of artists fees; loan fees
and exhibition fees are incorporated into the Code in the future.
143.
144.
Australia Council, Support for the Arts Handbook 2002, Sydney, 2002, p. 12.
VAIGRP, op. cit., part 1.2.
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Compliance
The Inquiry considers it appropriate for the Council to consider reinstating the
requirement for fees to be paid by recipients of Australia Council funding for
exhibitions. While Contemporary Art Spaces voluntarily pay exhibition fees in most
cases, standardised practice and a schedule of fees to ensure artists receive adequate
remuneration is desirable.
The Inquiry is of the view that the Australia Council should assume responsibility for the
formulation of a schedule of fees. Funding needs to be made available to organisations by
the Council as part of their grants to facilitate compliance with the Schedule for artists fees,
loan fees and exhibition fees.
Models for payment

A number of models for artists fees operate overseas which could be considered by
the Australia Council when developing a Schedule of Fees tailored for the Australian
contemporary visual arts and craft sector. The Arts Council of England prescribes minimum
payments for artists fees and loan fees.145
Another model for fees is the schedule published by the Canadian Artists Representation
Le Front Des Artistes Canadiens (CARFAC).146 The schedule contains a range of rates,
including:
artists fees for participation in either a temporary exhibition or a permanent collection;
artists fees for exhibition of a reproduction of a work; and
exhibition fees to compensate artists for consultancy services provided to assist
the exhibition.147
FINDINGS
Artists fees, loan fees and exhibition fees are an important source of income for
contemporary visual artists and craft practitioners.
To the extent that the VAIGRP voluntary Code of Practice is adopted by the sector,
the Code should operate to reinforce the importance of paying loan fees to artists for
exhibitions.
The Australia Council should recognise the importance of artists fees, loan fees and
exhibition fees as sources of income for individual artists by formulating an appropriate
schedule of fees. Funding needs to be made available to grant recipients to ensure the
capacity to pay fees to artists.
145.
146.
147.
Information provided by the Arts Council of England, 27 February 2001.

CARFAC is the federally certified representative organisation for professional media and visual artists in Canada.
CARFAC, Minimum Copyright Fee Schedule 2002, at www.carfac.ca, pp. 35.
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Valuing artists
THE INDIVIDUAL ARTIST AND NEW TECHNOLOGY

It has been widely noted that Australians, generally, and visual arts and craft practitioners,
specifically, have proved to be early adopters of new technology.148 Because of this early
and eager adoption of new technology by artists, it has become a driver for change in the
sector, both in terms of art practice, the exhibition of artworks, and their conservation.
New technology is also used extensively as a design tool for non-technology or screen
based artforms:
The visual arts sector is exemplary in promoting and articulating the value of questioning, critical
activity, alternative ideas, innovation, research and creativity. The importance of experimentation
without foreseeable outcomes is an important area of artistic practice, akin to pure research
in an academic context. Artistic research is self-critical: when artists do what they do, they also
comment and enquire as to the nature, value and function of what they do, forming, proving
and disproving hypothesesartists, and the forms and ideas they generate, impact upon other
professionsdesign, architecture, publishing, advertising, IT, etc. Artists are early adopters as
well as adaptors of new technologies, new cultural discourses, new ways of seeing the world.149
Kathy Cleland described the role of new technology as a driver for change in her article
Australias new media arts: going the distance:
the convergence of telecommunications and audio-visual and computing technologies has
initiated a new virtual arena for artistic expression and exhibition giving artists the opportunity to
gain instant and ongoing feedback from a global audience150
The use of new technology by artists and audiences causes a reconsideration of the nature
and meaning of art, and opens the way for new interpretations and expressions of art, just
as the technological advances in art practice have in the past (for example, the development
of lithography, or photography).151
Forms of new technology presently being adopted by Australias contemporary visual arts
and craft practitioners include communications technology; biological, chemical, natural
and scientific processes; and sound engineering.152
Exhibiting on the Internet is a readily available way for artists to gain and maintain
international reputations, as the Internet is accessible by users worldwide, and removes the
restrictions of distance which apply to traditional artworks. Australian artists, such as the
poet Mez (Mary-Anne Breeze) and Melinda Rackham, have gained international reputations
through their Internet-based works.
148.
149.
150.
151.
152.
Submission: Australia Council New Media Arts Board (NMAB).

K. Cleland, Australias New Media Arts: Going the Distance, 2001.
Submission: NMAB.
ibid.
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New technology and craft

What is craft? Can craft interface with computer technology? Reflecting on the crafts we
usually think of ceramics, glass, textiles, woodwork, etc., certainly not of new technologies.
But every now and then we experience a paradigm shiftsuch as the rise of studio craft in
the second half of the 20th century. Now at the close of the century we are facing the advent
of a new breed of craftvirtual craft.
Craftspeople are emerging from their potters wheels, looms, lathes and workbenches and
playfully engaging with that new, (for some of us) mysterious toolthe computer. The result is a
hybrid art form with elements from both worlds: laser cut glass objects; World Wide Web woven
textiles; ceramic 3D rendering; vessels in stereo lithography and rapid prototyping; mathematically
mediated woodwork, etc.153
The Inquiry understands that many craft organisations face financial restrictions with
regard to acquiring hard and software, which restricts their ability to adopt new technology.
However, this should not be taken to indicate a reluctance to use new technology in
craft practice.
The term virtual craft has been used to describe craftworks designed and displayed on the
Internet. This process is similar to that used by digital artists. However, the philosophy and
techniques of virtual craft have their origins in the craft sector. Virtual craft is a valuable
research and development tool for craft practitioners, and is similar to new media and new
technology based art in that it can be viewed as a sort of incubator or think tank for new
ideas and techniques.
Craft can be constructed on the Internet which could never be constructed or used in real
practice, or which would otherwise be too complex or expensive to produce, or whose
finished product may not have a paying market. Such a method for producing prototypes
quickly and comparatively cheaply can be invaluable as a part of craft practice and
innovation, particularly for those practitioners often involved in producing commissions.
However, many craft practitioners and craft organisations are often prevented from deriving
the fullest benefits from working with technology for several reasons. Investment in
equipment and software is expensive, and as computer aided design packages improve,
they require computers with larger, faster data processing capabilities. Networking is
another option that can be advantageous for craft practice, but is again expensive and
needs maintenance.
An additional difficulty expressed by submitters was the availability of reasonably priced
training for craft practitioners, who may be extremely skilled at their craft, but who may
need extensive training in order to benefit fully from computer aided design and similar
packages. Also, while some craft practitioners may be able to access entry level training
comparatively easily, the explorative and experimental nature of their work may lead them
to require more specialisedand costlytraining later on.
153.
K. Murray, Craft is dead, long live craft! site (www.lexicon.net/cid/slow.htm) April 2002.
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Valuing artists
High technology
the more technically sophisticated new media art wants to become, the more it will rely on
access to the equipped and funded projects of scientific research. And perhaps in the grab for
cash, science may see art, specifically art that participates in an aestheticisation of science, as its
necessary partner154
Perhaps more than any other field of art, by virtue of its newness, art based on new
technology contains a strong scope for research and development projects. The combined
effect of rapidly developing technologies and artistic innovations has led to some highly
experimental projects. However, these projects are not only attracting interest because of
their strong artistic aspects, but also because of their capacity for cutting edge scientific,
computing and communications research.
Some projects have taken the arts directly into the field of science research and
development, for instance, the Tissue Culture & Art and SymbioticA projects. These projects,
which rely on the kind of high-end technology that no individual artist could ever afford to
own, allow not only the artist to extend their oeuvre, but provide a valuable opportunity
for technology owning companies to gain input from artists into their research. A number
of companies have incorporated arts aspects into their research and development (R&D)
programs.
Some examples of such R&D opportunities have included Horst Kiechles work as artistin-residence at the CSIROs Division of Mathematical and Information Sciences in 1998,
developing virtual environment technology as a means of displaying and interacting
with data.
Oron Catts and Ionat Zurrs project, Tissue Culture & Art, is carried out in conjunction with
the tissue culture laboratories of the Department of Anatomy and Human Biology at the
University of Western Australia. Their work also resulted in an invitation to work at Harvard
University with Professor Joseph Vacanti, a leader in the field of tissue engineering. The
artists work has major implications in the fields of bio-artificial organs (growing spare body
parts) and xenotransplantation (the transplantation of animal organs into humans).
Their work, and that of others in the field, has resulted in the creation and exhibition of
sculpture which incorporates living tissue grafted onto artificial supports (including the
Pig Wings Project, the Semi-Living Worry Dolls installation, and the Fish and Chips biocybernetic R&D project by SymbioticA). This raises a number of ethical questions both in
the arts and scientific communities about the treatment of living tissue155. As these artworks
are living, literally, ethical questions exist regarding their storage, disposal and status. Due
to the R&D, or experimental nature of these works, they are able to act as a bellwether, in
effect raising these issues in the community before they become common practice in the
medical community.
154.
155.
A. Munster, Collaboration, Intersection or Hybridisation? Interfacing Art, Science and New Media, 21 (3) Artlink, Sep 2001, p. 19.
O. Catts, and I. Zurr, The Pig Wing Project, Tissue Culture & Art Project, at www.tca.uwa.edu.au/pig/pig.html.
page 89
Australian artists such as Josephine Starrs, Margaret Crane and Jon Winet have participated
in the Xerox Palo Alto Research Centre Artist-in-Residence Program, established by Xerox
in 1993, and intended to allow artists to access new technologies in order to develop their
practices and to further dialogue between artists and scientists. Microsoft Research also
employs artists as part of its Virtual Worlds program, which aims to develop multimedia
technology and is worked on by artists, engineers and social scientists.156
International corporate collaborations are also useful in other ways. Stephanie Britton, in
her State of the Art Paper157 said:
There are just not enough opportunities in Australia to see fully developed works using new
and often very expensive technology and so far we do not have the backers that exist in Europe
and America to fund individuals or groups on a long-term basis to develop works of sufficient
complexity to convince the public and in turn other backers that this stuff is worth paying for.
One suggested solution to the difficulties regarding access to new technologies is the
initiation of a brokering arrangement whereby an agency could process applications by
artists or organisations to access technologies which could be leased (rather than loaned)
by major providers:
Short life spans for modern technologies demand innovative solutions. For example, is it feasible
for the brokering of advantageous agreements with the software and hardware manufacturers by
government on behalf of the arts industryhardware and software for primary research at heavily
reduced subsidies? If it was, then this would send a signal of Australias commitment to engage
fully with the new technologies and also assist arts organisations with audience development.158
Indigenous aspects
The Australian Network for Art and Technology (ANAT) inaugurated a National Indigenous
Summer School in New Media Art (NISNMA) in July 1999 at the Northern Territory University
in Darwin14 Indigenous artists were selected to participate. The School aims to expand
opportunities for Indigenous artists in the field of art and technology, and to provide access
to training, hardware and software in order to assist in the development of digital arts
practices. ANAT plans to hold a second NISNMA in 2002.
Subsequent to the School in 1999, ANAT initiated a residency program in 2000 with the
aim of creating further development opportunities for those artists who participated in
the School. In 2000, there was a residency at 24hr Art in Darwin (Jason Davidson), and
in 2001 at the Contemporary Centre of Photography (Christian Thompson) and with the
Hermannsburg Potters (Jenny Fraser).
156.
157.
158.
J. Rimmer, Clash of Cultures >>New Partnerships >> Innovation, Presentation to the 3rd meeting of the Prime Ministers Science,
Engineering and Innovation Council, 25 June 1999.
S. Britton, State of the Art Paper, 1997, at www.kitezh.com/bc/bcsbritn.html (cited 5 December 2001).
Submission: Artspace Mackay.
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Valuing artists
It has also been noted by submitters that:

the same prohibitive cost of materials and limited access to facilities impacts upon most
Indigenous students wishing to undertake tertiary arts institutions, not just those wishing to work
with digital media and new technologies. Also, while artists may participate in courses such as the
NISNMA, there may not be access to facilities upon completion of such courses and return to their
communities. ..partnerships could be established between corporate and public industry, e.g.,
Apple Computers (for example), the Australia Council and ATSIC, etc159
As new technologies have implications for arts organisations as well as individuals,

proposals and recommendations are discussed in the Chapters Strengthening the
infrastructure and Resourcing the sector.
FINDINGS
Australian artists have embraced new media arts and have achieved international standing in
this field. The growth and prosperity of new media arts contributes substantially to a culture
of innovation. There is a need for greater access to technology for artists, craft practitioners
and audiences.
The private sector must be encouraged to continue to collaborate and cooperate with new
technology artists and craft practitioners. Research and development is an essential element
of this field.
159.
Submission: Brenda Croft.
page 91
FUNDING FOR ARTISTS

Individual visual artists and craft practitioners may receive direct support through the grants
programs of the Australia Council and the State and Territory arts funding agencies. Grants
to individuals are a well established and important part of any broadly balanced program of
visual arts and craft support.
Government funding delivered to organisations also supports individual artists. Artists
benefit from artist services organisations and exhibition development centres such as the
craft and design and contemporary arts organisations. These organisations and the artists
work in symbiotic and synergistic ways.
Nonetheless, governments have long recognised that, in order to achieve national cultural
objectives, individual artists need direct government support as a supplement to, or in place
of, commercial market activity. It is also recognised that this form of government support
may be needed at various stages throughout their careers:
as emerging artists, when opportunities to make money from art are few and
far between;
when further developing a career both nationally and internationally; and
when established, to undertake projects which are artistically or professionally
challenging and potentially commercially risky, or to represent Australia in international
events and exhibitions.
Grant programs for individuals fall broadly into the following categories:
the creation of artworks (including the purchasing of equipment to make artworks);
the presentation of artwork (including the writing and publishing of catalogues and
monographs); or
creative and professional development (including interstate and overseas travel for
exhibitions, education and other opportunities).
Funding for emerging artists

As previously discussed, after graduation an artist will often face difficulties in the transition
to professional practice. There are programs that support emerging artists in most
government arts funding agencies. Most States and Territories provide support for emerging
artists for travel costs to take part in interstate exhibitions, to develop complex artworks
for exhibition, to work in a mentor/trainee relationship with established artists, and for
materials and equipment to make work.
Programs supporting emerging artists tend to offer smaller grants. For example, the
Australia Councils VACBs New Work Emerging category offers grants of $5 000 to
$10 000 (as distinct from New Work Established which offers grants from $10 000 to
$20 000). In 2001, the VACB offered grants to 14 emerging artists through the New Work
Emerging category (it also supported emerging artists through the Skills and Arts
Development category and through the Young and Emerging Artists Initiative). Half of the
grants were for $10 000, the rest were in the $8 000$9 000 range with the exception of one
for $5 000.
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Valuing artists
The projects supported were generally for the creation of work for exhibition. Media
supported included sculpture, ceramics, photography, interior design, video, jewellery and
machine-generated drawing.
Notwithstanding the special programs developed to support them, emerging artists appear
to continue to have difficulty in making persuasive cases for funding. A small survey of the
VACBs support for emerging and established artists in the New Work category indicates
this. As shown, established artists are currently more than twice as likely to make a
successful application than an emerging artist.
Table 3.8 New Work Category emerging and established application success rates, 19992001
New work emerging

Applications
Successful
Success rate %
Granted
1999
190
16
$145 880
2000
212
21
10
$184 042
2001
135
14
10
$128 521
New work established

Applications
Successful
Success rate %
Granted
1999
282
37
13
$611 955
2000
258
38
15
$691 840
2001
196
43
22
$812 570
Source: VACB Assessment Reports 1999, 2000 and 2001
Often emerging artists (and established artists) just need a small amount to assist in
putting on an exhibition. In a special arrangement involving the Australia Council and
philanthropist, Pat Corrigan, NAVA is funded to offer Pat Corrigan Grants of up to $500 per
grant ($25 000 per year is distributed in an average year) to individuals to assist with the
costs associated with exhibiting artwork.
At the other end of the financial scale is another successful privatepublic funding
partnership, the New South Wales Governments Helen Lempriere Travelling Art Scholarship,
which offers $40 000 each year to an emerging visual artist to study art overseas for one
to two years. It is part-funded by the Helen Lempriere Bequest, administered by Perpetual
Trustees, which donates $25 000 to each scholarship. The University of South Australia
manages the Anne and Gordon Samstag International Visual Arts Scholarships which
provide US$28 000 plus airfares and institution fees to an average of eight emerging artists
per annum to undertake international post-graduate opportunities.
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Funding for established artists

The needs of established artists are different and perhaps more complex than those of
emerging artists. Many highly respected artists never interact successfully with the art
market. Those artists will earn money in other ways, sometimes art teaching, often earning
money in areas totally unrelated to art practice. Therefore, government support to make
artwork can be a great benefit to their professional practice. The ABS Survey of Selected
Cultural Industries found that in 1997 more than 500 000 Australians received some form
of payment for art making activities. On hearing this, one anonymous but very established
artist, who has exhibited across Australia and internationally for over three decades,
declared: and I wasnt one of them.
Established artists will often need support for travel, creation of artwork for exhibition and
for materials and capital equipment. Commercially successful artists may also need support
for time-out assistance to redevelop and renovate their art practice without being overly
concerned about commercial reaction to a sustained period of experimentation. They may
also need support to develop international market opportunities.
For these reasons the amounts granted to established artists tend to be larger. Established
artists can receive direct financial support from programs offered by all States and
Territories and from the Australia Council through the VACBs New Work; Skills and Arts
Development; and Fellowships programs. Depending on the work they make, they may
also be eligible for support from the non-artform specific Boards of the Australia Council
including the Aboriginal and Torres Strait Islander Arts Board, the Community Cultural
Development Board and the New Media Arts Board.
Not all artists and craftspeople need grants. In 1997, Clare Bardez and David Throsby
addressed the issue of low application rates in the report Similarity and Difference:
Craftspeople and Visual Artists in Australia. They found there were a number of reasons
why craftspeople applied less frequently than visual artists, including:
The tendency of craftspeople to be more established, to receive a more secure and somewhat
higher income from their creative work, and to be more focussed on a regular work pattern in
producing their continuing creative output, may diminish to some extent their desire or need to
seek financial assistance or time out from the normal professional routine.160
However, often leading established artists will benefit from extended support to facilitate
a fundamental development or even change of direction in their career paths. The Australia
Councils Fellowship category supports artists simply to create new work and further
develop their practice with a two-year grant totalling $80 000.
New work
The New Work category is the VACBs main grant mechanism for supporting individuals.
The VACB gave 60 New Work grants in 200001. The Board received 470 applications for
New Work grants in 2000. One in eight applications were successful.161
160.
161.
C. Bardez, and D. Throsby, Similarity and Difference: Craftspeople and Visual Artists in Australia, Australia Council, 1997.
Applications received and success rates are from the VACBs 2000 Assessment Reports.
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Valuing artists
The New Work category is popular and effective in making grants to artists so that they have
either the time or are able to purchase the material (or both) to create the artworks they
wish to make. Even a successful artist can feel trapped by market expectations. A New
Work grant can allow a successful artist the time to redevelop and reinvigorate their practice
or it can just give them the necessary support to create something they would otherwise not
be able to.
The highly competitive nature of the program is evident from the one in eight success
rate of applications. An increase in funding for this category would be an effective way of
supporting Australias talented visual and craft artists.
Development
The Skills and Arts Development category generally interprets professional development to
be international opportunity. Some writers and artists are supported to work on projects
that will occur without travel generally for a sector professional development benefit (i.e.
critical history project). Most recipients are taking advantage of international opportunities
either provided by the offer of an exhibition or similar (often applied for out-of-time) or by
the offer of a short-term residency in one of the VACBs international studios. International
studios in America, Europe and Asia are managed by the VACB and are generally offered to
applicants on a three-month basis. These are provided with a grant to cover living and travel
costs. The Board received just under 400 applications for Development grants in 200001.
One in seven applications were successful.
In 2001, $1 015 303 was allocated through the Development category, of which 91 per cent
was for international activities.
The International Studio Program is a circuit of ten managed artists studios in some of the
largest cities in the world, including Tokyo, New York, London, Paris and Berlin. Through the
Skills and Arts Development category the VACB will, in a typical year, support dozens more
artists to undertake international projects that are not associated with the International
Studio Program. Many of these are projects developed over many years. The Development
category also supports artists and craftspeople as well as arts writers and curators, to
undertake projects that will take place in Australia, if the main focus of those projects is the
professional development of the artist, writer or the curator.
The Inquiry agrees that a program supporting overseas travel and opportunities for artists
is valuable in terms of delivering benefits to both individual artists and in increasing
knowledge of Australian culture internationally. However, the current Overseas Studios
program is very expensive to maintain and involves ever increasing lease costs. Lease
costs in the 1990s increased by 188 per cent, 150 per cent above the Australian CPI.162 This
increased cost has had an impact on the ability of the category to support artists. In 2001,
the cost of studio leases was $379 593this accounted for 37 per cent of funds distributed
from the category. The previous year the studios accounted for 32 per cent of the total funds
distributed. The Australia Council may wish to explore options for benefaction in the leasing
of overseas studios.
The Inquiry notes that from 2001 the Development category was also open to organisations
and this has created an even greater pressure on the budget of this category.
162.
Based on the costs of studios in 198991 (averaged into one year) and the costs of studios in 19992001 (averaged into one year)
page 95
Out-of-time/Quick response funding

Often the amount of funding to successfully achieve an objective can be quite small. It is
often the case that overseas opportunities arise quickly and to take advantage of them
government departments need to respond to initiatives quickly. The Australia Council has
an out-of-time grants facility which allows quick turn around assessments of applications
for international activities. Similar State-based grants for artists can be just as effective for
small amounts. For example, the Arts NTs Skills Development program and the Arts SAs
Invitation at Short Notice Program support artists to travel interstate or internationally
at little notice. Arts Qld advertises that all of its programs (with the exception of Cultural
Infrastructure) have quick response components for small grants, meaning that applications
for activities requiring funding of less than $5 000 can be submitted at any time throughout
the year.
Sometimes small amounts of money will have a large impact. An example is that through
the out-of-time function in 1996, Ken Unsworth received $4 700 to exhibit in Polandthis
then led to the Construction in Process exhibition in Melbourne in 1999 (also funded by the
VACB) which has led to many younger Australian artists undertaking further international
exchanges and receiving invitations to take part in exhibitions in Europe. Small grants
can thus be instrumental in furthering the careers of the successful applicants but also be
important in terms of ensuring exchange between artists of different nations and knowledge
of artistic development from and to Australia.
Fellowships
Fellowships grants are provided to senior or highly established artists to continue artistic
and professional development opportunities for a sustained period. Recipients receive
$40 000 per year for two years to cover living, development, artistic, exhibition,
documentation and promotion costs. Successful artists tend to have a series of activities
planned that fundamentally need sustained funding for successful completion. In 200001,
of 28 applications received, four were successful.
Since the category was first offered in 1996, 27 Fellowships have been awarded to the
following esteemed visual arts and craftspeople: Howard Arkley, Eugenie Bell, Gordon
Bennett, Les Blakebrough, Marion Borgelt, Aleksander Danko, Domenico De Clario, Nola
Farman, Fiona Foley, Dale Frank, Victor Greenaway, Gwyn Hanssen Pigott, Timothy Johnson,
Narelle Jubelin, Johannes Kuhnen, Janet Laurence, Ewen McDonald, Tracey Moffatt, Nicholas
Mount, John Nixon, Susan Norrie, Robert Rooney, Julie Rrap, Hossein Valamanesh, Elsje
van Keppel, Margaret West and Anne Zahalka. For many of these artists, the opportunity of
creative experimentation without having to worry about their financial situation for the twoyear fellowship period was a great boost to their careers.
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Valuing artists
Many of these artists will have also indirectly benefited from Australia Council support for
projects by craft and design centres and contemporary art spaces and touring agencies,
and if their dealers (commercial galleries) or Craft Australia have represented them in an
international craft or visual arts fair as part of the marketing strategy of the Audience and
Market Development Division. Howard Arkley, for example, was chosen to be the 1999
Australian representative artist at the Venice Biennale.
The Inquiry considers the Fellowships category to play a vital role in supporting established
artists and craftspeople, acknowledging that their financial status is still fragile. It also
notes that the category has not increased the dollar value of the grant since it was
introduced six years ago and that CPI alone would indicate that the dollar value of the grant
should be increased to $50 000 per year over two years.
Funding trends
While the Australia Councils out-of-time facility is an extremely valuable function and has
supported many great opportunities for visual artists and craftspeople, its budget is limited.
Furthermore, grants from the Australia Council are not as valuable as they once were. The
demand to fund as many artists as possible, combined with a relatively static budget, has
meant that the grants have not been able to keep pace with increased costs associated with
the creation of art. For example, Fellowships have been capped at $40 000 per annum for
over five years, and New Work grants have been capped at $20 000 for five years.
In 1984, the Crafts Board offered $17 500 Professional Development Grants. They were
relatively easy to apply for and they were relatively easy to acquit. If the New Work grants
had kept pace with CPI the upper limit for grants would be around $35 000. If they had
increased to reflect the real costs associated with contemporary arts practice they would be
higher still.
Yet the average grant offered by the States, Territories and the Australia Council remains
very low. In 19992000:
the States, Territories and the Australia Council funded 416 artists a total of
$3 689 377, an average of $8 869 each;
the States and Territories granted 249 artists a total of $1 139 415, an average of
$4 575 each; and
the Australia Council granted 167 visual and craft artists a total of $2 549 962, an
average of $15 269 each.
In the last five years the VACBs support for individuals has remained relatively static and
has diminished in real terms (see Table 3.9 below). In 2001, only one in every six individuals
applying to the VACB was successful: 104 grants were offered (c/f. 123 in 1996). The decline
is due to competing budget pressures from projects and organisation applications.
page 97
In 2000, the chair of the VACB commented that the calibre of the applicants in all categories
and the inevitable budget limitations made the assessment process most challenging. For
members of the Board, Peer Advisers and staff the decision making process is made much
harder by knowing that so many worthwhile applications are rejected each year, and that a
large percentage of those rejectedbut that came very close to being successfuldo not
reapply in the following years. This is a great opportunity lost for the development of visual
arts and craft in Australia.
Table 3.9 Grants paid by the VACB to individuals in 199697 to 200001
Year
# of grants to
individuals
# of grants made
to organisations
# grants to
individuals
Total VACB $
granted
199697
141
125
$1 956 956
$6 508 083
199798
126
146
$2 157 357
$7 063 253
199899
129
112
$1 902 850
$5 969 903
199900
129
106
$1 775 190
$6 069 188
200001
123
104
$1 917 283
$6 379 680
Source: Australia Council records
FINDINGS
The Inquiry recognises that funding to support individual visual artists and craft practitioners
is key for the development and maintenance of a vibrant culture in Australia. The States and
Territories play an essential role in supporting individual artists by providing an additional
source of government funding.
There are currently too few opportunities for artists to receive grants. The VACBs limited
budgets for grant categories that support individual artists mean that many worthwhile artists
are unable to be supported. This must over time diminish Australias cultural strength in the
visual arts and craft fields.
The Inquiry acknowledges the role played by commercial galleries in working with artists
who have received invitations to participate in art fairs, biennales and curated exhibitions.
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Valuing artists
The Inquiry believes the policy objective and the interests of the future development of
Australias contemporary visual arts and craft sector would be served by ensuring that
excellence is properly supported. The VACB should be appropriately funded to:
readjust the grant limits to take account of domestic inflation and overseas cost of living
increases;
increase the knowledge of Australian culture internationally by assisting more artists to
travel overseas;
allow artists to apply for support to adequately cover the increased costs associated
with contemporary installation practice and art and technology developments; and
ensure that more projects that cannot be made without government funding are
supported.
The Inquiry also believes the Commonwealth should encourage increased support for
individual artists and craft practitioners from State and Territory governments. This might
be facilitated by the devolution of part of the recommended additional funding from the
Australia Council to State and Territory funding agencies.
RECOMMENDATION 1
To ensure that more opportunities exist for Australian visual artists and craft practitioners
of outstanding ability to contribute to Australias culture through the creation of works of
artistic excellence, the Inquiry recommends:
1.1
The Commonwealth provide an additional $2 million per annum to the Australia

Council for programs that directly support individual visual artists and craft
practitioners.
1.2
From these additional funds, the Australia Council devolve up to $100 000 to each
State and Territory on the condition they match this support within a new co-badged
program for individual visual artists and craft practitioners.
1.3
The Australia Council, and the State and Territory arts funding agencies, actively
encourage craft practitioners to participate in these programs.
STATUS OF THE ARTIST

The Inquiry received submissions stating that visual artists and craft practitioners face
many obstacles in their interaction with the administration of law and government
policy in Australia, because of the failure of government to formally recognise artists
professionalism and to devise the appropriate policy and legislation which flows from it.163
163.
Submission: NAVA.
page 99
A number of submitters sought the Inquirys support for the introduction of Status of the
Artist legislation to provide the basis for a better and fairer approach by governments to
matters directly affecting the lives of artists, pointing to Canadian and European legislation
as possible models.
The objective of such an initiative in the Australian context would be that through
such legislation, governments would formally acknowledge the cultural and economic
contribution made by Australian visual artists and craft practitioners. This statutory
acknowledgment and recognition would inform all government policies affecting artists,
to ensure that the interests and needs of artists were taken into account. In particular, this
would facilitate greater acceptance of the nature and value of artists work and professional
standing in the development and administration of policy in areas such as taxation and
social security.
Other areas of government policy where artists feel they are particularly disadvantaged
because of this lack of recognition include industrial relations (collective bargaining),
occupational health and safety, superannuation, copyright, moral rights and freedom of
creative expression, and insurance cover.164
The Inquiry has examined a number of the issues affecting the circumstances of artists,
their professional status and their work practices. These are discussed later in this Chapter.
Copyright and moral rights issues are also discussed in detail.
Firstly, the Inquiry assessed the overseas experience of Status of the Artist legislation to
consider whether it is an effective way of addressing concerns raised by the sector in the
Australian context.
Status of the artist legislation

In 1980, the United Nations Educational, Scientific, and Cultural Organisation (UNESCO)
made a recommendation on the status of the artist at the Belgrade Convention. In summary,
the recommendation called for member states to:
(a) recognise that art reflects, preserves and enriches the cultural identity and spiritual
heritage of the various societies, and that for these reasons the population as a whole
should have access to art works;
(b) encourage all activities highlighting the contributions of artists to cultural development,
including activities carried out by the mass media and educational programs;
(c) protect, defend and assist artists and their freedom of creation;
(d) ensure that artists have the freedom to establish professional organisations, and
that these organisations have the power to represent artists and participate in the
formulation of cultural policies;
(e) ensure all individuals have opportunities to undertake training in the fine arts;
(f ) provide economic safeguards which assist artists to improve their social status,
including an alleviation of taxation obligations;
164.
ibid.
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Valuing artists
(g) seek means of extending to artists legal protection concerning conditions of work
and employment;
(h) ensure artists are remunerated for the distribution and commercial exploitation of
their work;
(i) provide artists with access to social security benefits and adequate medical care; and
(j) encourage international cultural cooperation.165
UNESCO launched a number of information campaigns to promote this recommendation,
at both regional and international levels.166 Australia did not agree to support this
recommendation. The Canadian government was the first jurisdiction to implement
this recommendation.
Canadian legislation
In June 1992, the Canadian Federal government proclaimed the Status of the Artist Act 1992
(the Status of the Artist Act). This legislation represents an attempt to address the economic
rights of artists by establishing a labour relations regime for artists, and by officially
recognising the artist as a professional for the purposes of taxation.167
The purpose is to establish a framework to govern professional relations between artists and
producers that guarantees their freedom of association, recognises the importance of their
respective contributions to the cultural life of Canada and ensures the protection of their rights.168
In this statute the government of Canada recognises the importance of the contribution
of artists to the cultural, social, economic and political enrichment of Canada. 169 The
legislation acknowledges the importance of conferring upon artists a status reflecting their
key role in expressing the diverse nature of the Canadian way of life and the individual and
collective aspirations of Canadians.170 Further, the government recognises the importance
to artists that they be compensated for the use of their works.171 This government policy is
based upon acceptance of the following rights:
(a) the right of artists and producers to freedom of association and expression;
(b) the right of associations representing artists to be recognised at law and to promote the
professional and socio-economic interests of their members; and
(c) the right of artists to have access to official consultation forums in which they may
express their views and concerns regarding their status.172
Some of the key features of the Canadian model are:
165.
166.
167.
168.
169.
170.
171.
172.
UNESCO, Recommendation Concerning the Status of the Artist, 1980, Belgrade Convention,
at www.unesco.org/human_rights/hrcb.htm.
UNESCO, The Artist and Society: Paris 1620 June 1997, Paris, 1997, at www.unesco.org/artconf/pages/introgb.html.
D. Cliche, Status of the Artist or of Arts Organizations?: A Brief Discussion on the Canadian Status of the Artist Act, 21(2) Canadian
Journal of Communications, 1996.
Status of the Artist Act 1992 (Canada), section 7.
Status of the Artist Act 1992 (Canada), paragraph 2(a).
Status of the Artist Act 1992 (Canada), paragraphs 2(b)(d).
Status of the Artist Act 1992 (Canada), paragraphs 2(e).
Status of the Artist Act 1992 (Canada), sections 3 and 8.
page 101
The provisions of the Status of the Artist Act apply only to independent contractors or
professional artists who engage in a working relationship with a producer falling within
certain sectors of the Federal jurisdiction.173 Those sectors which are covered are referred
to as producers, and are limited to:
broadcasting undertakings under the jurisdiction of the Canadian Radio-Television
and Telecommunications Commission; and
Federal government institutions, such as Federal departments, the National Film
Board, the National Arts Centre, and national museums.174
Thus, the legislation will only apply where work is done by an artist for one of these
nominated producers. Visual artists working under provincial jurisdiction, or falling
within sectors of Federal jurisdiction not mentioned in the legislation, are not entitled to
the rights granted under the legislation.
It is likely given the nature of the work (work commissioned under contract for a
specified term) that the number of artists covered by the scheme varies greatly from
time-to-time. Further, it is likely that at any one time there are a large number of artists
working in the visual arts and craft sector who are not entitled to protection under the
Status of the Artist Act.
Professional artists are differentiated from art hobbyists under the Status of the Artist
Act. In order to receive professional status, an artist must be:
paid for the display or presentation of that artists work before an audience, and be
recognised as an artist by other artists;
in the process of becoming an artist according to the practice of the artistic
community; or
a member of an artists association.175
The Status of the Artist regime differs from other Federal labour laws in Canada because
it creates a labour relations regime for producers who engage self-employed artists. The
legislation does not apply to relationships between employers and employees.176
This regime operates within the broader context of the Canadian Governments cultural
policy. Cultural agencies are granted autonomy to implement the major proportion of
government policy, with the aim of preserving artistic freedom and freedom of expression.177
Under the collective bargaining scheme, the interests of artists are represented by sector
bodies who negotiate with producers to improve the wages and conditions of work for
artists employed as independent contractors. Union certification may allow access for
artists to pension plans or lower group health insurance rates.178
The Federal Status of the Artist Act was scheduled for mandatory review in 2001, and as a
result the scheme may be altered in the near future.179 This review has commenced, and it is
expected that a report will be tabled in the Canadian Parliament in mid 2002.
173.
174.
175.
176.
177.
178.
179.
Status of the Artist Act 1992 (Canada), paragraph 18(b).

Status of the Artist Act 1992 (Canada), subsection 6(2).
Status of the Artist Act 1992 (Canada), paragraph 18(b).
Canadian Artists and Producers Professional Relations Tribunal, Federal Status of the Artist Act 2000 (16) Information Bulletin.
J. Jackson and R. Lemieux, The Arts and Canadas Cultural Policy, Parliamentary Research Branch of the Library of Parliament, 1999, at
www.parl.gc.ca/information/library/PRBpubs/933-e.htm.
H. Fraser, The Visual Artist Today: More powerful than a locomotive?, at http://collection.nlc-bnc.ca/100/202/300/artbus/1996/
artbus.b01/banknine.html.
Canadian Alliance of Dance Artists, Self-employed or not self-employed: A cautionary tale, at www.mcsquared.com/cada/contract.htm.
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Valuing artists
Luxembourg legislation
Legislation was passed in Luxembourg in July 1999 that grants independent professional
status to artists. Artists covered by the law are:
(a) authors in the fields of graphic and plastic arts, theatre and dance stage-craft, literature
and music; and
(b) creators and producers of art works using photographic, cinematographic, sonic or
audiovisual techniques.
Standard criteria are applied to applications for independent professional status. Artists
petition the Ministry of Culture for recognition as professional artists. In addition to
demonstrating that the artist produces works of art of a kind which are encompassed by the
legislation, the artist must be either an independent professional artist or an entertainment
intermittent, and must have resided in Luxembourg for a period of at least
two years, before aid will be granted under the legislation.180
An artist may be granted status as an independent professional artist if:
(a) the artist determines the conditions under which the art works are produced, and the
economic and social risks of the undertaking are assumed by the artist alone; and
(b) either:
(i) the artist has carried out his creative endeavours in this way for a period of at least
three years; or
(ii) the artist carried out his creative endeavours in this way for a period of at least 12
months, and the artist can avail himself or herself of an official title after specialised
studies in one of the disciplines affected by the law.
The artist must be registered as an independent worker during the relevant period, and
must not have as a main activity the profession of craftsman or businessman.181
Once the artist is granted status as an independent professional artist, aid will be granted.
Aid is in the form of a payment, which is designed to ensure artists receive a minimum
salary. The aid may constitute up to half the income of the artist, and is payable for up to
two years.182
Both professional and non-professional artists are also eligible to apply for financial
assistance in the form of a government grant. These grants are specifically designed to
encourage artistic creation, and are tailored to meet the needs of individual artists. Further,
where a professional artist, non-professional artist or entertainment intermittent receives
income from an artistic or academic prize, or a grant of unemployment benefits, this portion
of the artists income will be exempt from taxation.183
180.
181.
182.
183.
P. Sanavia, The Status of the Independent Professional Artist: Aid Granted by Virtue of the Status, Tallinan, 2000
ibid.
ibid.
ibid.
page 103
Analysis of the overseas models

An important issue in relation to both regimes relates to the coverage of the scheme.
The Canadian legislation covers only the Federal sphere, and only certain limited productive
sectors of the arts. The Luxembourg legislation appears to adopt a more expansive
approach. However, aside from the taxation concession granted, which is not dependent
upon professional status, the Luxembourg model is chiefly a social security program.
The Luxembourg provisions are very similar to the Income Provisions for Artists Act (WIK)
operating in Holland, the primary difference being the use of the terminology status of
the Artist.
Accreditation is also an issue with respect to both the Luxembourg and the Canadian
models. In Canada, professional status is granted by either artists organisations, or by
the Canadian Artists and Producers Professional Tribunal. In Luxembourg, the Ministry of
Culture grants professional status to petitioning artists. The grounds on which this status
is conferred are standard. The Inquiry questions whether such a standardised approach to
accreditation would be acceptable in the Australian context.
A further difficulty associated with the Canadian approach relates to fragmentation of the
contemporary visual arts and craft sector. A significant difficulty noted with respect to the
Canadian scheme is that only one association is eligible for certification per sector, and
competition has occurred among members of the arts community for cultural legitimacy.
This competitive dimension has been observed in Canada to further fragment an already
fragmented sector.184
In addition, under the Canadian regime, there is the potential for artists not belonging to
certified associations to be excluded from the collective bargaining process and the benefits
negotiated by the association. According to Danielle Cliche:
there appears to be a possibility that employers may hire non-professional artists at cheaper
labour rates than those outlined in the pay-scale agreements negotiated by associations on behalf
of professional artists this could facilitate a greater inequitable distribution of wealth resulting
in the formation of a new class of artists.185
World Congress on the Status of the Artist

The World Congress on the Status of the Artist (the Congress), held at UNESCO
Headquarters in Paris in 1997, concluded that member states which had not already done
so should adopt constitutional, legislative and regulatory measures protecting the artist, as
recommended by UNESCO in the 1980 Recommendation.186
The Congress also made a series of more specific recommendations in the Final Declaration.
These include:
independent professional organisations representing artists should be encouraged;
organisations representing artists should be involved in the design and implementation
of national cultural policies and should be permitted to conduct collective negotiations;
184.
185.
186.
D. Cliche, op. cit.

D. Cliche, op. cit.
UNESCO, Final Declaration of the World Congress on the Status of the Artist, Paris, 1997,
at www.unesco.org/culture/laws/artist/html_eng/declaration.shtml.
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Valuing artists
public funding must be allocated to artistic activities, and new means for securing
private sponsorship should be encouraged;
governments should finance the education and training of artists;
states should effectively protect the legitimate rights of authors and artists by enabling
them to control the different types of exploitation of their works, and to receive fair
remuneration for their creative effort; and
no artist should be discriminated against in respect of taxation, social security or
freedom of association on the grounds of his or her employment status.
Having carefully considered their practical application, the Inquiry felt that the Canadian
and Luxembourg models do not present readily adaptable solutions for Australia, where
different systems of government operate which could limit the effectiveness of a Status of
the Artist Act. Australia has also developed different approaches to social security, taxation,
industrial relations policy and ways of developing and supporting the cultural sector. With
regard to the latter, the Inquiry noted that many of the important aims of the UNESCO
objectives listed above are already met in the Australian context, especially when the
breadth and depth of government support for culture, from the investment in education
and grant programs for artists and their organisations through to copyright reform, is taken
into account.
At the same time, the Inquiry acknowledges that perceptions about the value and
contribution of artists in Australia have implications for the administration of policy and
the extent to which artists needs and interests are taken into account. It therefore believes
there is scope to examine practical ways to overcome the obstacles that some artists
encounter, and to consider whether amendments to existing legislation and policy could
achieve similar outcomes more effectively than separate Status of the Artist legislation.
The sections of this Chapter that follow examine the current position for artists in some key
areas and consider the potential for change.
FINDINGS
Overseas models of Status of the Artist legislation are not readily adaptable to Australia and
a Status of the Artist Act may have only limited effectiveness. However, there are issues that
should be addressed through consideration of changes to existing legislation to improve the
status of artists in Australia.
page 105
PROFESSIONAL STATUS AND TAXATION

A key issue in debates about progressing the right of artists to access government programs
is the need for recognition of their professional standing. The question of who is an artist?
is a long standing one and it remains significant in the Australian context, particularly in
relation to taxation concessions.
Internationally, the question of what defines a professional artist is handled in several
different ways. The previous section detailed the criteria used in Canada and Luxembourg.
Research undertaken by the International Federation of Arts Councils and Culture Agencies
(IFACCA)187 outlines five common approaches:
Definition through membership: A person is defined as an artist through membership of
a recognised artist association.
Definition by committee: a committee of experts or artists peers determines artistic
status. The Netherlands WIK scheme and Canadas Status of the Artist Act use this
approach.
Definition by authority: The taxation authority determines artistic status. The tax
exemption scheme in Ireland (see below) uses this approach.
Definition by association with artistic output: An artist is someone who produces art.
This approach is taken in many jurisdictions, but merely replaces the question of What
is an artist? with What is art?
Definition by nature of arts activity: The artist is deemed professional if the arts work
is undertaken in a businesslike manner. Tax authorities in many countries, including
Canada, the United States and Australia use this approach.
Several submissions to the Inquiry highlighted the difficulty visual arts and craft
practitioners experience in having their arts activities classified as business activities.
In Australia, in general terms, there are eight indicators, established in case law, that an
individual is carrying on a given business activity. These are whether:188
the activity has significant commercial purpose or character;
the taxpayer has more than just an intention to engage in business;
there is a purpose and prospect of profit;
there is repetition and regularity of activity;
the activity is similar to other businesses in the industry;
the activity is carried on in a business-like manner;
the activity has size, scale and permanency; and
the activity cannot be better described as a hobby or recreation.
187.
188.
IFACCA (International Federation of Arts Councils and Culture Agencies), How do policymakers and researchers around the world define
professional artist, particularly for tax purposes?, 2001, at www.ifacca.org/en/files/DefinitionArtistAnalysis.pdf.
ATO, Taxation Ruling TR 97/11: Income tax: am I carrying on a business of primary production?, ATO, Canberra, 1997.
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Valuing artists
In its submission, the Arts Law Centre of Australia suggested three major reasons why the
eight indicators listed above are difficult to apply to art activities.189 Firstly, and as noted
earlier, the majority of visual arts and craft practitioners do not practice their art with
the intention to make a profit. Recognition as a successful arts practitioner may or may
not translate into financial success.190 Secondly, although an artist may strive to make
profits from their practice, from an objective perspective the nature of arts activity itself is
inherently unprofitable. And third, the range of arts activities is so diverse as to make
the general indicators of what constitutes a business difficult to apply consistently across
the sector.
The difficulties are illustrated by reference to the taxation issues discussed below. However,
there are some general issues relating to taxation that need to be considered.
The tax system affects the contemporary visual arts and craft sector in Australia in many
ways. It is required to pay direct and indirect forms of taxationin this respect it is no
different FROM most other sectors of the economy.
Visual and craft artists may also benefit from the tax averaging provisions. To prevent
authors of artistic works (and other classes of special professionals) from being pushed
into high tax brackets when income from their professional work in a year fluctuates above
their average income from such work, income tax averaging provisions allow for spreading
(averaging) fluctuating levels of income over five years for tax purposes. The scheme applies
where an artist has a taxable professional income for the year in excess of $2 500, and was
an Australian resident during the income year.191
There are several tax measures, however, that specifically affect the contemporary visual
arts and craft sector, and these are generally in the form of concessions (tax expenditures).
A further area of interest is the way in which the broad taxation system affects the
contemporary visual arts and craft sector differently to other sectors, by virtue of the
characteristics of the sector.
Exemption from non-commercial losses provisions

As a result of the 1999 review of business taxation, culminating in the publication of A Tax
System Redesigned (the Ralph Report), several recommendations were made to improve
the equity and integrity of the tax system. One of these recommendations, subsequently
included in the New Business Tax System (Integrity Measures) Bill 2000 (the Bill), was to
limit the ability to offset losses from non-commercial activities against income from other
sources. The changes came into effect for income year 200001.
In administering the previous tax law, the concept of what constituted carrying on a
business was found to be difficult and costly to administer, and a broad interpretation
of which activities constituted a business resulted in significant revenue leakage from
individual taxpayers claiming deductions for unprofitable activities.192 The Ralph Report
described many of these activities as hobbies and/or lifestyle choices.
189.
190.
191.
192.
Submission: Arts Law Centre of Australia.

Income Tax Assessment Act 1997 (Cth), section 405.
Commonwealth of Australia, New Business Tax System (2000) Explanatory Memorandum, Commonwealth of Australia, Canberra, 2000.
page 107
Under the non-commercial losses provision of the New Tax System, an individual may only
offset a net loss in a business activity against income from other sources if the business
activity passes at least one of four tests, or if the Commissioner of Taxation exercises a
discretion. The business activity may:
have an assessable income from the activity of at least $20 000;
have produced a profit in three out of the past five years;
use real property or an interest in real property worth at least $500 000, on a continuing
basis; or
use other assets worth at least $100 000, on a continuing basis.
If a business activity does not pass any of these four tests, and if the Tax Commissioner
does not exercise a discretion, then a net loss made by the activity may not be offset against
income from other sources, and must be deferred until either:
income from the same or a like activity is available; or
at least one of the four tests is satisfied, at which time it may be offset against other
income.
Amendments were made to the Bill that provided an exemption from the non-commercial
losses provision. The exemption applies if the losses involved are incurred from:
a primary production business activity; or
a professional arts business activity.
In these cases, a net loss from that business activity may be offset against income from
other sources without having to pass one of the four tests if the assessable income from
sources not related to that activity is less than $40 000. The arts-specific exemption applies
to all artists, including performing artists, not only visual artists and craft practitioners.
Effect on the contemporary visual arts and craft sector

The particular characteristics of the contemporary visual arts and craft sector, generally
comprising small business entities, with low incomes, and low and negative profits, makes
the changes to non-commercial losses provisions particularly important to the sector. The
negative effects of the changes have been limited to a certain extent by the arts-specific
exemption. Artists with annual incomes below $40 000, who would have had very little
chance of passing one of the four business activity tests, have been able to continue
offsetting their arts business losses against their other income.
Some visual arts and craft practitioners, however, have been negatively affected.
The Painters and Sculptors Association submission stated that
The recently introduced integrity measures are having disastrous consequences for some
artists, despite the amendments which have allowed them to offset losses from their art related
activities against non art income of less than $40 000.193
193.
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Valuing artists
This issue is particularly important for individualsgenerally more established artists

whose income from other sources exceeds the $40 000 threshold, and are therefore
required to quarantine their arts business losses until such time as they earn income from
the business, or pass one of the four business activity tests. While there is no data available
on the total number of such practitioners, many submissions made to the Inquiry have dealt
with the issue.
The case of art teachers is a good example. The Bakehouse Gallery submitted that:
This [non-commercial losses threshold] is unnecessarily restrictive as many artists work solely as
teachers of art to support their art work. If this employment income exceeds $40 000 they receive
no tax benefit, and this restricts creative endeavour. It may be some years before any financial
recoup can be made from sales.194
The new arrangements have thus radically changed the situation of these artists, since
previously they were able to pool both sources of income for tax purposes, thereby allowing
deductions for their art creation activity to be set against their art teaching income. Under
the New Tax System however, business income as an artist may not be pooled with income
as an employee (e.g. art teaching income) unless the art teaching income is less then
$40 000. Most established teachers incomes would exceed this limit.
In general, the effects of the non-commercial losses provisionseven with the $40 000 cap
concessionis that incomes become more variable, and become even lower in years where
losses associated with the arts business activity already result in low incomes.
Removal of restrictions
The intent of the non-commercial losses provisions was not to hamper legitimatealthough
small and often unprofitablevisual arts and craft businesses. In its discussion paper,
A Platform for Consultation195 the Ralph review stated that the reason for introducing the
changes was because:
[A] large number of taxpayers claim business status, and therefore allowable deductions, for
activities which are essentially private or lifestyle choices rather than genuine business activities...
All options [for reform] would need to be structured in such a way as to ensure that legitimate
arrangements were not unintentionally denied business deductions.
There is a case, therefore, for the removal of the restrictions on visual arts and craft
practitioners offsetting losses from their legitimate arts businesses against other income,
on the grounds that they are having negative, unintended effects on the sector. Further, the
removal of the $40 000 limit on other income would reduce any artificial disincentive that
currently exists for artists to work in their non-arts employment, and would simplify the
taxation arrangements as they apply to artists.
However, the need to maintain the integrity of the tax system remains. The Australian Tax
Office needs to be able to distinguish between legitimate arts business activities and those
activities that can be better described as hobbies.
194.
195.
Submission: Bakehouse Gallery.

Treasury, A Platform for Consultation, Discussion Paper 2, Review of Business Taxation, Commonwealth of Australia, Canberra,
February, 1999.
page 109
The administration of the law in relation to carrying on a business is resource intensive, and
must be done on a case-by-case basis. This cost can be minimised, however, with a public
ruling issued by the Australian Tax Office (ATO) on what constitutes the carrying on of an
arts business for taxation purposes.
The Inquiry is aware of the negotiations between the ATO and arts industry advocacy groups
regarding a public ruling on what it means to be carrying on an arts business for taxation
purposes, along the lines of ruling TR 97/11: Income Tax: am I carrying on a business of
primary production?196 The Inquiry understands that the onus is on the industry to progress
this issue.
Once an arts business activity meets the criteria for carrying on a business, there seems
little justification in terms of tax system integrity for limiting the ability of an artist to offset
losses in that activity against other income.
The cost to revenue of removing restrictions
It is difficult to estimate the cost, in terms of tax expenditure, of removing the restrictions
for legitimate arts businesses. Currently, visual arts and craft practitioners who are not able
to offset their arts business losses against other income have the ability to defer the losses
until such time as income is earned from the arts business. As such, for arts businesses that
occasionally earn a profit over a financial year, the removal of the restrictions represents
a bringing forward of tax expenditure, rather than a net increase in tax expenditure, and
is therefore virtually costless to revenue197. For legitimate arts businesses that never earn
a profit, the removal of restrictions represents a net cost to tax expenditure. This cost is
mitigated by the fact that these businesses would tend to be smaller and less established.
FINDINGS
Recent changes to the non-commercial losses provisions have gone some way towards
assisting artists. However, some artists have been negatively affected.
Clarifying what constitutes a professional arts activity for tax purposes would allow
artists to be exempted from these provisions without compromising the integrity of the
tax system.
The Inquiry notes that the sector is in negotiation with the ATO to obtain a public ruling
on this matter.
196.
197.
ATO, op. cit., 1997.

There is an opportunity cost in bringing forward tax expenditure. However, this would be outweighed to some extent by the fact that,
on average, the arts business activity losses will be offset against income at a lower marginal tax rate. This may represent a smaller
loss than would have occurred if the losses had been deferred until they could be offset against positive income from the arts business
activity, which may occur in years where the taxpayers total income (and hence marginal tax rate) is higher.
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Valuing artists
Exempting creative income from income tax

Given the strong public good nature of many aspects of contemporary visual arts and craft
practice, it has been suggested that creative incomeincome derived from the production
or sale of works of art or craftbe made exempt from income tax.
NAVA recommended that:
the Federal Government provide income tax relief for visual artists and craftspeople, referring to
arrangements in Ireland as a model.198
The Irish tax system is often cited as a precedent in such arguments. The Republic of
Ireland has a unique income tax exemption status for creative artistsvisual art and craft
practitioners, writers and composers living and working in Ireland are exempt from income
tax on income derived from work of cultural merit.199 The government decides whether the
work is original and creative, and whether it has cultural or artistic merit.
Such a system in Australia would be costly, relative to the current level of support given to
visual arts and craft (Table 3.10). Using 1996 census data on artists population and income,
and 1993 data on the proportion of artists incomes derived from artistic endeavour,200
under the current marginal tax rates such a system may cost $52 million (in terms of tax
expenditures), with exemptions for visual arts and craft practitioners and photographers
costing $37 million.
Table 3.10 Cost of income tax exemption for creative artists
Number
of artists
Mean
total income
$
Mean
creative
income (a)
$
Foregone
income tax
revenue (b)
$ million
Visual arts and

craft practitioners
9 517
17 564
7 904
12.8
Photographers
6 263
26 656
11 995
18.2
Artists and related

professionals
(other)
3 603
28 148
13 230
6.0(c)
Authors and related

professions
3 181
31 996
15 038
13.1
Musicians and
related professions
7 607
24 893
11 451
2.0(d)
(a). Creative income as a proportion of arts income from Throsby and Thompson (1994); (b). Based on 200001 income tax rates;
(c). It is assumed that half of this professional category would be eligible for tax exemptions; (d). It is assumed that 10 per cent of
this professional category are composers (Throsby and Thompson 1994).
Source: Census data (cited in Guldberg 2000); Throsby and Thompson (1994).
198. Submission: NAVA.

199. J. M. Schuster, Questions to ask of a cultural policy: Who should pay? Who should decide?, Culture and Policy, 7(1), pp. 115139, 1996.
200. C. D. Throsby and B. Thompson, op. cit., 1994.
page 111
Such a system appears to suffer many of the disadvantages of tax-based incentives, while
offering none of the advantages. Firstly, income tax based assistance can be inequitable.
In this case, the tax exemption results in greater benefits to those with higher incomes.
Schuster noted that the Irish tax incentive:
has led to an international community of spy thriller authors living in Ireland. The incentive is
very large for them because they are commercially successful; the artists who need the incentive
least benefit most. 201
Secondly, once enacted, tax expenditures are open-endedavailable to any tax payer who
meets the requirementsand as a result may cost government more than it had intended to
spend to encourage the particular industry or activity.202
And thirdly, such a system would be costly to administer. While the need for an artists
work to be judged to have cultural merit would improve the focus of such a system, it
necessitates a level of bureaucracy to administer. One of the major reasons for using
the tax system to deliver incentives is that it is broad-based and relatively inexpensive
to administer. This system of tax exemptions, however, would be focussed and
administratively costly.
FINDING
In the Australian context, a system of tax exemptions for creative artists seems an
inappropriate means of delivering assistance to the visual arts and craft sector, given the
administrative cost and focussed nature of such a policy, and the strong possibility that it
would be regressive.
The impact of the GST on the contemporary visual arts

and craft sector
The introduction of the goods and services tax (GST) in July 2000 has had various impacts
on the contemporary visual arts and craft sector, as it has on all sectors of the economy.
Prior to the introduction of the GST, a number of modelling exercises were undertaken, both
by the Commonwealth Government and by arts industry representatives, examining the
likely impact of the GST on the Australian arts sector in general. However, there has been no
in-depth research into the actual impacts of the GST on the arts sector since its introduction.
The GST impacts all sectors of the economy, but due to the particular characteristics of
each sector, in different ways. There are a number of characteristics particular to the
contemporary visual arts and craft sector that result in the GST affecting the sector in
different ways from the rest of the economy.
201. J. M. Schuster, op. cit., 1996.

202. Treasury, Reform of the Australian Tax System: Draft White Paper, AGPS, Canberra, 1985.
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Valuing artists
Firstly, it is likely that the GST has caused the prices of contemporary visual arts and craft
products to rise relative to other prices in the economy. Because some of the major inputs
in visual arts and craft businesses, such as services and art supplies, were not taxed under
the previous taxation regime, there is little scope for cost reductions to offset rises in the
price of the final product as a result of the GST. Modelling undertaken in June 2000 forecast
that creative arts prices would rise in the long-term by 7.1 per cent as a result of the GST,
compared with a rise of approximately three per cent for all prices.203 This price rise in
relative terms was forecast to result in a long-term reduction of 5.9 per cent in household
consumption of creative arts products and services. It is also possible that some of the
forecast price rise may have been absorbed by a reduction in artists incomes.
Since its introduction, it has become apparent that the compliance costs associated with
the GST on businesses are considerable. These costs have been felt particularly by small
businesses, which lack the economies of scale of larger businesses to efficiently comply
with the new tax system. Because a large proportion of visual arts and craft businesses are
relatively small, it is possible that the costs of complying with the GSTfor those artists
that register for the GSTaffect the sector more than the economy in general.
The introduction of the GST has also created the potential for distortions to occur between
the primary and secondary markets for visual art and craft. GST is payable on all fees and
charges associated with the sale of an artwork (such as agent commissions, and auction
house premiums and commissions), but is only payable on the actual artwork if the vendor
is registered for the GST. As a result, many primary sales by the artist (whether sold directly
or on consignment through an agent) are subject to GST, because many professional visual
arts and craft practitioners are registered for the GST. In addition, secondary sales from
galleries trading stock are subject to the GST, because galleries are GST registered entities.
However many secondary sales, particularly through auction houses, are from vendors
personal collections, and as such are not subject to the GST. This creates the potential
for a situation where primary art sales, which most directly benefit visual arts and craft
practitioners, are taxed at a higher rate than some secondary sales. This is exacerbated by
the fact that visual arts and craft practitioners have little scope to offset the tax increase
with reductions in input taxes.
Although anecdotal evidence and pre-introduction modelling suggests that the
contemporary visual arts and craft sector has been negatively impacted by the GST, no
empirical analysis of the issue has been undertaken.
203. Econtech, The Expected Impact of the New Tax System on the Arts, Report commissioned by the Commonwealth Department of the
Treasury, June, 2000.
page 113
SOCIAL SECURITY
Given the relatively low levels of income for many visual arts and craft practitioners
in Australia, adequate access to income support programs has emerged as an important
issue. Several submissions, from individuals, as well as from NAVA and professionals
in the accountancy field, indicated that the arrangements for income support for artists
in Australia were inadequate.
Several submissions to the Inquiry called for reform to Australias social welfare systems
to make them more useful to visual arts and craft practitioners. Essentially, such a program
would entail the provision of a minimum wage for artistsif an eligible artists income from
his or her artwork were below a specified level, they would be able to access an income
from the government to continue practising.
Several submissions urged the Inquiry to recommend reform to Australias social security
arrangements along the lines of programs available in some other countries.
With changes in the last few years to the social security system, artists now find it very
difficult to be recognised as eligible to receive support while trying to develop financial
opportunities through pursuing their art practice, because it is rarely recognised as
a mutual obligation activity. An interesting model has been pioneered in Dunedin,
New Zealand.204
International models
The Inquiry examined a number of international examples of social security arrangements
for artists as outlined below.
Europe
In Ireland, selected artists can benefit by membership to Aosdnaan affiliation of artists
engaged in literature, music and visual arts established by the Irish Arts Council in 1983.
Membership does not exceed 200, and new members are selected by current members on
the basis of excellence in art. A maximum of five new members can be selected each year.
Members of Aosdna are eligible to receive an annuity for five years from the Arts Council,
and a contributory pension scheme is in place for members. Aosdna is funded by the state.
In the Netherlands, the Income Provisions for Artists Act (Wet Inkomensvoorziening
Kuntenaars, or WIK) was established in 1999 to provide support to artists in establishing
their careers, or to improve their profitability. Any artist who can demonstrate that they
carry on a professional arts business and are in need of assistance can claim the benefit.
Applicants are screened by an independent advisory body. WIK entitles the artist to a
payment equal to 70 per cent of the standard unemployment benefit, with the ability to
earn an additional net income equal to 125 per cent of the unemployment benefit. Artists
entitled to a WIK benefit are not required to search for work, and may receive the benefit
for a total of four years (not necessarily consecutively). The payments are terminated
once an artist is carrying on their profession profitably. Support is also given for artists
to undertake training.
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Valuing artists
Norway and Sweden provide a system of minimum guaranteed incomes for limited numbers
of professional artistsin Norway the allocation is reviewed every five years, but can
continue for the entire period an artist is professionally active.205
In Belgium, the social security law was amended recently, and as of 1 January 2001, more
generous benefits are available to some unemployed artists. The new provisions are aimed
at individuals working as creative, interpretive or performing artists. Different benefits are
available depending upon whether the creative, interpretive or performing arts constitute
the main occupation of the individual, a secondary occupation, or a hobby.206
Visual artists and craft practitioners would generally be classified as creative artists.207 The
following benefits are available under the new provisions to creative artists.
a) HobbyThe practice of creative arts as a hobby will not impact upon the eligibility of an
individual to unemployment benefit.208
b) Main OccupationCreative artists are entitled to unemployment benefit when the
creative arts is not their main occupation. When unemployed, creative artists may be
able to refuse a non-artistic job and retain unemployment benefits if the artist performed
a minimum of 156 working days of artistic activity in the previous 18 months, if the job
offered is not physically or intellectually compatible with their artistic work, and if the
job offered involves risks which could impede artistic skills.209
c) Secondary OccupationWhere the creative activity is a secondary occupation,
performed during the period of unemployment, this activity will not generally affect
the unemployment benefit, provided the activity is declared to the benefit office.
The unemployment benefit payable will not be affected by the secondary creative
occupation, provided the artists annual taxable income does not exceed a specified
amount. If the unemployed artist earns more than this threshold, the unemployment
benefit falls proportionately.210
In Germany VG Bild-Kunst, the German copyright collection society for artists, administers
an art fund (kunstfond) which provides a range of benefits to registered German artists who
are copyright owners. The fund includes income protection and an old-age pension through
the artists social fund.211
The artists social fund (kunstlersozialkasse) was established in 1984, and legislated by law
in 1987, as a national scheme to provide income protection for artists who are ill, disabled,
or in old age care. Artists pay for 50 per cent of the insurance policy, the social fund pays
30 per cent and the Commonwealth Government pays the remaining 20 per cent.212
The fund is generated from a combination of levies on blank tapes, videos and compact
discs, and from copyright royalties where the copyright owner cannot be located or the
copyright payment is less than the administrative cost.213
205. E. Rice, and V. Hollister, Artists income support: social policy in Australia and overseas, Art Monthly, no. 142, pp. 3033, August, 2001.
206. EIROnline, Less Rigid Regulations Introduced for Unemployed Artists, European Industrial Relations Observatory Online, 2001, at
www.eiro.eurofound.ie/2001/01/Feature/BE0101338F.html.
207. The distinction between the creative arts and the interpretive arts may be difficult to apply in practice in some cases. For example, a
number of visual artists and craft practitioners are interdisciplinary. If classified as interpretive artists, less generous social security
provisions will apply.
208. EIROnline, op. cit., If the artist does not commercialise the work, the creative arts practice will be considered a hobby.
209. ibid.
210. ibid.
211. V. Hollister, A Brief Look at International Models of Income Subsidy for Artists: Ideas for Australia, Working Paper 3, Visual Arts Industry
Research Guidelines Project, June, 2001.
212. ibid.
213. ibid.
page 115
New Zealand
In November 2001, the New Zealand government announced its income support
arrangements for artists. Called Pathways to Arts and Cultural Employment (PACE), the
program is an attempt to modify existing income and work search support arrangements to
more effectively assist unemployed cultural workers. Unemployed cultural workers still have
to meet the legislated work-test requirements, including being willing and able to take up
paid work. However, cultural workers will only be referred to jobs that match their skills and
employment goals.214
Recognising that cultural workers will often generate their own income opportunities, the
job-seeker agreements negotiated between the unemployed cultural worker and the PACE
case worker will attempt to identify these opportunities, and how to progress them.215
Backing up PACE is a resource package detailing assistance and funding sources available
to help develop cultural workers professional careers, to be used by case workers and job
seekers in negotiating job-seeker agreements. To be eligible for assistance, an unemployed
cultural worker must register as being unemployed with Work and Income New Zealand
and be willing and able to take up paid employment. Since the program started, almost
800 people have participated in the program, however the scheme has been criticised as
being too broad and open to abuse.216
The Australian context

Australia does not currently have a system of income support specifically for cultural
workers, including visual arts and craft practitioners. Assistance is available, however,
within the broad framework of the Newstart and Youth Allowance, and the New Enterprise
Incentive Scheme.
Newstart
The Newstart program is not conducive to supporting artists incomes while they continue
to carry out their art activitiesit is not designed to be. The obligation to undertake
extensive job search activities, the emphasis on finding paid employment, rather than
profitable self-employment, and the requirement to take up paid employment if offered
militates against an artist being able to use Newstart as an income support mechanism.
The Newstart Allowance is the Australian governments standard unemployment benefit.
To be eligible for a payment of up to $394.30 per fortnight (for a single person with
children), the person must be unemployed, aged 21 or over, and be capable of undertaking,
available for and actively seeking work, or temporarily incapacitated for work. For those
aged under 20, the relevant allowance is the Youth Allowance.
Upon applying for a Newstart allowance, applicants are generally required to enter into a
Preparing for Work Agreement, which outlines the activities considered necessary to return
the person to paid employment. Activities included in the Preparing for Work Agreement
include intensive job searching (up to ten job interviews per fortnight), education and
training, paid work experience and Work for the Dole. If the requirements of the Preparing
for Work Agreement are not met, a financial Activity Test Penalty may be applied.
214.
215.
216.
WINZ (New Zealand Department of Work and Income), PACEPathways to Arts and Cultural Employment, Media Release,
12 November 2001.
ibid.
The Age, Would-be artists line up for the dole in New Zealand, 14 March 2002.
page 116
Valuing artists
The Preparing for Work Agreement also spells out a persons Mutual Obligations.
Mutual Obligations are about giving something back to the community which supports
you.217 After six months of receiving the Newstart Allowanceor 12 months if the person
is over 25 years olda Newstart beneficiary is obliged to undertake additional activities.
These activities include training, paid part-time work, Work for the Dole, voluntary work
and relocation.
Work for the Dole

As mentioned above, Work for the Dole is one of the Mutual Obligations activities available
to unemployed people after they have been receiving unemployment benefits for six
months. Work for the Dole involves working on (largely) community projects in return for
receiving unemployment benefits.
There are several visual arts and craft-related Work for the Dole activities. One of these is
conducted at Sydneys TAP Gallery, an artist-run initiative in inner city Darlinghurst where
Work for the Dole activities encompass all aspects of running the gallery: administration,
publicity, designing promotional material, framing and preparing shows218. In this way,
participants can build their skills, as well as support the running of an enterprise that would
otherwise find it difficult to continue.
Some other examples of valuable Work for the Dole initiatives involving the visual arts and
craft include:219
Crafty Assistants Project, which ran from September 2000 until February 2001 in
Victoria, allowed unemployed individuals to provide practical assistance to people
with a disability and the elderly with various art and craft projects, including pottery,
decoupage and woodwork;
Traditional Artwork Program for Clients, held in the Northern Territory from October 2000
until April 2001, aimed to reintroduce artwork as a means of employment for the longterm unemployed; and
Frankston Community Arts Project, which ran from May until November in 2001,
involved the development and installation of a number of murals based on historic,
environmental and community themes.
From July 2002, changes to Australias social security system will take effect under the
Commonwealth Governments Australians Working Together initiative. One of the changes
is to allow eligible unemployed people to nominate for community workthrough
Community Work Coordinators, the contractors who run Work for the Doleand have this
work qualify as a mutual obligation activity.
The Work for the Dole programs involving community arts projects could provide some
217.
218.
219.
Centrelink, PaymentMutual Obligations Requirements, 2001,

at www.centrelink.gov.au/internet/internet.nsf/payments/newstart_mutual_obligation.htm.
ibid.
Information supplied by DEWR to the Inquiry.
page 117
artists with invaluable work experience and opportunities to develop networks in the
contemporary visual arts and craft sector. The Inquiry considers that there is considerable
scope for additional projects to be undertaken through the Work for the Dole initiative
but that greater advocacy is required to establish artist-led work for the dole initiatives.
A nationally coordinated program through Work for the Dole could provide opportunities for
unemployed artists to work in Australias network of artist-run initiatives. This arrangement
would be beneficial for individual artists, by providing the artist with opportunities to
network and develop work skills, and for artist-run initiatives, which are often short-staffed
and under-resourced.
Australian Business Number

An issue raised with the Inquiry about the Newstart program and arts practice was the
apparent confusion over whether people with an Australian Business Number (ABN) are
eligible for Newstart allowances. One submission indicated that:
there is a high degree of impermanence about [part time jobs] and the artist will frequently
have to fall back on Centrelink benefits to survive financially. Now because artists will have had
to get an Australian Business Number (on the off chance that they might, in fact, sell a work or
score a grant) they are classified as being in business and therefore disqualified from entitlement
to unemployment benefitsapparently on the grounds that since they are now carrying on
a business they are no longer available for job interviews. There seems to be a great deal of
confusion and inconsistency in Centrelinks treatment of artists in this position and I believe that
this disallowance of entitlement to benefits for artists with an ABN should be changed. 220
Advice to the Inquiry from the Department of Family and Community Services indicated
that while having an ABN may indicate that a person is operating a business, it does not
disqualify a person from qualifying for Newstart Allowance.
New Enterprise Incentive Scheme

The New Enterprise Incentive Scheme (NEIS), which has operated since 1985, is available to
eligible unemployed people with an idea for a small business. Assistance includes training
in small business management, an allowance (broadly similar to the Newstart allowance) for
up to one year, and business advice and mentor support during the first year of operation.
The proposed business must be new and assessed as commercially viable by a NEIS
Advisory Committee. In addition it must not compete with existing businesses unless there
is evidence of unsatisfied demand or unless the new business will deliver the product or
service in a novel way. The program is delivered through management agents operating
on contract to the Commonwealth.221 In 200001, 6 476 people were enrolled in NEIS, and
three months after termination of financial support, 85 per cent of NEIS participants were
employed or were in training.222
220. Submission: Brian Tucker.

221. Productivity Commission, Design Principles for Small Business Programs and Regulations, Productivity Commission Staff Research
Paper, Melbourne, 1998.
222. DEWRSB (Department of Employment, Workplace Relations and Small Business), Annual Report, DEWRSB, Canberra, 2001.
page 118
Valuing artists
Prior to 1997, funding for focussed NEIS programs was available for different occupational
groupsin Victoria a program was developed for visual and performing arts businesses
by Clarke Carthew and Associates.223 The program provided training in areas such as arts
business philosophy, arts marketing and selling, arts finance, arts law, and planning and
organising the arts enterprise while recognising that arts enterprises are driven by factors
other than growth or wealth generation. The program had a 76 per cent long-term success
ratio18 months after completing the program, participants were still in business.224
FINDINGS
The Inquiry believes there may be scope for a range of arts activities with community benefits
to satisfy the mutual obligation criteria. Visual arts and craft community projects are often
eligible for support through the Work for the Dole program.
There are opportunities for more artist-led Work for the Dole initiatives. There may be scope
for a nationally coordinated program, run through Work for the Dole, for unemployed artists
to work in Australias network of artist-run initiatives.
THE WORK ENVIRONMENT FOR VISUAL ARTISTS AND

CRAFT PRACTITIONERS
Visual artists and craft practitioners are one of a number of occupation groups in Australia
generally operating outside the formal industrial relations system that determines
wages and working conditions for employees. The visual arts and craft sector is largely
unregulated, and artists are generally unable to access the types of support other workers
enjoy on a day-to-day basis.
The typical artworker could generally be described as a low-income, self-employed person, often
without any institutional affiliation, in a variety of insecure and irregularly-paid jobs.225
Visual arts and craft practitioners tend to move in and out of paid employment, and are a
highly mobile class of worker with no ongoing relationship with a particular organisation
extending beyond the current commission.226 A typical artist may spend part of their time
working in the studio to produce works for exhibition or sale, occupy academic positions
part time or full-time, work as part of a team on joint projects, and work on various other
tasks in the industry.227 Artists work flexibly and in a variety of different work environments.
223.
224.
225.
226.
E. Rice and V. Hollister, op. cit., 2001.

ibid.
C. Jordan, A Sustainable Future for Artists: An Australian Dream or a Real Possibility? 131 (2000) Art Monthly Australia 29, at p. 30.
R. Callus, Wages and Working Conditions for Non-Standard Workers: The Case of Visual Artists 136 (2000) Art Monthly Australia 34,
at p. 34.
227. Submission: Tony Bond.
page 119
Artists are most commonly self-employed. A survey of visual arts and craft practitioners
conducted in 1994 indicated that 98 percent of respondents were self-employed artists
or freelance workers engaged under contract; only two per cent were employed and paid
a regular salary or wage.228 The regulatory institutions determining wages and working
conditions for the labour force in Australia apply only to employees, or workers employed
under a contract of service. Employees are distinguished from independent contractors
working under a contract for services.229 Of those artists working as independent
contractors, the majority are commissioned artists working for government or business on
public art or community art projects.
The majority of artists do not enjoy the benefits accorded to permanent employees. Federal
awards and registered agreements may only deal with relations between employers and
employees. The State systems generally only apply to employees also, although there are
some exceptions.230 As a result, these regulatory institutions do not apply to most forms
of work undertaken by artists.231 Artists are most often self-employed, however when
employed in the workforce, visual arts and craft practitioners generally work as independent
contractors, rather than employees.
Visual artists and craft practitioners are often not covered by the industrial relations
system in Australia, do not tend to join unions,232 and generally have to formulate deals
with organisations, including commercial galleries, on an ad hoc basis.233 Where formal
contracts are settled between artists and dealers, these contracts tend to serve the interests
of the dealer over the interests of the artist. Visual artists and craft practitioners offer their
services in a highly competitive market. The supply of artistic and creative services far
exceeds the demand for those services, and as a result the artist is required to negotiate in
an unforgiving market.234 When artists enter into relationships with commercial galleries,
galleries tend to determine the terms of the arrangement due to the strength of their
bargaining position.235
Artists are often unaware of the market value of the services they provide, and enter into
agreements that do not adequately serve their interests. In addition, it can be difficult to
determine how the relationship between the artist and dealer should be structured. It can
be difficult to predict the future acceptance of an artists work, and thus it can be difficult to
judge the optimal amount of promotional effort required from the dealer. Similarly, as artists
tend to be motivated by factors other than economic gain, it can be difficult for an artist to
commit to the production of certain works within a certain time frame and of a given style
or quality. As a result, written contractual agreements between artists and dealers are less
common than more general oral agreements settled by handshake.236
As a result of artists falling outside the scope of the Australian industrial relations system,
the rates of pay for arts workers vary greatly. Further, there are three particular workplace
entitlements of concern to practising artists: collective bargaining, superannuation and
occupational health and safety. These issues will be discussed in detail below.
228. R. Markey and A. Tootell, The Professional and Industrial Representation of Visual Artists and Craftpersons, University of Wollongong,
Wollongong, 1994, p. 127.
229. B. Creighton and A. Stewart, Labour Law: An Introduction, The Federation Press, Sydney, 2000, p. 209. See particularly Stevens v
Brodribb Sawmilling Co Pty Ltd (1986) 160 CLR 16.
230. ibid.
231. R. Callus, op cit.
232. R. Markey and A. Tootell, op. cit., p. 132. In 1994, approximately 88 per cent of professional arts workers were not members of any
union or industrial organisation. Of those workers who were members of a union, five per cent were members of a Teachers Union.
The remainder belonged to the Artworkers Union (1.3 percent), the Media Alliance (1.3 percent), the Operative Painters and Decorators
Union (0.6 percent), an Academic Union (1.3 percent), or another unspecified union (1.9 percent).
233. R. Callus, op. cit., p. 34.
234. C. Jordan, op. cit., p. 30.
235. ibid., p. 32.
236. D. Throsby, The Contract Game 134 (2000) Art Monthly Australia 35, at p. 35.
page 120
Valuing artists
Collective bargaining
As the preceding discussion indicates, the Australian industrial relations system is focussed
on the contract of employment. A further implication of this focus is the general absence
for visual arts and craft practitioners of the right to engage in collective bargaining.
Awards, Certified Agreements and Australian Workplace Agreements made pursuant to
Commonwealth and State and Territory legislation only relate to employment relationships.
A worker can only engage in collective bargaining, and will only have a legal right to enforce
a collective agreement, where the worker is an employee with a contract of service with
the employer.237
Concern was expressed in submissions regarding the absence of standards for working
conditions in the contemporary visual arts and craft sector. According collective bargaining
rights to visual artists and craft practitioners would be a possible mechanism to facilitate
improved working conditions for arts practitioners. It should be noted, however, that there
are difficulties associated with extending collective bargaining rights to independent
contractors and self-employed artists. For example, if a body representing artists exerted
pressure for standardised wages for independent contractors, this approach is likely to be
considered to be price-fixing, and as a result may breach the Trade Practices Act 1974.238
A right to collective bargaining for self-employed artists and independent contractors would
be contrary to the existing industrial relations regime in Australia and to the Commonwealth
competition policy.
An alternative approach to the current distinction between independent contractors and
employees would be to define the rights and entitlements of workers according to the effort
expended in the production of goods or services for payment. NAVA submitted to the Inquiry
that government should:
establish a portable benefits and entitlements scheme for visual artists and craft professionals,
who frequently move across employment areas or rotate in and out of paid work, similar to that
operating in the building industry.239
The building industry has introduced a pooling arrangement whereby the entitlements of
construction workers are accrued according to the period spent working in the industry,
rather than according to the period of engagement by a particular employer. Construction
workers carry their entitlements with them when they change employer, provided they
remain employed in the building industry. Thus, the sick leave and long service leave
entitlements of these employees continue to build throughout the period of employment in
the industry, irrespective of the number of individual employers.240
There are a number of issues that would need more detailed considered before such
an approach could be adopted. In particular, an approach of this kind would require
industry-wide cooperation and an industry body capable of administering the
entitlements of workers.241
237. B. Creighton and A. Stewart, op. cit., p. 3.

238. Recently the Federal Court found that the Australian Medical Association had engaged in price-fixing by negotiating fees on behalf
of doctors who were independent contractors. See Australian Competition and Consumer Commission, Federal Court Imposes
Penalties, Costs of $285 000 on AMA (WA) Executive Officers for Price-Fixing, Primary Boycott, Media Release, 24 December 2001, at
www.accc.gov.au.
240. R. Callus, op. cit., p. 34.
241. ibid., p. 35.
page 121
FINDINGS
The majority of visual artists and craft practitioners in Australia are self-employed and are
not covered by the existing industrial relations framework.
The introduction of an industry-wide scheme to permit the carry-over of entitlements from
one employer to another has the potential to benefit those individuals employed as artists.
Nevertheless, there are a number of issues that require more detailed consideration before
this proposal could be recommended.
Superannuation
Many visual artists and craft practitioners do not participate in superannuation schemes.
Employers are only legally obliged to make superannuation contributions on behalf of
workers if the employer is responsible for paying salary or wages to the individual worker.
Specifically, workers engaged under a contract that is wholly or principally for labour
are entitled to have superannuation payments made on their behalf.242 For example, a
commercial gallery will not be obliged to make superannuation obligations on behalf of the
individual artist unless there is a contract for labour in operation.
Provided there is a contract wholly or principally for the provision of labour, the
superannuation guarantee will apply irrespective of whether the salary or wage is paid to
the worker under a contract of service or a contract for services, and irrespective of whether
the worker is employed on a full-time, part-time or casual basis.243 In addition to physical
work, labour includes artistic and mental effort.244
Generally, self-employed people are not obliged to contribute on their own behalf, and will
only be required to make contributions on behalf of any employees.245 NAVA makes this
point in their submission:
In relation to superannuation, because artists and craft practitioners are not often employed
by others, employer contributions to their superannuation are sporadic at best, and their self
generated earnings are usually only sufficient for survival with not enough left over to be able to
make voluntary superannuation contributions.246
Thus, for those visual artists and craft practitioners who receive payment for their works
from an employer, superannuation contributions will be made on their behalf by the
employer. However, as the majority of artists are self-employed, superannuation is a
voluntary consideration. In practical terms, superannuation for these artists will, by
necessity, be secondary to the other requirements and realities of business operations.
242. Australian Taxation Office, Superannuation GuaranteeContractors, p. 1,

at www.ato.gov.au/content/professionals/super/downloads/nat6402.pdf.
243. Australian Taxation Office, What is the Superannuation Guarantee?, p. 1,
at www.ato.gov.au/content/professionals/super/downloads/24322025.rtf.
244. Australian Taxation Office, Superannuation Guarantee - Contractors, p. 1. The terms salary and wages carry their ordinary meanings,
and will include payments made to workers for labour by the day, week or month; allowances (excluding expense reimbursements and
fringe benefits); bonuses, commissions and ex gratia payments; penalties and overtime payments; annual leave, long service leave and
sick leave; and leave loading.
245. Arts Law Centre of Australia, Superannuation and Contract for Services, Sydney, 1998, at www.artslaw.com.au/reference/info18.
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The absence of legally-required superannuation contributions means that for many visual
artists and craft practitioners, their financial security during the later years of their life is not
guaranteed. The following suggestion was made in submissions:
Provisions for adequate superannuation in the form of an artists superannuation fund should be
guaranteed to all artists when they cease to be able to work for any reason.247
As is discussed above with respect to workplace entitlements to leave and other benefits,
it was suggested in submissions that visual artists and craft practitioners with uncertain
superannuation arrangements would benefit from a portable benefits and entitlements
scheme. A portable benefits arrangement currently operates within the existing
superannuation framework, as artists are able to carry any existing superannuation
accounts with them when their employment situation changes. Further, some
superannuation funds permit artists to carry their accounts with them when their employer
changes, and allow the new employer to make contributions to the existing superannuation
account. For example, if the visual artist or craftsperson was employed by government and
an account was created with the AGEST (Australian Government Employees Superannuation
Trust), the superannuation savings accumulated in that account will be carried with
the artist when he or she changes employers. The artist may also seek to have the new
employer make contributions into the existing account, which is permitted provided the new
employer is successfully admitted as either a member or an associated member of AGEST.248
In addition, artists can open superannuation accounts and Retirement Saving Accounts
(RSAs) on their own behalf, and RSAs in particular are ideally suited for use by mobile
workers with changing work environments.249 Where visual artists and craft practitioners
receive superannuation benefits, RSAs are useful for managing these benefits.
There is a need for visual artists and craft practitioners to be made more aware of
superannuation entitlements and the mechanisms currently operating to provide flexibility
for workers with changing circumstances, particularly RSAs. This is a role which could
be effectively adopted by artists service associations and membership organisations.
In Chapter 4 of this report, the Inquiry recommends that these organisations receive
more funding to extend their activities. The Inquiry encourages these organisations
to take responsibility for the carriage of an education campaign for artists regarding
superannuation.
247. Submissions: Sandra Hall; Carole Pemberton.

248. AGEST, Summary of Benefits and Conditions, 2002, www.agest.com.au.
249. ATO, Retirement Savings Account (RSA) and Your Superannuation,
at www.ato.gov.au/content/professionals/super/downloads/nat2031.pdf.
page 123
FINDINGS
Visual artists and craft practitioners are often not entitled to employer-sponsored
superannuation due to their self-employment. These self-employed artists are generally
unable to make voluntary contributions on their own behalf as a result of their limited
financial resources.
Retirement Savings Accounts (RSAs) are suitable for use by mobile workers, including
visual artists and craft practitioners.
Visual artists and craft practitioners should be made aware of their rights in relation to
superannuation and these rights should be enforced. Artists service associations and
membership organisations should be responsible for mounting an education campaign on
superannuation for visual artists and craftspeople.
Occupational health and safety

Its hard to imagine a field of human endeavour that encompasses a greater range of procedures,
techniques and processes than those occurring in the visual arts and crafts.250
Visual arts and craft practice often involves substantial risk of serious illness or injury.
Technology has produced a wide array of new media which have been adopted by creative
people in their artistic works, and many of the new and interesting materials used in art
works can be dangerous, such as polystyrene.251 However, the potential for harmful effects
is not limited to new products. Many traditional materials and processes used in the
creation of artistic and craft works can also cause harm if not used with care, such as clays
and glazes.
The types of hazards which may be found in the studio of a visual arts or craft practitioner
include:
chemical hazards, such as solvents;
physical hazards, such as fire and sharp implements;
biological hazards, such as microorganisms; and
psychological hazards, such as stress resulting from a lack of financial security.252
Occupational Health and Safety (OH&S) law establishes strategies for the prevention of
workplace injury and disease. OH&S law is comprised of legislative regulation of work
processes and practices, statutory systems of workers compensation, and common
law claims for damages for injuries caused and illness contracted in the course of
employment.253
250. Submission: Nick Oughton.

251. M. C. Saylor, Health and Safety in the Arts and Crafts, Nebraska University, 1995, at www.ianr.unl.edu/pubs/consumered/nf126.htm.
252. N. Oughton, A Hard Hat to Follow: A Health and Safety Guide for Artsworkers, Queensland Community Arts Network, New Farm, 2000,
Chapters 4, 5 and 6.
253. A. Brooks, Occupational Health and Safety for Visual and Craft Artists, Visual Arts Industry Guidelines Research Project, Working Paper
No. 3, Sydney, 2001, p. 2.
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Legislative regulation is a direct preventative strategy, as it requires conduct that eliminates

particular occasions of risk and prohibits conduct creating situations of risk. Legislation
imposing OH&S obligations exists at both the Federal and the State and Territory level.254
These statutes vary in their detail. However, the set of general duties imposed is essentially
similar. The statutes impose duties on employers, principals of independent contractors,
contractors, employees, owners of workplaces, and manufacturers of plant and material
used in workplaces, to conduct their enterprises in a manner which will not create a risk to
the health and safety of other persons present or in the vicinity of the workplace.255
Implications for contemporary visual arts and craft

The effect of these overlapping rights and duties is that the rights and obligations of
individual workers will vary according to the type of work relationship in operation.
As discussed above, visual artists and craft practitioners generally engage in work
relationships which fall within one of the following three categories:
employees, such as art teachers and conservators;
independent contractors, such as professional artists working on a commissioned work
for a limited contract; or
no recognised legal work relationships of any kind, such as an artist working alone in
their own studio.
This last category includes situations where an individual artist creates an artwork in their
own studio, which is then sold, either directly or through the agency of a commercial dealer
or gallery. The artist is a vendor, rather than an employee or an independent contractor.256
In the context of the visual arts and craft sector, the protection afforded by the legislation
to visual artists and craft practitioners is determined by the existence or absence of a work
relationship. OH&S for visual artists and craft practitioners could, however, be enhanced
through education. The task of educating the visual arts and craft sector about OH&S has
already commenced, with the establishment of websites, newsletters, journal articles and
similar dispersal mechanisms.257 Numerous international and domestic websites have
emerged which provide guidance to visual artists and craft practitioners about how to
manage risk in their practice.
For example, a Nebraskan University site provides guidance on recognising risk, preventing
hazards, and developing good safety hazards.258 Similarly, Griffith University has
posted materials on its websites to improve the awareness of artists of OH&S risks and
management strategies.259 That this approach has had some success is demonstrated by
the submissions received by the Inquiry. Nevertheless, the effectiveness of these education
campaigns is limited by the resources of the groups and associations progressing this
issue; the process of dispersing information to a fragmented sector like the visual arts and
craft sector is extremely demanding and costly.260 These efforts should be encouraged and
support offered at a national level.
254. The following are the relevant statutes operating in the various jurisdictions: Occupational Health and Safety (Commonwealth
Employment) Act 1991 (Cth); Occupational Health and Safety Act 2000 (NSW); Occupational Health and Safety Act 1985 (Vic);
Workplace Health and Safety Act 1995 (Qld), Occupational Health, Safety and Welfare Act 1986 (SA); Occupational Safety and Health Act
1984(WA); Workplace Health and Safety Act 1995 (Tas); Occupational Health and Safety Act 1989 (ACT); and Work Health Act 1986 (NT).
255. A. Brooks, op. cit., p. 2.
256. ibid., p. 8.
257. ibid., p. 16.
258. M. C. Saylor, Health and Safety in the Arts and Crafts, Nebraska University, 1995, at www.ianr.unl.edu/pubs/consumered/nf126.htm.
259. N. Oughton, Occupational Health and Safety for the Visual and Performing Arts, Griffith University, at www4.gu.edu.au/shr/safety/.
260. A. Brooks, op. cit., p. 16.
page 125
The Inquiry recommends in Chapter 4 that artists service associations and membership
organisations receive funding to extend their activities, and an OH&S education campaign
should be one project undertaken by these organisations. This campaign should be
conducted in consultation with WorkSafe Australia.
An education campaign, such as the one proposed, should be conducted in concert with
manufacturers of equipment, plant and material used by artists in their work. Manufacturers
are obliged to provide information with the product on the risks associated with use of the
product, and methods that may be used to eliminate or minimise the risk. This information
constitutes a valuable method of education.261 Regulatory bodies have responsibility
for monitoring the adequacy and accuracy of the information supplied with dangerous
products. The effectiveness of this regulation is limited by the volume of products to
monitor their diversity, and the division of responsibilities for monitoring between the
various State and Territory regulatory bodies. A more effective and cost-efficient approach
would be to establish a national coordination program.262
In addition to providing more information to artists, submissions suggest that research
needs to be conducted into the health of artists.263 This research will better inform policy
makers and artists regarding risks currently faced by artists in practice.
FINDINGS
The OH&S of visual artists and craft practitioners is a major concern to the sector, as the selfemployed status of artists precludes the application of OH&S legislation in most circumstances.
A preferable approach is for artists service associations and membership organisations to
launch a national education campaign. This campaign would provide artists with general
information about occupation health and safety risks and approaches for managing these risks,
and should encourage workers to invest in workplace injury insurance.
INSURANCE
As a result of self-employment, artists are required to shoulder more of the costs associated
with being in business, as there is no employer to cover these costs on the artists behalf.
In particular, the artist must often arrange insurance.264 Particularly in the area of public art
commissions, there is an expectation that artists can operate as small businesses, and part
of this expectation is that artists have the resources to arrange appropriate public liability
and professional indemnity insurance.265 This expectation does not reflect the different
economic resources and infrastructure of the artist and the commissioner.
Arts organisations are required to obtain insurance cover for their activities and for the
activities of any employees.
261.
262.
263.
264.
265.
Z. S. Pinney, Comments on The Artists Complete Health and Safety Guide by Monona Rossol or Rushing into the Arms of Panic?, (1991)
13(2) WAAC Newsletter, p. 24, at http://palimpsest.stanford.edu/waac/wn/wn13/wn13-2/wn13-212.html.
A. Brooks, op. cit., p. 16.
Submissions: Carole Pemberton and Margaret Roberts.
C. Jordan, A Sustainable Future for Artists: An Australian Dream or a Real Possibility? 131 (2000) Art Monthly Australia 29, at p. 30.
M. San Roque, Negotiating new terrain in public art commissioning 135 (2000) Art Monthly Australia 35, at p. 36.
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Valuing artists
Types of insurance
There are a number of different types of insurance cover that may need to be considered
by both individual visual artists and craft practitioners and arts organisations. These range
from public liability insurance to professional indemnity insurance, insurance for artworks
and insurance for volunteers. A more detailed analysis of the types of insurance relevant to
the contemporary visual arts and craft sector can be found at Appendix I.
Cost of cover
Many of the types of insurance cover outlined above, particularly income protection and
life insurance, will be too expensive for the majority of practising artists to obtain.266 It is
particularly important for artists to obtain insurance cover for their artworks, for public
liability, and for personal injury to themselves. Nevertheless, many artists work uninsured.
The Inquiry notes that insurance costs are currently extremely high for all industries,
including the creative industries.267 At the time the Inquiry was considering this issue,
the contemporary visual arts and craft sector, and many other sectors, were experiencing
difficulties obtaining insurance cover, and where available, paying the premiums quoted.
In some cases, difficulties associated with insurance cover led to the cancellation or
postponement of arts programs and events.268
Further, rising premiums have also had a detrimental impact upon individual visual artists
and craft practitioners. Due to the limited financial resources of the majority of artists,
high premiums have led many practitioners to choose to work without insurance cover.
For example, with respect to insurance cover for works, almost 45 per cent of all artists
surveyed as part of the VIAGRP project indicated that they have no insurance cover for
their works. Of the remainder, 21 per cent indicated they did not know whether they had
insurance cover, and 34 per cent indicated they had coverage for loss, destruction or
damage to their works.269 Working without insurance cover exposes the artists to a great
deal of risk.
The submissions received by the Inquiry paint a very clear picture of the difficulties faced by
the contemporary visual arts and craft sector with respect to insurance. The Society for Arts
and Crafts of New South Wales suggests in its submission that the prohibitive cost of public
liability insurance for smaller organisations should be investigated further.270 The Northern
Territory Department of Arts and Museums also made the following observation:
The rising cost of insurance is increasingly becoming an issue for Territory artists. More and more
artists and small organisations are being required to insure events as cover from the hosting
institution (where there is one) is not always appropriate. Insurance premiums have risen, in some
cases as much as several hundred percent, and this is a huge impost on artists, small arts and
craft organisations.271
266. S. Simpson, Insurance, Simpsons Solicitors, Sydney, at www.simpsons.com.au/library/documents/visarts/visarts89/19Insura.pdf.

267. L. Morris, Now Artists Feel the Public Liability Squeeze, Sydney Morning Herald, 5 February 2002.
268. Regional Arts NSW, Public Liability Crisis List of Cancelled Events, 21 February 2002,
at www.regionalartsnsw.com.au/news/cancelled_events-21-2-02.html.
269. Australian Centre for Industrial Relations Research and Training (ACIRRT) University of Sydney, The Working Life of Visual Artists in
Australia, Working Paper 9, Visual Artists Industry Guidelines Research ProjectNAVA Member Survey 2001, Strategic Partnerships
with Industry for Research and Training Project, funded by the Australian Research Council and the Australia Council, 2002, Table 15,
p. 19.
270. Submission: Society of Arts and Crafts of NSW.
271. Submission: Department of Arts and Museums.
page 127
NAVA make the following observations regarding the difficulties for artists in gaining
appropriate and affordable insurance cover:
Because the risks in art practice are little understood by the insurance industry, it is often difficult
or impossible for artists to get insurance cover at affordable premiums, and with some types of
cover it is not possible at all. Increasingly, government authorities and commissioning bodies are
making it mandatory for artists to prove that they have insurance cover before they can secure the
contract. This is very much the case for public liability and professional indemnity cover. However,
the commissioner is not necessarily prepared to cover the costs involved through increasing the
level of fees paid for the commission.272
Artspace dealt with insurance for installations in their submission:

This is further complicated when artists themselves are involved in the installation of their own
work and the insurance sector insists that the artists are small business/contractors and should
have their own insurancein other words the contemporary visual arts organisations insurance
will not cover artists in the process of their installation development, and in more cases than not,
artists themselves do not have any or adequate self cover due to the enormous cost in relation to
their earning capacity. In most instances, artists are not even aware of their need for self cover.273
In response to these difficulties, a number of suggestions are made in submissions for

alleviating the problems. These include:
limiting artists professional indemnity liability to a specified period after the completion
and installation of a public artwork; 274
establishing a subsidised national insurance scheme for professional visual artists and
craftspeople to offer the full range of insurances required, particularly in relation to
public art and for work on consignment;275 and
conducting an insurance awareness campaign aimed at arts professionals.276
At the time of writing, the Commonwealth government and the State and Territory
governments were negotiating a response to the insurance crisis. A Senate Inquiry has also
been commissioned to assess the impact of the public liability and professional indemnity
insurance cost increases. This Inquiry is expected to report by 27 August 2002. As strategies
emerge to address the current insurance crisis, information regarding these strategies
should be provided to the sector.
272.
273.
274.
275.
276.
Submission: NAVA.
Submission: Artspace.
Submission: ArtsWA.
Submission: NAVA.
ibid.
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FINDINGS
Currently, some artists and arts organisations are unable to find insurers willing to offer
appropriate insurance coverage. Further, due to the high cost of insurance premiums, many
individual artists and arts organisations are unable to afford insurance cover.
It is anticipated that some of the difficulties experienced by visual arts and craft practitioners
and arts organisations will be alleviated if government strategies are developed to address
the current insurance crisis. The contemporary visual arts and craft sector needs to
participate in the current government reviews, and subsequently carefully consider the
findings of those reviews.
Many practitioners are also unaware of the importance of insurance and their associated
legal obligations. More information needs to be made available to the sector and a means to
distribute this material effectively to individual visual artists and craft practitioners needs to
be found.
In its consideration of the matters that can be broadly described as status of the artist
issues, the Inquiry was mindful of the fact many of the concerns of the contemporary visual
arts and craft sector may be shared by other arts sectors and persons working in other
parts of the economy. Legislative or policy solutions would need to have regard to these
considerations. There is also the need to consider the broader policy context.
For example, as discussed, Australias unemployment assistance programs are aimed at
returning participants to paid employment. As such, they are relatively incompatible with
providing support to visual arts and craft practitioners in their arts practice. Any attempt to
provide a minimum wage for visual arts and craft practitioners would likely require a new
program, much as the Netherlands WIK policy is carried out separately from its general
social security programs. Such an initiative would require consideration of the implications
for social security policy generally. It would also need to take into account that in the
Australian context, targeted forms of assistance to artists and arts organisations through
the Australia Council and State and Territory arts agencies are considered more efficient and
effective in promoting artistic excellence and innovation.
The Inquirys focus and emphasis has been on improving the development, promotion and
support for visual arts and craft practitioners in their practice. Notwithstanding that, in its
findings the Inquiry has identified a number of areas where there is scope to address some
of the more pressing concerns within the existing legislative and policy frameworks, so
that access by artists to government programs and other forms of assistance is the same
as for other citizens, and is not compromised by the nature of their profession. The Inquiry
believes the respective responsible agencies of government should examine the particular
issues in consultation with the sector, and where practicable adopt a whole of government
approach to achieve effective coordinated outcomes.
page 129
RECOMMENDATION 2
In order to support visual artists and craft practitioners in their practice, the
Inquiry recommends:
2.1
The Australian Taxation Office make a public ruling on what constitutes carrying
on an art business.
2.2
The Commonwealth remove the $40 000 limit on secondary income of artists, and
the exemption from the non-commercial losses provision be extended to all visual
artists and craft practitioners carrying on a legitimate arts business activity.
2.3
The Commonwealth remove any inconsistencies in practice involving the

eligibility of Australian Business Number holders to receive unemployment
benefits, particularly visual artists and craft practitioners.
2.4
The Commonwealth broaden the mutual obligation criteria for Newstart to

include a range of arts activities with community benefits.
2.5
The Commonwealth support artist service associations and membership

organisations to conduct national education campaigns to improve the
awareness of visual artists and craft practitioners about superannuation,
occupational health and safety and insurance issues.
2.6
The Commonwealth Minister for the Arts initiate consultations with appropriate
Commonwealth Ministers to progress these matters.
ARTISTS AND INTELLECTUAL PROPERTYCOPYRIGHT

Intellectual property issues are of considerable importance to the contemporary visual
arts and craft sector. Copyright protects and promotes creative endeavour, and promotes
knowledge and learning.277 It is also an important potential source of income for visual
artists and craft practitioners.
Copyright law has recently undergone a number of changes. The Inquiry has received a
number of submissions discussing the practical effect of these changes and further areas
that need to be reviewed.
The Inquiry has reviewed the current arrangements for copyright in Australia, with a
focus on the recent changes to the Copyright Act 1968 (the Copyright Act). This included
consideration of moral rights, digital rights and rights in relation to photography. As
copyright applies broadly to all creative industries, the Inquiry limited its examination to
those issues that specifically relate to the visual arts and craft sector.
277. L. P. Loren, The Purpose of Copyright, 2(1) Open Spaces Quarterly, Oct 2001, at www.open-spaces.com/article-v2n1-loren.php.
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Copyright in Australia
Copyright protects the physical expression of ideas in a range of different types of material,
including craft works and works of visual art, for a limited period of time.278 Copyright does
not protect ideas, concepts, techniques, styles or methods. The Copyright Act defines an
artistic work to mean:
1. a painting, sculpture, drawing, engraving or photograph, whether the work is of artistic
quality or not;
2. a building or a model of a building, whether the building or model is of artistic
quality or not; or
3. a work of artistic craftsmanship to which neither of the last two preceding
paragraphs apply279
This is an inclusive list, not an exhaustive list, of works that will be protected as artistic
works under the legislation.
Copyright protection is automatically accorded to a creator upon creation of a work. In
Australia, it is not necessary to register a work, or mark a work with a copyright notice,
in order to invoke protection. With the exception of photographs, copyright in a work of
visual art or craft endures until 50 years after the death of the creator(s).280
Copyright is an economic right that can be assigned, either wholly or in part, to a person
other than the creator.281 Copyright also grants artists exclusive rights to licence others to
use the work in a way that would otherwise contravene copyright. For example, creators
may choose to licence another to copy the work.282 Both licences and assignments of
copyright may be limited or conditional.
There are a series of exemptions set out under the Copyright Act which permit the copying
of a work without the permission of the creator. These include statutory schemes, such as
the public lending right scheme, and fair dealing exemptions. Fair dealing exemptions apply
in limited circumstances, specifically where the infringing act is committed for the purposes
of research or study, criticism or review, or journalism, and tend to be limited in the amount
of work that may be reproduced.283 There are also exemptions for infringing acts committed
for the purposes of judicial proceedings or professional advice.284
Collecting societies
In many cases, copyright is administered on behalf of copyright owners by collecting
societies. Collecting societies have four main functions:
licence the works on behalf of members for specific uses;
monitor use and collect revenues;
distribute royalties to members; and
enter into reciprocal arrangements with foreign collecting societies to collect and
distribute royalties.285
278. I. McDonald, Copyright and Moral Rights for Visual and Craft Artists, Visual Arts Industry Guidelines Research Project, 2001, p. 1.
279. Copyright Act 1968 (Cth), s10(1). A craft work is generally regarded as a work of artistic craftsmanship if it is hand-made, and the maker
of the work intended it to be artistic rather than purely functional.
280. Copyright Act 1968, s33. See also IP Australia, What is Intellectual Property?, 2001, at www.ipaustralia.gov.au/ip/W_type1.htm.
281. I. McDonald, op. cit., p. 3.
282. IP Australia, op. cit.
283. Copyright Act 1968, sections 4042.
284. Copyright Act 1968, section 43.
285. R. Towse, Copyright and the Cultural Industries: Incentives and Earnings, Paper for Presentation to the Korea Infomedia Lawyers
Association, Seoul, 30 October 2000, p. 9,
page 131
Collective administration enables individual artists to collect royalties from, and monitor,
uses of their works; the costs of administering copyright is spread amongst members of
the society, thereby allowing less financially secure artists to access remuneration from
copyright. Collective administration also benefits users of copyright material by offering
blanket licensing arrangements where by paying a single fee, users have access to the
entire repertoire of the society. Revenue from blanket licences is then distributed by the
collecting society to members concerned.286 Collecting societies are an efficient means of
administering copyright due to economies of scale, as the rights of many copyright owners
are managed through a single organisation.
There are two types of collecting societiesthose administering licences voluntarily given
to the society to deal with copyright material in a certain way, and those administering
statutory licensing schemes under the Copyright Act.287 Statutory licences granted in
specified circumstances for certain organisations to engage in conduct which would
otherwise contravene copyright. These include licences granted to public institutions to
engage in electronic copying and reprography. In relation to works of visual art and craft, the
relevant collecting societies are VISCOPY, Screenrights and Copyright Agency Limited (CAL).
VISCOPY administers only voluntary licences as it has not been declared a collecting society
to administer any of the statutory schemes under the Act. In contrast, Screenrights and CAL
are collecting societies charged with the administration of statutory licensing schemes.
Screenrights administers the television and radio scheme for educational institutions and
government, and a scheme for the re-transmission of broadcasts. CAL administers schemes
in relation to graphical and textual material, the communication and reproduction schemes
for educational institutions, and the reproduction scheme for governments. CAL also offers
various voluntary licences to commercial and non-profit organisations to reproduce and
communicate graphic and textual material in which the members of CAL own copyright.288
Copyright Tribunal
The Copyright Tribunal has jurisdiction to hear cases involving disputes regarding statutory
licences. The Tribunal has the power to determine various terms and conditions, including
the amount of equitable remuneration payable for exercise of a licence, in relation to select
statutory licences set out in the Copyright Act.289
International obligations
Australia is a party to a number of international intellectual property instruments, treaties
and agreements. The most important with respect to copyright is the Berne Convention for
the Protection of Literary and Artistic Works (the Berne Convention). Australia is a party to
the most recent revision of the Convention, the Paris Act of 1971.290 The Berne Convention
sets out the categories of works to be protected under copyright, the rights encompassed
by copyright, exceptions to copyright and the duration of copyright protection.
286.
287.
288.
289.
ibid., p. 10.
I. McDonald, op. cit., p. 27.
ibid.
The Copyright Tribunal recently reviewed remuneration rates payable by educational institutions under statutory licences. The Tribunal
has instituted differential rates of payment for different types of copyright material. For some types of material, including art and
diagrams, a higher rate of payment will be required for copying than for copying other types of material. For more detail, see Copyright
Agency Limited v Queensland Department of Education [2002] ACopyT 1 (8 February 2002).
290. DCITA, Australian Copyright Law and the International Environment, Fact Sheet, at www.dcita.gov.au.
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Recent changes to copyright law

Moral rights
The Copyright Amendment (Moral Rights) Act 2000 gives artists a number of moral rights,
including:
the right to be attributed as the creator of the work;
the right not to have work falsely attributed; and
the right to have the integrity of the artists work respected, which includes a right
to object to derogatory treatment of their work which is prejudicial to the creators
reputation or honour.291
Unlike the economic rights comprised in copyright, moral rights cannot be transferred,
and are actionable even where the creator has assigned the copyright in the work.292 Moral
rights thus give all artists greater control over the use of their works and consequently
assists them in protecting the cultural integrity of their work. However, artists may decide
whether or not to exercise these rights. The legislation permits creators to consent by
contract to things done or not done that would otherwise infringe their moral rights. Issues
concerning Indigenous art and moral rights are dealt with in the next section.
Moral rights are particularly important for creators who do not own copyright in their
works, or who no longer own the physical items in which copyright is embodied, and
who consequently do not have the opportunity to contract with users for the protection
of copyright.293
Digital rights
The Copyright Amendment (Digital Agenda) Act 2000 takes account of technological
developments such as the Internet and cable television. The Digital Agenda legislation
is aimed at giving artists some control in how their work is electronically transmitted to
the public or made available online. It recognises that material, from computer programs
to music, is increasingly being distributed by electronic means and that copyright
owners rights need to extend to electronic reproduction in the digital age. In the digital
environment, owners of copyright now have the legal right to control the distribution of their
works, including the uploading of an image onto a server, the reproduction of an image into
an email and the transmission of the image to the public.294
Photography
The Commonwealth Government has also amended the Copyright Act to give photographers
greater opportunities to earn revenue from their intellectual property, including new rights
in relation to commissioned photographs and entitlement to remuneration for the copying
of their work by the educational sector.
291.
292.
293.
294.

V. Morrison, The New Moral Rights Legislation, 18(4) Copyright Reporter, 2000, p. 170.
V. Morrison, op. cit., p. 178.
page 133
Matters of concern to the contemporary visual arts and

craft sector
Definition of artistic work
It is not clear that all installation art will fit within the definition of artistic work set out in
the Copyright Act, particularly where installation art consists of found items. Even where an
installation includes hand-made items or painted surfaces, copyright may only protect the
component parts, and not the installation as a whole.295
Performance art, which includes sound art, is also not clearly encompassed by the definition
of artistic work. A work of performance art may attract copyright protection if it can be
characterised as a dramatic work, or if components of the work fit within other categories
of copyright material, such as a video accompanying the performance.296
Similar problems emerge with respect to works of art involving chemical, biological or
natural processes. The idea of using particular processes as the basis for artistic creation
will clearly not be protected by copyright.297 Further, it is not clear whether an item
acted upon by a natural process, such as the work by Damien Hirst which involved the
decomposition of a cows head, would fit within one of the categories of artistic work.
In particular cases, the work may be classified as a sculpture, engraving or work of artistic
craftsmanship. However, it may not be possible to classify the work in such a way in all
cases. Again, if the work is classified as an artistic work attracting copyright protection,
it may be difficult to prove that the copyright has been infringed as it could be argued that
only the idea has been used, not the expression of that idea.298
While there is clearly some uncertainty regarding the categories of visual arts and craft
attracting copyright protection under the legislation, it is important to remember that
the list is inclusive, not exclusive. Amending the definition of artistic work may lead to
difficulties, as the more specific the definition adopted, the more likely some media will be
excluded from the definition. It would seem appropriate for government to monitor case law
in this area, and consider a legislative response if this need is demonstrated in practice.
Human authorship
For copyright protection to exist in a work, a human creator must have created the work.
This raises the question whether computer-generated art attracts copyright protection.
Further, a similar question arises where an artist merely presents or points to a natural item
or process.
This issue has not been fully resolved at law. With respect to computer generated art, there
is some case law on this issue. Currently, the view is that where a computer program is
used to create material, and the parameters within which the program operates have been
set by a human creator, copyright protection is accorded to the material produced, as the
computer program can be viewed as a tool of the human creator.299 Similarly, where a work
295.
296.
297.
298.
299.
ibid., p. 8.
ibid., p. 9.
ibid., p. 10.
ibid., p. 11.
ibid., p. 6. See for example, Coogi Australia Pty Ltd v Hysport International Pty Ltd (1998) 41 IPR 593.
page 134
Valuing artists
of art involves a particular item being effected in some way by a chemical, biological or
natural process, difficulties may arise in satisfying the court that the artwork has a human
creator. Again, it is likely the court would need to be satisfied that a human creator had set
the parameters within which the process took place, and that the relevant processes were a
tool of the creator to create the work.300 Nevertheless, greater clarity in this area
is desirable.
Again, it would be appropriate for government to monitor case law developments, and
consider legislative action if it is demonstrated that computer-generated art and art
involving chemical, biological and natural processes is not given adequate protection under
current copyright provisions.
FINDINGS
The current definition of an artistic work may not encompass all installation art, performance
art, art involving biological, chemical and natural processes, and computer-generated art.
The Inquiry notes, however, the current provisions are quite broad and are considered an
inclusive, not exclusive, list of protected works.
Case law developments in this area should be monitored, and if a need is demonstrated,
legislative changes should be considered.
Government copyright
It is presumed under the Copyright Act that the creator of an artistic work will be the
first owner of copyright in the work. There are, however, a number of exceptions to this
rule.301 Where an artistic work is created or first published under the direction or control
of the Commonwealth or a State or Territory government, the relevant government will
own copyright in the material produced. This position applies unless the creator can
gain the agreement of the government for whom the work is created that the creator will
retain copyright. Hence, as the initiative is placed upon creators to assert their rights, this
provision can operate to the detriment of visual artists and craft practitioners who are not
aware of the exception.302 The issue is thus whether the Crown should continue to benefit
from this preferential treatment.
In the Review of Intellectual Property Legislation under the Competition Principles
Agreement, the Intellectual Property and Competition Review Committee (IPCRC)303 argued
that the Crown should not benefit from preferential treatment accorded to it under the
Copyright Act. The Committee recommended that the Copyright Act be amended to leave
the Crown in the same position as any other contracting party.304
300.
301.
302.
303.
ibid., p. 11.
Australian Copyright Council, Artworks and Copyright, 1999.
The Intellectual Property and Competition Review Committee was an independent Committee established by the Commonwealth to
review the impact of the intellectual property laws on competition. The review was established as a result of the Competition Principles
Agreement between the State and Commonwealth Governments. The Committee inquired into the effects of intellectual property
legislation, including Patents, Trademarks, Designs, Copyright and Circuit Layouts, to determine whether the intellectual property
system is meeting the needs of Australian business and consumers while maximising the benefits of domestic and global competition.
The final report of the Committee was presented to the Attorney-General and the then Minister for Industry, Science and Resources in
September 2000.
304. Intellectual Property and Competition Review Committee, Review of Intellectual Property Legislation under the Competition Principles
Agreement, 2000, at http://law.gov.au/ipcr/finalreport1dec/welcome.html, p. 114.
page 135
The Arts Law Centre of Australia submitted to the Inquiry that the privileged position
of the Commonwealth with respect to copyright ownership should be reviewed and
that consultations should occur between government, visual artists and representative
organisations in order to develop a more appropriate policy.305 NAVA also submitted that the
government should remove the legislative preference in favour of government ownership of
copyright.306
The Inquiry notes the Commonwealth Government response to the recommendations of
the IPCRC indicates partial acceptance of the recommendation to amend the Copyright
Act to remove the current preferential treatment accorded to the crown. Specifically,
the Government accepts the finding that the Crown should not benefit from preferential
treatment that is unjustified, but rather than amending the legislation, the Government will
consider the best means to eliminate unjustified preferential treatment for the Crown.
The Government accepts it should not benefit from preferential treatment that is unjustified, and
will first look at development of best practice policy guidelines for crown ownership of copyright
in Commonwealth agencies that could be more immediately effective and serve as a model for
other jurisdictions.307
The Inquiry considers this an appropriate way to proceed on this issue.
Digital licensing
As discussed above, creators of artistic works are now able to control the use and
reproduction of their works in the online environment. As in the off-line environment,
a creator may wish to licence a party to reproduce, publish or communicate a work of art
to the public. A number of issues emerge in relation to the licensing of copyright material
online, including what terms should apply for licences, how payment should be determined,
and what steps should be taken to protect the moral rights of the author.308
On the basis of submissions, the Inquiry believes a consistent, industry-wide approach to
licensing would aid in protecting creators and ensuring visual arts and craft practitioners
are adequately remunerated for the use of their works online by others.309 A draft code of
conduct for collecting societies has been developed. The draft code covers a number of
issues, including digital licensing.310
The Inquiry also notes the Copyright Law Review Committee (CLRC) is currently investigating
the relationship between copyright and contract. The findings of the Committee may have
some bearing on licensing under the Digital Agenda, particularly click-on licences posted on
websites.311 The Digital Agenda is scheduled for review by 4 April 2004.
305. Submission: Arts Law Centre of Australia.

307. Department of Communications, Information Technology and the Arts, Government Response to Intellectual Property and Competition
Review Recommendations, Information Package, at www.dcita.gov.au.
309. ibid.
310. Code of Conduct for Copyright Collecting Societies, p. 2, at www.copyright.com.au/whats_new.htm. VISCOPY is party to the code.
311. The CLRC is due to report to the Attorney-General by 30 April 2002.
page 136
Valuing artists
FINDINGS
The Commonwealth Government should commence consultations with key stakeholders in
preparation for a review of the Digital Agenda, including consideration of the effectiveness of
the voluntary code of conduct for collecting societies in standardising digital licensing practices.
Moral rights
Artists in Australia have legislated moral rights, including the:
right to be attributed as the creator of the work;
right not to have work falsely attributed; and
right to have the integrity of the artists work respected, which includes a right to object
to derogatory treatment of their work which is prejudicial to the creators reputation or
honour.312
There is currently a great deal of uncertainty in the contemporary visual arts and craft
sector regarding the extent to which artists are permitted to forgo their moral rights by
way of a contractual clause. While the Act requires that consent to contraventions of moral
rights be given in a specified form, it is unclear whether the artist can waive their moral
rights, either explicitly or implicitly.313 There is also uncertainty regarding the ambit of the
reasonableness defence, and the way in which this will apply in practice.314 There is no
judicial guidance regarding either issue as moral rights have not yet been raised in the
Australian courts. It is the conclusion of the Inquiry that there appears to be grounds for
government to monitor the impact of the consent provisions and reasonableness defence
in practice. Again, the findings of the CLRC in relation to the current review of contracts and
copyright may have an impact on contracts involving moral rights.
There is also uncertainty in the sector regarding the assertion of moral rights.315 It is not a
legal requirement that moral rights be asserted by way of contract, as these are enshrined
in legislation in Australia. Nevertheless, it is becoming industry practice to include clauses
in contracts asserting moral rights, both in contracts within Australia and with overseas
jurisdictions where assertion is a legal requirement, such as the United Kingdom and
New Zealand. The effect of this growing practice is that the other contracting party is
reticent to sign the contract, and there is more likelihood of the other party insisting upon
a provision whereby the artist contracts out of their moral rights. Thus, while not legally
necessary, it may be practically necessary to include a provision in the legislation deeming
artists to have asserted their moral rights. This would eliminate the need for moral rights to
be asserted by the artist when contracting with overseas companies, and would emphasise
that moral rights do not need to be asserted in contracts to be enforceable.316
312.
313.
314.
315.
316.

W. Rothnie, Consents and Waivers, Paper Delivered at the Copyright Law and Practice Symposium, Sydney, November 23 2001.
Copyright Act 1968, sections 195AR and 195AS. Moral rights are not infringed if the person allegedly infringing the authors moral
rights acted reasonably in all the circumstances. The legislation lists matters to be taken into account in determining whether an act
or omission was reasonable in the particular circumstances. The factors to be taken into account include: the nature of the work, the
purpose for which the work is used, the manner in which the work is used, the context in which the work is used, and industry practice
relevant to the work of the use of the work, and whether the work was made in the course of the creators employment. This defence
does not apply to the moral right of false attribution. For more discussion, see V. Morrison, The New Moral Rights Legislation, 18(4)
Copyright Reporter, 2000, p. 170.
S. Simpson, Moral Rights in Practice: Visual Arts, Paper Delivered at the Copyright Law and Practice Symposium, Sydney,
November 23 2001.
ibid.
page 137
It is also important for businesses contracting with contemporary visual artists and craft
practitioners to consider the impact of including consent clauses on business relations.
Including an unnecessarily wide consent clause is likely to have a detrimental impact
on relations between the parties. If it is unlikely that a breach of moral rights will be
necessary for the contract to be performed, more harm may be caused by the inclusion
of the consent clause than by its omission.317 Arts organisations and legal advisers to
the arts, including The Arts Law Centre of Australia, may be well advised to emphasise
to the sector that there needs to be a focus on the individual needs of the parties to the
contract, rather than on industry practice.
FINDINGS
Government should monitor the impact of the Moral Rights consent provisions and the defence
of reasonableness on the contemporary visual arts and craft sector.
Government should consider including a legislative provision deeming artists to have asserted
their moral rights, in order to curb the growing but legally unnecessary practice of moral rights
being addressed in contracts.
Term of copyright
In a number of overseas jurisdictions, the term of copyright is longer than the term currently
operating in Australia. Copyright in artistic works in all European Union countries and the
United States endures for the life of the creator plus 70 years.318 A number of submitters,
including NAVA and the Australian Institute of Professional Photography, encouraged the
extension of the copyright term in Australia to 70 years after the death of the creator.319
The IPCRC was not convinced there was merit in proposals to extend the term of copyright,
and recommended the current term be retained. Some stakeholders argue that the term of
copyright in Australia should be extended to achieve parity with certain overseas trading
partners.320 However, some submissions to the IPCRC argued against extending the current
term of copyright. Objections cited included:
concerns regarding possible anti-competitive effects;
the public interest in copyright works entering the public domain;
the creation of significant barriers to access and innovation;
there is no evidence an extended term would provide an additional incentive for
creators; and
commensurate additional and unnecessary transactional costs for business, and
in turn, consumers.321
Further to this conclusion, the IPCRC recommended that no extension of the copyright term
should be introduced without a prior thorough and independent review of the resulting
costs and benefits.322 The government accepted the recommendation of the IPCRC.323
317.
318.
319.
320.
321.
322.
323.
ibid.
Submissions: NAVA and Australian Institute for Professional Photography.
Intellectual Property and Competition Review Committee, op. cit., p. 80.
ibid., p. 82.
ibid., p. 84.
DCITA, Government Response to Intellectual Property and Competition Review Recommendations.
page 138
Valuing artists
The Inquiry notes the finding of the IPCRC. The Inquiry also recognises the numerous
submissions it received in favour of extending the copyright terms to 70 years after the
death of the creator.
FINDING
There is pressure from the contemporary visual arts and craft sector to increase the term of
copyright to the life of the artist plus 70 years.
An independent review should be conducted to assess the impact of increasing the terms of
copyright to life plus 70 years.
Duration of copyright in photographs

Currently, the duration of copyright protection for a photograph is determined by different
rules than those applying to other types of artistic material. Generally, copyright in an
artistic work will last for the lifetime of the creator plus 50 years. For photographs taken
before 1 May 1969, copyright lasts for 50 years from the end of the year in which the
photograph was taken. Copyright in photographs taken on, or after, that date will continue
until 50 years after they are first published.324
As a result, all photographs taken before 1 January 1952 are now in the public domain.
For example, many of the well-known images created by David Moore, Max Dupain and
Olive Cotton may now be used freely. For modern artists, the practical effect of this provision
is that where a photographer publishes work from their younger years and has retained
copyright in the work, the photographer will find that copyright will begin to expire as the
artist reaches retirement age.325
The IPCRC recommended in favour of extending the term of copyright for photographs.
Numerous submissions to the Inquiry advocated amendments to the Copyright Act to
extend the term of copyright protection for photographs to the life of the creator plus
50 years. The Arts Law Centre of Australia states in the submission:
There is no apparent justification for a distinction between the protection that should be given to a
painting, sculpture or drawing, and a photograph.326
VISCOPY and NAVA also support the extension of the term of copyright for photographers in
order to achieve parity with other media.327
The Coalition stated in its Arts for All policy document released for the federal Election 2001:
In order to bring the protection of photographers into line with that enjoyed by other creators, the
Coalition will extend the duration of copyright in photographs.328
The Inquiry noted the governments intentions in this regard.

FINDING
There appears to be no philosophical or practical basis for the current differentiation between
the duration of copyright in photographs and the duration of copyright in other artistic works.
324.
325.
326.
327.
328.

ibid., p. 24.
Submissions: NAVA and VISCOPY.
Coalition, Arts For All, Election 2001, p. 21.
page 139
Use by artists of copyright materials: fair dealing

In its submission, the Arts Law Centre of Australia indicated that many contemporary
visual artists wish to utilise existing copyright materials for the purposes of parody or
social comment. There is also a common practice, known as appropriation, involving the
use of substantial portions of copyright materials by artists for the purposes of artistic
expressionfor example, images used to emphasise or to further develop themes or
ideas. Under existing law, the substantial use of a copyright work requires the licence of
the copyright owner, or constitutes a copyright infringement. There are no exceptions for
parody, social comment or artistic appropriation under current law, as this use does not fall
within one of the limited exceptions with respect to fair dealing. A similar problem exists for
artists seeking to incorporate registered trademarks, such as brand names, in their works.
A number of possible recommendations are suggested:
a defence of artistic expression for claims of trademark infringement or defamation of
corporate entity;
an additional exemption to cover the situation of copyright materials reproduced for the
purposes of parody or social comment; or
broadening the existing defence of fair use to cover these situations.329
In Part 1 of its report on Simplification of the Copyright Act 1968, the CLRC recommended
the existing fair dealing provisions be reviewed and relaxed.330 The fair dealing provisions
were also reviewed by the IPCRC. The IPCRC concluded that the benefits to the community
as a whole would not necessarily outweigh the potential costs due to the uncertainty of the
proposed scheme.331 The government has accepted this finding.332
The Inquiry notes that the amendments made under the Digital Agenda have achieved
one of the goals the CLRC sought through the proposed amendment, the extension of fair
dealing to digital uses. The Inquiry also recognises that broadening the exemptions to
copyright would not be without difficulties, as the line between parody, social comment and
artistic expression, and defamation, may be difficult to draw. There would be a high degree
of uncertainty associated with broad fair dealing exemptions for both copyright users and
owners. Extending the fair dealing provisions, while offering benefits to artists appropriating
copyright materials for the purpose of artistic expression, would also have an attendant cost
for the owners of that copyright material. The Inquiry noted the findings of the IPCRC in this
regard, and finds that this issue should be monitored closely by government.
329. Submission: Arts Law Centre of Australia. The third possible recommendation was suggested in consultations between the Inquiry and
Arts Law, January 2002.
330. Copyright Law Review Committee, Simplification of the Copyright Act 1968, Part 1, Exceptions to the Exclusive Rights of Copyright
Owners, 1998, Para 6.10.
331. Intellectual Property and Competition Review Committee, op. cit., p. 15.
332. DCITA, Government Response to Intellectual Property and Competition Review Recommendations.
page 140
Valuing artists
FINDINGS
Currently, the use of copyright materials for the purposes of social comment, parody
or artistic appropriation is not exempted under the fair dealing provisions.
Broadening the fair dealing provisions, while offering benefits to artists seeking to
use copyright materials, would also have an attendant cost for the owners of that
copyright material.
This is a matter requiring close monitoring by government.
Sculptures and craft works on public display

The Copyright Act provides that a sculpture or work of artistic craftsmanship which is on
permanent public display may be photographed, depicted in a drawing or painting, filmed
or included in a television broadcast without the permission of the creator. Subsection 65(2)
provides that:
The copyright in a [sculpture or work of artistic craftsmanship] that is situated, otherwise than
temporarily, in a public place, or in premises open to the public, is not infringed by the making
of a painting, drawing, engraving or photograph of the work or by the inclusion of the work in a
cinematograph film or in a television broadcast.
Further, section 68 provides that the resulting image may be commercialised without the
permission of the creator.333
The copyright in an artistic work is not infringed by the publication of a painting, drawing,
engraving, photograph or cinematograph film if, by virtue of section 65, section 66 or section
67, the making of that painting, drawing, engraving, photograph or film did not constitute an
infringement of the copyright.
This is not the case for other types of visual art, such as murals. The copyright owners in
an artistic work, other than a work of artistic craftsmanship or a sculpture, retain rights
over both the initial reproductions, including filming and photography, and the subsequent
commercialisation of those images, including postcards and films.334
This inconsistency between the rights of copyright owners in different media has led to calls
from VISCOPY and NAVA for the repeal of these provisions.335 Artists have also indicated
concern regarding copyright in installations and performance art.336
The Arts Law Centre of Australia submitted that a review of these provisions is warranted.
Arts Law is cautious about removing these provisions due to the fact that many works
of public art are commissioned, and the benefit would be enjoyed by local councils,
businesses and other commissioning bodies, rather than the artist.337 Arts Law submitted
that if the provisions are repealed, acts undertaken for non-commercial purposesfor
example, photographs taken by tourists or art students for study purposesshould be
deemed to be non-infringing acts not requiring a licence.338
333. It should be noted that there has been little judicial guidance on the scope of section 65. The courts may adopt a narrow interpretation
of the section 65 exception, holding that the exception does not apply where the reproduction of a sculpture or work of artistic
craftsmanship, a three-dimensional work, is substantially similar to underlying two-dimensional works, such as drawings, plans
or sketches. For further explanation of this concept, see I. McDonald, When is an Exception not an Exception? Two-dimensional
Reproductions of Public Art, 20 (1) Copyright Reporter 24, February 2002.
335. Submissions: NAVA and VISCOPY.
336. Submission: Margaret Roberts.
338. ibid.
page 141
The Inquiry is of the view that copyright in public art works is a significant issue for the
sector, and despite the fact that the commissioner of a work of art may benefit from a repeal
of the provisions rather than the creator, the Inquiry finds this is more equitable than the
current position. If the provisions were repealed, the party responsible for the creation of
the work, either the artist or the commissioning body, would be able to enjoy the benefits of
reproduction of the work.
The Inquiry notes one argument against this proposal is that to remove the provisions
may be unworkable, as enforcement would be difficult. However, the same problem would
conceivably occur with respect to a mural or painting permanently displayed to the public,
and yet copyrights exist in these works. The difficulties associated with the enforcement
of copyright in public art is not a persuasive rationale for distinguishing between works of
visual art on public display and craft works displayed publicly. The Inquiry is not convinced
there are compelling policy arguments in favour of retaining these provisions. Further, the
Inquiry recognises that currently, it is often difficult for craft artists to obtain copyright
remuneration from their craft works as a result of these provisions. The Inquiry considers
this is an issue for further consideration by government.
FINDINGS
Currently, copyright law differentiates between sculptures and craft works on public display,
and other types of visual art on public display. At present, sculptures and craft works on public
display can be photographed, drawn, painted, filmed or broadcast without any remuneration
passing to the creator.
Government should consider the viability and implications of repealing the provisions dealing
with copyright in sculptures and craft works on public display.
Artistic works featured in film or television broadcasts

The Copyright Act provides that any artwork, whether publicly displayed or not, may be
reproduced in a film or television broadcast without the permission of the creator if the
inclusion of the artwork is incidental to the principal matters in the broadcast.
Section 67 provides that:
copyright in an artistic work is not infringed by the inclusion of the work in a cinematograph film
or in a television broadcast if its inclusion in the film or broadcast is only incidental to the principal
matters represented in the film or broadcast.
Section 68 provides that the commercialisation of the broadcast or film containing the work
will not infringe copyright. The use of other types of copyright material, such as music or
literature, for similar purposes, is not exempted under the legislation.
The Inquiry considers this is an issue which should be monitored by government.
page 142
Valuing artists
FINDING
Government should monitor the practical effect of the provisions permitting any work of
visual art or craft, whether publicly displayed or not, to be reproduced in a film or television
broadcast without the permission of the creator.
Enforcement of copyright
In some cases, advocacy groups, such as the National Indigenous Arts Advocacy
Association, or collecting societies may be prepared to act on behalf of an individual
copyright owner whose rights have been infringed. However, in the majority of cases,
the individual will need to seek legal proceedings on their own behalf in order to
enforce copyright. Legal proceedings can be difficult for many artists to contemplate, as
proceedings are both complex and expensive.339 Alternative dispute resolution services
are offered by some organisations. For example, Arts Law provides artists and arts
organisations with access to a mediation service.340 However, if a dispute is not
resolved at mediation, the artist may be left without an accessible form of redress
for copyright infringements.
The Inquiry noted the House of Representatives Standing Committee on Legal and
Constitutional Affairs published a report on the enforcement of copyright in Australia in
2000, and several recommendations were made in this report.341 The Arts Law Centre of
Australia submitted to the Inquiry that the government should issue a response to the
report.342 The Inquiry considers this is an issue for further consideration by government,
and that in any response to the report of the Standing Committee, the government should
consider the needs of the contemporary visual arts and craft sector. Further, submissions
have indicated the creation of a legal fund or indemnity for artists may provide improved
access for artists to legal recourse for copyright infringements.343 The viability of this
suggestion should be canvassed by government in any response to the report on
copyright enforcement.
FINDINGS
Difficulties are experienced by visual artists and craft practitioners seeking to enforce their
copyright. However, the problems associated with copyright enforcement extend to all
copyright industries, not only the contemporary visual arts and craft sector.
In any response formulated by government to the report of the House of Representatives
Standing Committee on Legal and Constitutional Affairs on copyright enforcement, the needs
of the contemporary visual arts and craft sector should be considered.

340. ibid., p. 34.
341. House of Representatives Standing Committee on Legal and Constitutional Affairs, Cracking Down on Copycats, 2000, at
www.aph.gov.au/house/committee/laca/copyrightenforcement/contents.htm.
343. Submission: Art Gallery of NSW.
page 143
Copyright Tribunal
In their submission, the Arts Law Centre of Australia argued that the jurisdiction of the
Copyright Tribunal should be extended. Arts Law asserted that the Copyright Tribunal
should have jurisdiction over all collectively administered licence schemes, both voluntary
and statutory licence schemes, and regardless of the nature of the copyright material.
Arts Law also indicated the jurisdiction of the Tribunal should be extended to cover:
new and emerging uses of copyright material;
grievances about the equity of all processes used in the identification of rights owners,
the quantification of royalties and distribution processes; and
requiring parties to engage in good-faith mediation prior to hearing.344
The Arts Law Centre of Australia also recommended that the government issue a response
to the CLRC report on the Copyright Tribunal.345
The CLRC reviewed the procedures and jurisdiction of the Copyright Tribunal, and published
a report in 2000.346 The CLRC recommended the jurisdiction of the Tribunal be extended to
apply to all collectively administered licences, whether statutory or voluntary, to all types of
copyright material and to all types of copyright uses.347 This amendment would bring all the
licensing activities of the collecting societies, including VISCOPY, within the jurisdiction of
the Tribunal.
As with respect to copyright enforcement, the Inquiry is concerned that the jurisdiction
of the Copyright Tribunal extends beyond the terms of reference of the Inquiry, given the
impact of any changes on other copyright industries. The Inquiry considers this is an issue
for further consideration by government, and that in any response developed to the CLRC
report on the jurisdiction of the Copyright Tribunal, the needs of the contemporary visual
arts and craft sector be considered in the policy process.
FINDING
In any response issued by government to the Copyright Law Review Committees report on
the jurisdiction of the Copyright Tribunal, the needs of the contemporary visual arts and craft
sector should be considered.
Statutory licences and equitable remuneration

Submissions indicated that copyright users are increasingly demanding an assignment
of creators statutory licence income (collected and distributed from governments and
educational institutions by the Copyright Agency Limited and Screenrights). For example,
conditions of entry in competitions often involve the assignment of rights to income from
statutory licences.

345. ibid.
346. Copyright Law Reform Committee, The Jurisdiction and Procedures of the Copyright Tribunal, 2000,
at http://law.gov.au/clrc/gen_info/clrc/finalreport/finalreport.pdf.
347. ibid., para 11.12.
page 144
Valuing artists
The Arts Law Centre of Australia presented a number of possible amendments, including:
the right to receive equitable remuneration by a creator cannot be assigned to a
producer or waived;
the right to receive equitable remuneration by a creator may only be assigned to a
collecting society;
the distribution rules of the relevant collecting society must provide that the creator
is paid either 50 per cent of the licence income, or a fair share of income distributed
between all eligible creators of the income; and
the distribution rules of the relevant collecting society cannot be altered by contract
between a creator and producer.348
VISCOPY submitted that creators be guaranteed a distribution of 50 per cent of the
remuneration obtained from statutory licences. This is the approach adopted by the
Australasian Performing Rights Association, the collecting society for the performing arts,
and there are a number of international precedents. The rationale for this proposal is that
under current arrangements, artists are often forced to sacrifice their rights due to undue
influence and unequal bargaining power exerted during the contractual stage. A minimum
guaranteed distribution ensures the creator receives some remuneration for creative effort.
VISCOPY noted the benefits to creators and the loss to producers arising from this proposal,
and concludes that the substantial benefit flowing to creators from this proposal outweighs
minimal detriment suffered by producers, who tend to have higher levels of income.349
The Inquiry accepts that a guaranteed distribution of remuneration from statutory licences
would benefit visual artists and craft practitioners. However, a 50 per cent division of
income is arbitrary, and attracts similar criticisms as discussed with respect to remuneration
for copyright in artistic works accompanying text. The Inquiry recommends that a detailed
examination occur of the costs and benefits of this measure for producers and creators.
If this measure is to be introduced, government should consider whether this is best
arranged through legislative mechanisms, or through negotiation with the relevant
collecting societies.
FINDING
A guaranteed distribution of remuneration from statutory licences has the potential to benefit
visual artists and craft practitioners.
A detailed examination should occur of the costs and benefits of this measure for producers
and creators.
Cost of compliance
The cost of complying with copyright obligations has been raised as an issue by arts
organisations. Artlink indicated in its submission that magazines require additional funding
in order to meet their copyright obligations adequately and make payments to VISCOPY.350
349. Submission: VISCOPY.
350. Submission: Artlink.
page 145
Submissions from major art galleries and museums also indicated that the cost of
compliance is increasingly affecting galleries and museums capacity to reproduce images
for educational purposes and on websites. Special provisions in the Copyright Act permit
museums, galleries, archives and libraries to use copyright for limited purposes without
the permission of the copyright owner. In particular circumstances, museums, galleries,
archives and libraries are entitled to make:
digital or reprographic copies of works for preservation and administration purposes;
digital or reprographic copies of works held in the collection for clients seeking access to
a copy of the work for research or study purposes; and
digital or reprographic copies of works for other institutions.351
Any other use of copyright material which does not fall within one of these limited
exceptions will require the permission of the copyright owner. Uses which will require the
permission of the copyright owner include:
digital copies of works available on websites;
copying works to include in promotional materials, exhibitions catalogues and
invitations;
copying works to include in educational materials; and
copies of works for merchandising.352
The issue of compliance costs for galleries and museums was raised by the Council
of Australian Art Museum Directors in relation to copyright fees collected from public
institutions:
At issue is whether or not artists rights collecting agencies, such as VISCOPY, should charge a fee
to public institutions for the right to use images in educational or promotional purposes which
have no commercial benefit to the public galleries
The Galleries believe that the charge should only be required if the use made of a disseminated
image leads to commercial benefit, at which point a percentage of that benefit would revert to
the artist.353
The galleries, including the National Gallery of Australia, want to make collections available
on the Internet to the public without paying copyright fees or seeking the permission of
artists, provided the size of the images are no more than ten per cent of the screen size
or resolution (known as thumb-nail reproductions). The National Gallery of Australia
submitted that reimbursement should be provided by government to institutions to cover
the expenses associated with digital images.354
Similar concerns were raised by the Museums AustraliaVisual Arts, Crafts and Design
Special Interest Group (VACSIG).355 According to both VACSIG and the Council of Australian
Art Museum Directors, the current situation makes it difficult for galleries to reproduce
artworks on their websites even for educational purposes.
351.
352.
353.
354.
355.
Australian Copyright Council, Galleries and Museums: An Introduction to Copyright Information Sheet G68v1, 2001, p. 4, at
www.copyright.org.au.
ibid.
Submission: Council of Australian Art Museum Directors.
Submission: Brian Kennedy.
Submission: Museums AustraliaVisual Arts, Crafts and Design Special Interest Group.
page 146
Valuing artists
The Inquiry believes providing funding to public institutions to reimburse the cost of
compliance may be a more desirable option than exempting public institutions from
payment but that more work needs to be done on costing such a proposal.
The collection of copyright fees with respect to works reproduced in auction catalogues
is controversial. VISCOPY has now signed a legally-binding contract with the major auction
houses which provides the auction houses with a non-exclusive licence to reproduce,
publish and communicate images in catalogues, advertisements and on the Internet.
The rates range from $50 for one-eighth of a page for works estimated to fetch up to
$2000, to $187.50 for a full-page illustration of a higher priced work.356
Nevertheless, the auction houses, including Christies, assert that copyright should not
apply to resaleas in Britain and United States, where fair usage of the image for the
purposes of resale by the owner is permitted.357 Christies also argue that the waiver of
copyright fees for works reproduced in catalogues can be in the interests of individual
artists:
Auction-houses and art dealers have found that most artists when faced with the prospect of
not having their works illustrated in a sale catalogue because of the imposition of copyright
fees, waive this charge. This is particularly prevalent among the younger, less established artists
who see the exposure that a firm like Christies can give as a way of promoting themselves and
furthering their careers.358
While recognising there is international precedent for excluding the reproduction of

images for resale purposes from copyright law, the Inquiry is not convinced this is a
positive direction for Australian copyright law. Works of art are reproduced in auction
house catalogues for the commercial benefit of the auction house and the vendor, and it is
precisely this situation in which copyright law is intended to protect the interests of artists.
There is anecdotal evidence that where a picture is illustrated in a catalogue for one sale,
but not another, the price varies dramatically. For example, a painting by Ethel Carrick Fox
sold unillustrated at Sothebys in 1997 for $3 910, but when it was resold 18 months later
at Christies after the image was reproduced in the Christies catalogue, the work fetched
$9 200.359 Thus, while there may be promotional benefits for the artist associated with
reproduction of the work in a catalogue, there may also be substantial benefits for both
the vendor and the auction house. These benefits for the vendor and auction house of
publishing the work may outweigh the cost of copyright fees for reproducing the works,
as illustrated in the above example.
In the event that a vendor does not consider the increased sale price likely to be achieved
as a result of the promotion of the work through reproduction in a catalogue will adequately
compensate for the costs associated with copyright liabilities, the artist may choose
to waive their rights and enjoy the benefits of promotion of the work without receiving
copyright fees. As a result, there does not appear to be a compelling argument in favour
of excluding resales of artworks from copyright fees. The current balance between the
interests of artists, collectors and commercial dealers appears to be appropriate.
356. G. Maslen, Agreement Reached on Copyright Cost, The Age, 7 March 2002, at www.theage.com.au/articles/2002/03/07/
1015365722068.html.
357. Submission: Christies Australia.
358. ibid.
359. G. Maslen, Copyrights and Wrongs, The Age, 24 April 2001.
page 147
FINDINGS
Public galleries and museums are unable to absorb the costs associated with providing
their collections in electronic form to the public. Government should examine the effect of
the Digital Agenda on these institutions, and whether funding should be provided to these
institutions to allow copyright fees to be paid.
There does not appear to be a compelling argument in favour of excluding resales of artworks
from copyright fees. The current balance between the interests of artists, collectors and
commercial dealers appears to be appropriate.
Education and public awareness

A number of submissions recommend the government launch a public education campaign
to ensure that both visual artists and craft practitioners and copyright users are aware
of their rights and obligations under intellectual property law.360 Many artists who could
potentially earn income from copyright do not, often because they are unaware of their
economic rights. The Inquiry considers this proposal has merit, and that consultations
should occur between government, key organisations and representatives from the sector in
order to find the most effective way to communicate to the target audience.361 Public funding
provided to artist service organisations should be used to educate the sector.
FINDINGS
A public education campaign should be launched to promote the benefits and obligations
associated with copyright to creators and users.
Consultations should occur between government, key organisations and representatives from
the sector in order to find the most effective way to communicate to the target audience.
360. Submissions: NAVA and Copyright Agency Limited.

361. Submission: Art Gallery of NSW.
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Valuing artists
RECOMMENDATION 3
To protect the rights of visual artists and craft practitioners, the Inquiry recommends
that the relevant Commonwealth government departments take action in relation to the
copyright issues identified by the Inquiry in its findings, including:
3.1
commencing consultations in preparation for the review of the Digital Agenda;
3.2
considering amendments to deem artists to have asserted their moral rights;
3.3
conducting an independent review of the impact of extending the term of

copyright;
3.4
extending the duration of copyright in photographs to match other copyright

media;
3.5
considering the viability and implications of repealing provisions dealing with

copyright in sculptures and craft works on public display;
3.6
examining the costs and benefits of providing a guaranteed distribution of income

from statutory licences to artists;
3.7
commencing consultations regarding a national education campaign to raise the

awareness of copyright creators and users; and
3.8
monitoring the practical application and case law developments with respect to the
following copyright provisions:
definition of artistic work;
moral rights;
fair dealing exemptions; and
exemption permitting artistic works to be incidentally reproduced in film and
television broadcasts.
page 149
INDIGENOUS CULTURAL AND INTELLECTUAL PROPERTY

The issues discussed in the section on copyright are of concern to both Indigenous and nonIndigenous visual artists and craft practitioners. This section of the report will deal with the
specific difficulties faced by Indigenous visual arts and craft practitioners seeking to protect
their cultural and intellectual property.
Definitions
According to Terri Janke in Our Culture: Our Future, Indigenous Cultural and Intellectual
Property refers to the rights of Indigenous Australians to their heritage.
Heritage consists of the intangible and tangible aspects of the whole body of cultural practices,
resources and knowledge systems developed, nurtured and refined by Indigenous people and
passed on by them as part of expressing their cultural identity.362
This definition is consistent with the working definition adopted by ATSIC. The broad
definition of heritage includes:
literary, performing and artistic works;
languages;
spiritual knowledge;
moveable cultural heritage;
immovable cultural property;
ancestral remains; and
documentation of Indigenous peoples heritage in archives, film, photographs,
audiotape, videotape and any other form of media.363
Despite the breadth of this definition, Terri Janke makes the point that any definition of
Indigenous intellectual and cultural property should not be static.
Any definition of Indigenous Cultural and Intellectual Property should be flexible to reflect the
notions of the particular Indigenous group and the fact that this may differ from group to group
and may change over time.364
Further, it should be recognised that for Indigenous cultures, intellectual property rights are
an integral component of their cultural heritage:
Indigenous communities possess some unique features of their knowledge, creative expressions
and innovations, which emphasise communal rights, in which many creative works are oft an
indefinable antiquity, and in which cultural products, expressions and manifestations are tightly
integrated into all other aspects of society. These features are at odds with conventional western
notions of intellectual property.365
362. T. Janke, Our Culture: Our Future. Report on Australian Indigenous Cultural and Intellectual Property Rights. Prepared for ATSIC by
Michael Frankel & Co, Canberra, 1998, at http://www.icip.lawnet.com.au/index.html, p. xvii.
363. Aboriginal and Torres Strait Islander Commission, Intellectual Property,
at www.atsic.gov.au/indigenous_Rights/intellectual_property/Default.asp.
364. T. Janke, op. cit., 1999, p. xviii.
365. M. Davis, Indigenous Peoples and Intellectual Property Rights, Australian Parliamentary Library Research Paper 20 19961997, at
www.aph.gov.au/library/.
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Valuing artists
Copyright in Indigenous works

Copyright protects the creative works of Indigenous visual artists and craft practitioners
to the same extent that it protects material created by non-Indigenous artists. However,
there are gaps between the protection given to cultural material under the Australian legal
system, and the rights and obligations in relation to cultural material under customary
Indigenous legal systems. Particularly, copyright protection is limited in its duration to a
certain period of time and it does not protect styles, methods or ideas. By way of contrast,
Indigenous communities generally recognise ongoing rights in relation to particular images
and styles.366
The gaps between the rights accorded to artists under Indigenous customary law, and
the rights available to artists under the common law and statute, have significance
for Indigenous artists and communities. It is estimated that the Indigenous visual arts
and craft industry has a turnover of approximately $200 million per annum. However,
Indigenous people only receive approximately $50 million in returns.367 Visual arts and
craft are an important source of income for Indigenous artists and communities and the
level of protection offered to Indigenous artists is of the utmost importance to Indigenous
communities. Indigenous visual artists and craft practitioners seek access to a greater
percentage of the returns from the Indigenous visual arts and craft industry, and improving
the effectiveness of intellectual property arrangements is one way of pursuing this goal.
Particular concerns raised by the Indigenous visual arts and craft sector include:
appropriation of Indigenous arts and cultural expression;
appropriation of Indigenous spirituality and languages;
unauthorised use of sacred and secret cultural material;
appropriation of cultural objects; and
unfair contracts.368
Considerations
Moral rights
A number of submissions argued that the moral rights legislation does not provide
adequate protection for Indigenous cultural and intellectual property. NAVA stated:
The federal government should amend moral rights legislation to include protection for collective
rights of Indigenous communities over their traditional intellectual property.369
366.
367.
368.
369.
I. McDonald, op. cit., 2001, p. 13.

T. Janke, op. cit., 1999, p. 26.
ibid., p. xx.
Submission: NAVA.
page 151
The rights of Indigenous communities to assert moral rights are important due to the way
in which cultural property is viewed in Indigenous communities. The Indigenous worldview gives priority to the interests of the community over the interests of individuals. Under
customary law, ownership of cultural property, imagery and folklore is a collective, rather
than individual, phenomenon. The value accorded to cultural property is based upon both
the aesthetic qualities of the work and the degree to which the work reflects the livelihood
and culture of the community. The artist is a custodian of the cultural property, and any use,
alteration or reproduction of the work will need to be approved by community elders.370
These fundamental tenets of Aboriginal customary law are not reflected in the moral rights
regime enacted by the Commonwealth government. There are provisions in the moral
rights legislation permitting creators to specify the nature of the attribution to be made.
This provision may allow Indigenous artists to acknowledge clan affiliations and communal
rights of the clan to the artistic work. However, this provision would not allow Indigenous
clans themselves to require attribution in works containing Indigenous imagery and
ritual knowledge.371
The Arts Law Centre of Australia proposed two amendments to the moral rights regime:
i) the right of attribution be extended to include attribution of a clan if an artistic work
embodies traditional ritual knowledge associated with an identifiable clan; and
ii) with respect to the right to integrity, derogatory treatment of an artistic work embodying
traditional ritual knowledge should be extended to include a treatment that causes
cultural harm to the clan.372
The Arts Law Centre of Australia also highlighted that moral rights are extinguished by the
death of the creator, despite the continuing cultural harm that may be caused to the clan,
and that this is an issue for Indigenous communities.373
In Our Culture: Our Future, Terri Janke also recommended moral rights be extended to
Indigenous custodians representing the community from which traditions are drawn upon
in the creation of the work. Further, Janke recommended the introduction of a new type of
work be consideredan Indigenous cultural work, defined as a work of cultural significance
to Indigenous people. Where ownership of an Indigenous cultural work is communal, rather
than individual, the Indigenous owners should have moral rights in the work.374
FINDINGS
The moral rights regime does not currently provide adequate protection for Indigenous visual
arts and craft practitioners given the social, economic and community responsibilities of artists
under Indigenous customary law.
370. J. W. Githaiga, Intellectual Property Law and the Protection of Indigenous Folklore and Knowledge, 5 (2) E Law Murdoch University
Electronic Journal of Law, June 1998, para 12, at www.murdoch.edu.au/elaw/issues/v5n2/githaiga52nf.html.
371. T. Janke, A Moral Issue: Moral Rights and Indigenous Peoples Cultural Rights, NIAAA Newsletter, Sydney, Autumn 2001, at
www.niaaa.com.au/label.html.
373. ibid.
374. T. Janke, op. cit., 1999, p. xxix.
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Valuing artists
Term of copyright
Concern has been expressed regarding the time limit on copyright. One submission
indicated that for Indigenous artists and craft practitioners, an imposed time limit on
copyright protection neglects the reality of communal ownership of traditional cultural and
intellectual property:
This gap in the legislation fails to protect the most precious resource of Indigenous communities.
The ability to claim communal rights to cultural products would allow Indigenous people to protect
their culture should an artist pass away.375
Many Indigenous artists consider the time limit on protection is inappropriate as rights to
culture last forever.376 This is particularly a problem for cultural material which has been
passed down over the generations, as this material will be in the public domain and hence
will not attract copyright protection. However, Indigenous peoples assert cultural rights to
artistic material in perpetuity.377
Many works of Indigenous arts and cultural expressions have been in existence since time
immemorial and those that are newly created today will remain significant beyond this period.378
The Inquiry recognises the difficulties limited copyright protection present for Indigenous
artists and communities. However, as with moral rights, these issues have resonance in
all kinds of artistic media employed by Indigenous people, and further, have the potential
to impact on all copyright industries, both Indigenous and non-Indigenous. The Inquiry
considers this is an issue for further consideration by government, and that in any future
review of the term of copyright, the particular needs and experiences of Indigenous visual
artists and craft practitioners be given detailed consideration.
FINDINGS
The current time limitation imposed on copyright protection is inconsistent with Indigenous
concepts of cultural heritage and traditional knowledge.
In any future review of the term of copyright, the particular needs and experiences of
Indigenous visual artists and craft practitioners should be given detailed consideration.
Appropriation of Indigenous imagery and designs

A particular area of concern to Indigenous artists and craft practitioners is the wrongful
appropriation of Indigenous images and designs for use in mass-merchandise. The awardwinning Aboriginal artists Banduk Marika recently condemned the use of sacred Aboriginal
images for coffee mugs, tea towels and other tourist merchandise:
Its embarrassing and shameful when you see your totem being used to financially benefit
other individuals379
375. Submission: Hetti Perkins.

376. T. Janke, op. cit., 2001.
377. A. Heiss, Australian Copyright vs Indigenous Intellectual and Property Rights: A Discussion Paper, Australian Society of Authors, at
www.asauthors.org/Indigenous_papers/iicpr.html.
378. T. Janke, Protecting Australian Indigenous Arts and Cultural Expression: A Matter of Legislative Reform or Cultural Policy?, 17 (3)
Culture and Policy, 1996, p. 18.
379. A. Moses, Winning Artist Despairs Tea Towel Images, Sydney Morning Herald, 12 December 2001, p. 5.
page 153
The National Indigenous Arts Advocacy Association (NIAAA) expressed the problem in the
following way in its submission:
In the realm of Fine Art, the breadth and quality of Indigenous Art is acknowledged world-wide, is
respected and valued as a unique Australian artform and become prized additions to international
art collections. Unfortunately, in the secondary mass-produced tourist market, the local
Indigenous industry is being devastated by the importation with impunity of cultural artefacts and
artwork with the intent of being passed off as Aboriginal.380
It can be difficult to access legal remedies for cultural defamation, particularly where the
harm is felt by the community rather than a specific individual. A number of websites have
been established, using methods such as shaming, in an attempt to raise awareness of
hurtful representations.381 Researchers from Macquarie University observing the prevalence
of piracy have now created the House of Aboriginality, a website documenting numerous
examples of misappropriation of Indigenous designs and imagery. This website is intended
to raise public awareness of intellectual property issues and encourage individuals to
report incidents of copyright infringement.382 The exploitation of Indigenous culture not
only compromises the values and respect attached to Indigenous culture, but it also
compromises Australias international reputation, identity and integrity in the tourism
market.383 Two recent sectoral initiatives are directed towards the elimination of piracy and
cultural misappropriation:
a) the development of protocols for dealing with Indigenous cultural property; and
b) the label of authenticity.
Protocols
DCITA, ATSIC and the Australia Council recently funded NAVA to develop an industry
protocols report. Titled Valuing Art, Respecting Culture: Protocols for Working with the
Australian Indigenous Visual Arts and Crafts Sector the report has raised public awareness
and encouraged discussion of Indigenous cultural and intellectual property issues.384 The
report details protocols for dealing with material created by Indigenous people and with
material containing imagery, motifs or styles which are identifiably Indigenous. These codes
are not legally enforceable, but they do establish industry standards that may, over time,
be pointed to as a standard of conduct setting the course for legal rights.385
FINDINGS
While it has been argued that protocols tend to have little direct influence over less reputable
dealers, protocols have an important role in raising public awareness and in encouraging
discourse regarding the protection of Indigenous cultural and intellectual property.
380. Submission: NIAAA.

381. T. Janke, Transcript of Proceedings, Talking Protecting Keeping: Our Aboriginal Arts Rights, Intellectual Property Forum, Perth,
November 2000.
382. House of Aboriginality Project, House of Aboriginality: Copyright and Cultural Integrity Issues in the Merchandising of Aboriginal
Imagery, Macquarie University, Sydney, 1999, at www.mq.edu.au/house_of_aboriginality.
383. National Indigenous Arts Advocacy Association, NIAAA and the Label of Authenticity, Sydney, 2000, at www.niaaa.com.au/label.html.
384. D. Mellor and T. Janke, Valuing Art, Respecting Culture: Protocols for Working with the Australian Indigenous Visual Arts and Crafts
Sector, National Association for the Visual Arts (NAVA), Sydney, 2001.
385. T. Janke, op. cit., 2000.
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Valuing artists
Label of authenticity
Any Aboriginal or Torres Strait Islander person may apply to the NIAAA for certification,
entitling that person to use the Label of Authenticity in relation to their works.386 There is
also a label which official licensees, either Indigenous or non-Indigenous, can attach to their
worksthe Collaboration Mark. The Collaboration Mark denotes that a genuine Indigenous
work has been reproduced under a legal and equitable licensing agreement. Retail Licences
are also available to retail outlets that agree to only sell genuine products or products
carrying the Label of Authenticity.387
To date, approximately 200 artists have registered to use the Authenticity Label.388 Since
inception, more than 245 000 Collaboration Mark labels have been purchased for placement
on merchandise.389 There has been some criticism of the project as a result of the arguably
slow take-up rate.
One perceived problem with the label is that the authenticity label does not distinguish
between fine art and manufactured tourist art.390 However, it is unclear from submissions
whether or not this has impeded the adoption of the label.
The Inquiry notes the Australia Council is currently reviewing the NIAAA, the body which
manages the Label of Authenticity project. The Inquiry is also aware that ANKAA and Desart
are developing their own systems of regional authenticity labelling.
Importation issues
A related issue which impacts on the misappropriation of Indigenous cultural and
intellectual property is the alleged ease with which non-Indigenous people are able to
import objects and merchandise which purport to be authentic Indigenous work.
Greg Singh, director of the Australian Indigenous Art Traders Association, alleges that
an increasing amount of fake art is being imported into Australia from Thailand and
Indonesia.391 Calls are thus being made for stronger customs laws. The NIAAA made this
point very clearly in its submission:
Mass produced articles, replicating product of Australian Aboriginal culture, are imported into this
country from overseas to the detriment of the local Indigenous arts and craft people. The Customs
Act must be reviewed and changed to reflect that artefacts traditionally made by Aboriginal and
Torres Strait Islander people as symbols of and integral to their traditional knowledge and cultural
practice must be protected from foreign copy-cats. Cultural integrity is being watered down and
all respect lost for Australias first citizens who are undeniably woven into the tapestry of this
countrys society and are increasingly used as Australias unique face to the world392
386. National Indigenous Arts Advocacy Association, op. cit., 2000.

387. National Indigenous Arts Advocacy Association, Label of Authenticity Project, NIAAA Newsletter, Sydney, Autumn 2001, at
388. Submission: ATSIC.
389. National Indigenous Arts Advocacy Association, Label of Authenticity Project, 2001.
390. J. Altman, The Indigenous Visual Arts Industry: Issues and Prospects for the Next Decade 20(1) Artlink Australian Contemporary Art
Quarterly, 2000, p. 92.
391. G. Singh, quoted in A. Balmain, Artists Olympian Struggle to get Justice for Brushstrokes, The Age, 19 June 2001.
392. Submission: NIAAA.
page 155
There is no broad legislative instrument prohibiting or regulating the export or import of

articles which reproduce Indigenous designs or imagery on commercial objects without
authorisation.393 Terri Janke argues that Customs legislation should be amended to include
provisions filtering and restricting the export and import of objects contravening Indigenous
peoples rights.394 While Customs legislation has a broad policy environment which extends
well beyond the scope of the Terms of Reference, the Inquiry recognises this is an issue for
the sustainability of the Indigenous visual arts and craft subsector. The Inquiry considers
this is a matter which should be reviewed by government, and that these issues should be
discussed in the context of any future review of Customs legislation in Australia.
FINDING
The Inquiry recognises that customs laws do not appear to provide adequate protection for
Indigenous Australians from the importation of merchandise which infringes copyright. The
Inquiry finds that the effectiveness of Customs legislation in preventing the importation of
objects infringing the intellectual property rights of Indigenous peoples should be discussed
in the context of any future review of Customs legislation.
Cultural heritage legislation

The submission made by Sothebys raised an issue which had not been recognised by
the Inquiry in the Issues Paper released in September 2001. This issue relates to the
Commonwealth legislation titled the Protection of Moveable Cultural Heritage Act 1986
(PMCH Act).
The exportation of objects that are important to Australia for artistic, historical,
ethnological, archaeological, literary, scientific or technological reasons is regulated under
the PMCH Act. The legislation is designed to protect the national interest by keeping
important heritage objects in Australia, while at the same time not unnecessarily restricting
Australias export trade.395
The National Cultural Heritage Control List sets out categories of objects controlled by
the legislation. The list includes objects of Australian Aboriginal and Torres Strait Islander
Heritage (Part 1); archaeological objects (Part 2); and objects of Aboriginal and Torres
Strait Islander fine or decorative art (Part 5).396 For works of Indigenous fine or decorative
art, a permit or exemption certificate will be required under Part 5 if the work is more
than 20 years old and was purchased for more than $10 000. The National Cultural
Heritage Committee considers applications for export permits. If export is denied and a
public collecting institution wishes to purchase the work, funds can be made available to
the institution from the National Cultural Heritage Account to cover a proportion of the
purchase price.397 Where a person exports an Australian protected object otherwise than in
accordance with a permit or exemption certificate, the object is forfeited.398
393.
394.
395.
396.
T. Janke, op. cit., 1999, p. xxvi.

T. Janke, op. cit., 1999, p. xxxv.
D. Mellor and T. Janke, op. cit., p. 85.
The objects included in each part are designated as either Class A or Class B objects. For further information, see the Schedule,
Protection of Moveable Cultural Heritage Regulations 1997. See also D. Mellor and T. Janke, op. cit., pp. 8586.
397. The National Cultural Heritage Account was established under Section 5 of the Protection of Movable Cultural Heritage
Amendment Act 1999 and in accordance with the regulatory requirements of the Financial Management and Accountability
Act 1997. A total of $500 000 was allocated during the 19992000 financial year to establish the Account and it is expected to
be maintained at this level over time.
398. The exporter may also be fined or imprisoned in certain circumstances.
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Valuing artists
The submission made by Sothebys focuses on works requiring permit by virtue of Part 5
of the schedule.399 Sothebys asserts in its submission that the PMCH Act has detrimental
effects on the international and local market in Aboriginal art. Sothebys agrees that the
very best works of Aboriginal art should remain in Australia. However, Sothebys argues
that currently the provisions are too broad, and works are encompassed which are not
necessarily of great cultural significance.
In Our Culture: Our Future, Terri Janke also raised concerns regarding the application of
cultural heritage laws to Indigenous cultural and intellectual property. The inadequacies of
both State-based laws, and Commonwealth laws including the PMCH Act and the Aboriginal
and Torres Strait Islander Heritage Protection Act 1984, include:
Indigenous participation in decision-making is minimal as control over processes to
protect Indigenous cultural material vests in the relevant government Minister;
cultural heritage laws focus on tangible cultural heritage (sites or objects), and do not
protect intangible aspects of a site or object (such as stories, songs and folklore);
cultural heritage protection is only offered for past heritage, not living heritage; and
the emphasis for protection relates to the scientific and historical value of the object or
site, rather than cultural and spiritual values of the community.400
Janke argues that cultural heritage legislation, both State-based laws and Commonwealth
statutes, should empower Indigenous people by allowing local communities and
representatives of that community, to manage and control Indigenous cultural heritage.
Indigenous groups should determine the cultural significance of particular sites and objects
of cultural heritage, and the intangible aspects of objects and sites should be considered in
the assessment of their significance.401
The Inquiry finds the argument in favour of greater levels of Indigenous involvement in
decision-making processes with respect to cultural heritage protection compelling. As with
the regulation of importation of artworks, heritage legislation has a broader social and
political context than the scope of this Inquiry, and on that basis the Inquiry declines to
make specific recommendations which may have wider implications. However, the Inquiry
considers that in any future review of the cultural heritage scheme, the needs of Indigenous
visual arts and craft practitioners specifically, and the needs of Indigenous communities
more generally, be considered in detail, and that decision-making processes be designed to
operate in a consultative and culturally-sensitive manner.
FINDING
There is a desire in the Indigenous visual arts and craft sector for greater levels of Indigenous
involvement in decision-making regarding cultural heritage matters. In any future review of
Commonwealth and State cultural heritage legislation, the needs of Indigenous peoples should
be considered in detail, and decision-making processes need to be designed to operate in a
consultative and culturally-sensitive manner.
399. Submission: Sothebys Australia.

400. T. Janke, op. cit., p. xxiv.
401. ibid.
page 157
RECOMMENDATION 4
To protect the rights of Indigenous people, the Inquiry recommends the relevant
Commonwealth government departments take action in relation to the Indigenous
copyright and Indigenous intellectual property issues identified by the Inquiry in its
findings, including:
the extension of moral rights to Indigenous groups;
misappropriation of Indigenous cultural imagery and iconography;
importation of works purporting to be of Indigenous origin; and
exportation of Indigenous art under cultural heritage provisions.
RESALE ROYALTY
This section considers whether it is desirable, and viable, to introduce a resale royalty
into Australia.
A resale royalty, also called a droit de suite, entitles the artist to royalties when a work of
art is resold on the contemporary art market. This issue has been highlighted by advocates
as an important issue for contemporary visual arts and craft practitioners. The Inquiry has
attempted to assess the potential benefits for visual artists of introducing a resale royalty,
and the likely impact the measure would have upon the market for contemporary art and
craft in Australia.
The importance of resale royalties can be judged by the fact that such a complex issue was
addressed by a large number of submissions received and these were predominantly in
favour of the introduction of a resale royalty scheme. These submissions were considered
when weighing the conflicting views presented in the literature on this issue.
Resale royalties have been adopted in a number of overseas jurisdictions. Generally, these
schemes vary a great deal between jurisdictions. The European Union recently made a
determination harmonising a droit de suite in Europe. Member countries are required
to apply a droit de suite to the work of living artists from 2006, and to all artistic works,
including works of deceased artists, from 2012. This determination will create consistency
across the continent, and introduce a droit de suite in jurisdictions that have not yet
adopted the scheme, such as the United Kingdom. The experience overseas has been
reviewed to determine how a resale royalty could apply in Australia.
The possibility of introducing resale royalties in Australia has been discussed periodically
over the past 20 years. In particular, the disadvantaged position of Indigenous visual arts
and craft practitioners in the market, and the extensive financial and social obligations of
Indigenous artists to the community arising from communal ownership of cultural property
and traditional imagery, has strengthened the call for the introduction of resale royalties
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Valuing artists
in Australia as a tool for increasing the income of Indigenous artists.402 The resale of Water
Dreaming at Kalipinypa by Indigenous artist Johnny Warangkula Tjupurrula for $486 500 in
July 2000after its original purchase in the 1970s for $150has stimulated further debate.
International developments: the Berne Convention

Article 14ter, Droit de suite in works of art and manuscripts of the Berne Convention
for the Protection of Literary and Artistic Works (the Berne Convention) establishes the
international framework for resale royalties and provides its members, which include
Australia, with model provisions.403
Resale royalties are optional under the Berne Convention, and are based upon the principle
of reciprocity.404 In this context, reciprocity means that in each of the nations enacting resale
royalties provisions, foreign nationals will be entitled to royalties under the scheme where
the foreign artists country of origin has enacted similar resale royalty provisions. Foreign
nationals will not be entitled to royalties under a domestic scheme where their country of
origin has not enacted resale royalty provisions.
Resale royalty schemes already operate in the following jurisdictions: Algeria, Belgium,
Brazil, Chile, Czech Republic, Denmark, Equador, France, Germany, Greece, Guinea, Hungary,
Iceland, Ireland, Italy, Ivory Coast, Luxembourg, Mali, Morocco, Peru, Phillipines, Portugal,
Senegal, Spain, Tunisia, Turkey, the United States (California only), Uruguay and Yugoslavia.
Each of these jurisdictions grant benefits to their artists that accrue each time their work
is resold within one of the countries adopting resale royalties. Australia, a signatory of the
Berne Convention, has not introduced resale royalties.
There is no single scheme which is envisaged by the term resale royalty: rather, the
term includes all manner of schemes involving the collection of royalties on the resale of
a work of art. Each of the nations enacting resale royalty provisions has given a different
interpretation of the coverage of resale royalties. For example, the types of visual
art covered, the remuneration and royalties available, the collection and distribution
procedures, and the duration of the right, vary greatly between nations.405
Harmonisation in Europe
The largest art market subject to resale royalties is Europe. The European Parliament and
the Council of the European Union (EU) adopted a harmonisation directive regarding a droit
de suite in July 2001. In summary, the directive aims to harmonise the resale rights of artists
in member countries as follows:
The resale right is an unassignable and inalienable right, enjoyed by the author of an
original work of graphic or plastic art, to an economic interest in successive sales of
the work.406
402. T. Janke, Our Culture: Our Future. Report on Australian Indigenous Cultural and Intellectual Property Rights. Prepared for ATSIC by
Michael Frankel & Co, Canberra, 1998, at www.icip.lawnet.com.au/index.html.
403. Article 14ter, Droit de suite in works of art and manuscripts, Berne Convention for the Protection of Literary and Artistic Works, Paris Act
of 24 July 1971, as amended on 28 September 1979.
404. D. Cliche, International Copyright Legislation The Berne Convention and Droit de Suite, International Comparative Research Group,
Quebec, 1994, p. 2.
405. D. Cliche, op. cit., 1994, pp. 4-5. See also G. Metaxas-Maranghidis (ed.), Intellectual Property Laws of Europe, J. Wiley, New York, 1995.
406. European Parliament and the Council of the European Union, Directive 2000/EC of the European Parliament and of the Council of the
European Union on the resale right for the benefit of the author of an original work of art (1996/0085), Brussels, 19 July 2001, Article 1
and Recitals 14.
page 159
The term of the resale right extends until 70 years after the death of the author.407 The
royalty payable under the resale right is payable to the author of the work and those
entitled under the estate after the death of the author.408
The scope of the resale right under the directive extends to all acts of resale, with the
exception of sales involving consideration of less than EUR$3 000 and those sales
effected directly between persons acting in a private capacity without the participation
of an art market professional.409
Royalty rates are to be tapered on a scale for several price bands, ranging from
40.25 per cent.410
Arrangements for collection and distribution of royalties are to be determined by
member states, without prejudice.411
Member states shall provide that authors who are nationals of third countries, and
their successors in title, shall enjoy resale rights in accordance with the legislation
of the member state only if the legislation of the foreign country includes resale right
protection for authors from the member states and their successors in title.412
The harmonisation of droit de suite is expected to ensure creators a uniform level of
protection, and to eliminate distortions of competition in the European contemporary art
market.413 Member countries are required to apply a droit de suite to the work of living
artists from 2006, and to all artistic works, including works of deceased artists, from 2012.414
The European Commission plans to actively campaign for a droit de suite to be adopted
internationally by making Article 14ter of the Berne Convention compulsory.415
Impact of resale royalties

In examining the likely effect of resale royalties on the contemporary visual arts and craft
sector in Australia, the Inquiry looked at a number of separate issues:
the object to be served by resale royalties;
the magnitude of royalties likely to be collected;
the efficiency of resale royalties;
the distribution effects arising from resale royalties; and
the impact on the Australian art market.
Resale royalties allow creators to benefit economically from the appreciation of their works
of art, an appreciation which without resale royalties only directly benefits collectors.416
407. ibid., Recital 17. The life of the creator plus 70 years is the term of copyright adopted by countries in the European Union and the United
States. Under Article 7 of the Berne Convention and under Australian copyright law, the current term of copyright is the life of the
creator plus 50 years.
408. ibid., Article 6.
409. ibid., Articles 1 and 3.
410. ibid., Article 4.
411. ibid., Recital 28.
412. ibid., Article 7. See also T. R. Shek, Artists Resale Right (Droit De Suite), Institute of Art and Law, 2001,
at www.ial.uk.com/artlaw/topics.htm#resale.
413. Scadplus, Proprit Intellectuelle. Droit dauteur et droits voisins: droit de suite de lauteur dune uvre dart originale (Intellectual
Property. Royalty and rights close: right of continuation of the author of an original work of art) at europa.eu.int/scadplus/leg.
414. European Parliament and the Council of the European Union, op. cit., Articles 8 and 12, and Recital 17.
415. R. Burrell, Recent Developments in European Copyright Law, 2002, p. 6.
416. S. Simpson, Droit de Suite: The Artists Royalty, Simpsons Solicitors, Sydney, p. 6,
at www.simpsons.com.au/library/documents/visarts/visarts89/9Artists.pdf.
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Valuing artists
Resale royalties may benefit artists in the following ways:

providing artists with a contingent income stream to artists which is not
currently available;
empowering artists by allowing them to enjoy a direct economic benefit from the success
of the work, as improving the financial status of the artist will assist the artist to assert
their interests more effectively in the market place and minimise exploitation of their
disadvantaged position; and
recognising the ongoing relationship between the artist and their work, and the extent to
which an artists reputation is linked to the physical product of their creative labour.
In addition, given the recent adoption of a droit de suite by the European Union, artists will
benefit from reciprocal arrangements if resale royalties are introduced in Australia.
Magnitude of royalties
Before it can be determined how much resale royalty would be returned to Australian
artists, assumptions must be made about the coverage and rate. For the purpose of this
section, the estimates of collections made under a resale royalty scheme are based on a rate
of five per cent, with a term of 50 years after the artists death (consistent with Australian
copyright arrangements), and no minimum resale price threshold.
There are no readily available data on the proportion of artworks sold in Australia that
would be eligible for resale royalties. To estimate the value of resale royalty eligible works,
a simple random sample of artists whose works were sold at auction between 1990 and
1999 was drawn from the Australian Art Sales Digest.417 This indicated that approximately
85 per cent of Australian artists whose artworks were sold through Australian auctions in
this time period would be eligible for resale royalties (that is, had died after 1945 or were
still living). The sample also indicated that the average value of resale royalty eligible art
sales sold in this period was $11 000, while that for non-resale royalty eligible sales was
$18 000. Extrapolating from the above results, the sample indicates that resale royalty
eligible artworks make up approximately 75 per cent of the total value of art sales
in Australia.
Assuming 75 per cent is an appropriate proportion for secondary sales through commercial
art galleries, then in 19992000 the value of resale royalty-eligible sales by galleries was
$83.4 million. The above assumptions indicate that, if resale royalties were collected from
all eligible sales by Australian commercial galleries and auction houses, approximately
$6.75 million would have been returned to artists in 19992000. This is a very significant
amount, as this figure exceeds the current total funding of the Australia Councils VACB to
the visual arts and craft sector.
These results must be interpreted with carethe nature of the assumptions made in
determining resale royalties collected means they are best viewed as an estimate
of the likely magnitude of resale royalties in Australia.418 Further, it is possible the amount
of royalties may exceed these estimates as the figures do not incorporate resales by
other sectors.
417.
418.
The numbers are based on calendar year 1999 data for auction houses, and financial year 19992000 data for commercial galleries.
page 161
Additional royalties would also be derived from sales of works of Australian artists in
overseas jurisdictions where resale royalties are in place. As is discussed above, under the
principle of reciprocity set out in the Berne Convention, a resident of a signatory country
that has enacted resale royalty provisions will receive royalties when a work of art created
by that artist is resold in another signatory jurisdiction, provided that jurisdiction has also
enacted resale royalty provisions in compliance with the Convention. Thus, if Australia
were to introduce resale royalties, Australian artists would not only benefit from the resale
of their works in this country, but also in the other countries which have enacted resale
royalties in accordance with the Berne Convention. 419 The magnitude of the royalties which
could be derived from overseas sales is difficult to predict, but would clearly supplement
royalties from Australian sales.
FINDINGS
If resale royalties were introduced, a substantial amount of benefit would be enjoyed by artists,
as estimates indicate that resale royalties calculated on 19992000 sales would amount to
approximately $6.75 million. This would be supplemented by resale royalties payable under
reciprocal arrangements with other jurisdictions, including countries in the European Union.
Efficiency of resale royalties

There is a sizeable literature dealing with the economic effects of the introduction of resale
royalties. Some authors argue that giving an artist an interest in the resale price of early
works provides a credible incentive for artists to maintain the value of their early works by
continuing to produce works of art.420 Other authors argue that the ability of resale royalties
as an incentive to boost production is marginal given the delay between production and
realisation of royalties.421 On balance, it can probably be concluded that, given the state
of the empirical evidence in hand, intelligent, well meaning persons, equally well informed
about economic theory, may well disagree about the efficiency of artists resale rights.422
Evidence from successful collecting societies in Europe suggests the costs of administering
resale royalty systems range from 920 per cent of revenue raised. Statistics provided
by VISCOPY indicate that Socit des Auteurs Dans les Arts Graphiques et Plastiques
(ADAGP), the collecting society responsible for the distribution of droit de suite royalties
in France, deducts an administration fee of 18.6 per cent.423 The Bild-Kunst, the equivalent
collecting agency in Germany, imposes an administration fee of 9.69 per cent for the
collection of droit de suite royalties.424 VISCOPY indicates it could administer a resale royalty
scheme for a comparable administration cost, if not lower.425 It must be noted there will
also be transaction costs involved for the galleries, auction houses and other art market
professionals from whom the resale royalty is collected.
419.
Australian Copyright Council, Droit de Suite: The Art Resale Royalty and its Implications for Australia, A report commissioned by the
Australia Council and the Department of the Arts, Sport, the Environment, Tourism and Territories, Canberra, 1989, p. 27.
420. For a detailed economic analysis of production incentives see J. L. Solow, An Economic Analysis of the Droit de Suite, University of
Iowa, at www.biz.uiowa.edu/econ/papers/uia/ARTLAW3.pdf. See also R. Kirstein and D. Schmidtchen, Do Artists Benefit from Resale
Royalties? An Economic Analysis of a New EU Direction, Centre for Law and Economics, p. 11,
at www.uni-saarland.de/fak1/fr12/csle/publications/2000-07_dds4.pdf.
421. J. C. Wu, Art Resale Rights and the Art Resale Market: A Follow-Up Study (1999) 46 Journal of the Copyright Society of the U.S.A. 531,
at p. 538.
422. R. McCain, Artists Resale Dividends: Some Economic-Theoretic Considerations, Journal of Cultural Economics, vol. 13(1), 1989, pp. 3552.
424. ibid.
425. ibid.
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Valuing artists
Distribution effects
Theoretically, the introduction of resale royalties would result in a loss of value in artworks
for all of the current owners of those artworks. Those owners, having paid for the full
transfers of property rights, would suffer a loss equal to the rate of the resale royalty on
their eligible artworks. This wealth is transferred to those artists whose work appreciates
in value.
Further, there would be a wealth distribution from earlier in an artists career to later. To
the extent that the appreciation in the price of an artwork is anticipatedand first-sale
prices are reduced due to the resale royaltythe resale royalty merely shifts the artists
income away from the current period to a future period (when the artwork is resold). Young
artists would rarely benefit from resale royalties; the benefit would be manifested later in
the careers of artists, once the works have appreciated in value over time and are resold.
Christies indicated its concern about this issue in its submission:
This response to the Inquiry wishes to strongly object in advance to any consideration of the
imposition of Droit de Suite. Such an imposition will be disadvantageous to the younger, less
established artist.426
Of course, this argument depends on a fall in first sale prices, about which little empirical
analysis has been undertaken. The Inquiry is of the opinion that resale royalties would have
negligible effect on the first point of sale market for younger artists. It may also be in the
interests of an artist to have a wealth distribution from their early-to-later career, given that
most artists do not have access to superannuation payments when retiring.
Where the art works of a particular artist appreciate, the resale royalty does represent an
increase in income. This is a wealth transfer from the buyer of the artwork to the artist, to
the extent that the price increase is unanticipated.
A large proportion of the resale royalty collected would go to those artists whose artworks
display the greatest price appreciation, and who, it may be argued, are selling their current
works for higher prices as well. A study conducted for the French Government calculated
that in 1995, of the 2 500 beneficiaries of droit de suite, 288 (or just over 10 per cent)
received 60 per cent of the royalties, while the remaining 90 per cent received just
40 per cent of the royalties.427 Notwithstanding, a large number of other artists may also
gain from resale royalties.
A proportion of resale proceeds will be paid to beneficiaries of deceased artists in Australia
if a resale royalty is introduced. While there is no data readily available on the proportion
of artworks by deceased artists sold in Australia, it is likely to be significant. For example,
in 1999 sales of the works of three deceased artists alone (Arthur Boyd, Sidney Nolan and
Brett Whiteley) made up $12.1 million, or 18 per cent, of total auction sales.428
Nevertheless, the fact that the majority of resale royalties would be distributed to more
successful artists, or their heirs, does not undermine the stated object of resale royalties
in the Australian context: to allow creators to benefit economically from the appreciation of
their works of art. Art often appreciates most significantly after the death of the creator, and
as such it is appropriate for the heirs of the artist to benefit from resale royalties.
426. Submission: Christies Australia.

427. MTIC Limited, Droit de Suite in the UK, report for the British Patent Office, United Kingdom, 1999.
428. J. Furphy, op. cit.
page 163
FINDINGS
The creation of a resale royalty scheme would have a theoretical impact on current owners of
works as a small percentage of potentially achievable sales prices would revert to the original
makers. While theoretically there would also be a transfer in wealth from the early career of
the artist to the later life of the artist, the Inquiry does not believe there would be
an appreciable impact on markets in practice.
Impact upon the art market

The effect that resale royalties would have on the Australian art market is unclear.
Depending upon art market particulars, resale royalties may lead to an increase in resale
prices for art purchasers, a reduction in returns for commercial art dealers, a combination of
the two, or may have little discernible effect on the market.
In the United Kingdom, representatives of commercial galleries and auction houses,
including the British Art Market Federation and the Society of London Art Dealers, have
consistently opposed the introduction of resale royalties.429 The British Art Market
Federation has argued the introduction of resale royalties in Britain will damage the London
art market as vendors will choose to sell expensive art works in jurisdictions where resale
royalties are not levied, such as New York. The majority of transactions would attract
only small royalty payments and there would not be a great incentive to relocate these
transactions. Theoretically, in cases where the resale value of a work of art is high, a market
place where resale royalties is not imposed becomes more attractive for vendors.430
The argument that Australian art sales will move overseas as a result of the introduction
of resale royalties depends on the costs and benefits of selling overseas. One uncertainty
is the level of foreign demand for Australian art and whether prices for Australian art in
Australia can be matched overseas. Australian art and craft receive higher prices in Australia
than overseas, despite growing foreign interest in Australian art. Further, while it is relatively
inexpensive to ship works from Europe to the United States for foreign resale, it is generally
more expensive to ship works from Australia to New York or Geneva due to the distances
involved. As a result, it is unlikely that a great number of works will be transferred overseas
for sale.
A further possible effect on the secondary art market is a reduction in demand as a result
of higher prices charged. Although the resale royalty is commonly levied on the vendor, the
nature of demand in the art market makes it likely that the imposition of resale royalties
will be reflected in sales prices. Any increase in sales prices could be expected to have a
negative impact on the demand for art in the secondary market. It is unlikely, however, that
the imposition of resale royalties in the order of magnitude commonly discussed will have
a great impact on demand. The fact that the major art auction houses in Australia were able
to impose a buyers premium on sales in 1993 on top of the established sellers premium
suggests that the demand for art in the secondary market is highly volatile and would not be
affected by the introduction. Further, this could have a positive impact on the
primary market.
429. A. Labi, The Art of the Deal, 155(13) Time Europe, April 3 2000, at www.time.com/time/europe/magazine/2000/0403/auction.html.
430. J. Van Haeften, Briefing Document: Droit De Suite, British Art Market Federation, London, 2000, p. 2. See also Lords Hansard, Art
Market: VAT and Droit de Suite, 18 May 1998, at www.parliament.the-stationery-office.co.uk/pa/ld199798/ldhansrd/vo980518/text/
80518-01.htm, and C. Murphy, How the French killed their art market 140(12) Fortune, New York, Dec 1999, p. 63.
page 164
Valuing artists
The Inquiry concludes that the impact of resale royalties on the Australian art market is
difficult to predict due to the lack of empirical evidence available. Further, the Inquiry finds
that the measure will not necessarily have a detrimental effect upon the Australian market
for contemporary visual art and craft.
FINDING
As demand in the art market is highly volatile, it is unlikely that resale royalties would have an
impact on the art market over time.
Indigenous issues
Advocates for resale royalties often cite the case of the Indigenous visual artist and craft
practitioner when discussing the need for a resale royalty scheme. Sales of Indigenous
art and craft are estimated to be worth almost $200 million each year.431 While at one
time Indigenous art only tended to succeed in the primary art market, a strong secondary
market now exists in Indigenous art. Major auction houses, such as Sothebys, now conduct
Aboriginal art auctions. In 1990, sales of Indigenous art at auction totalled $169 000.
By 1996, this figure had risen to $1.36 million, and by 1998, sales exceeded $5 million.432
The total value of Indigenous works sold for over $3 000 at Sothebys in 2001 was
approximately $4.95 million. If resale royalty payments were calculated at the rate of five
per cent, payments arising for 2001 sales at Sothebys alone would total approximately
$250 000. The resale royalties would be much higher if sales at the other auction houses
and commercial galleries were incorporated.433 Thus, the amount of benefit redistributed to
the Indigenous community as a result of resale royalties is likely to be significant.
A study conducted for the Australia Council indicates the Indigenous arts sector supports
the introduction of a resale royalty scheme. According to the survey, a number of benefits
would flow from resale royalties to Indigenous artists, including:
providing economic benefits to artists;
empowering and nurturing artists;
recognising the ongoing relationship between the artist and the artists community with
the work and the owner;
inspiring new works;
providing means for artists to meet community obligations;
reducing profiteering and promoting transparency in the sector;
minimising exploitation; and
limiting problems relating to authenticity and provenance.434
431.
T. Janke and R. Quiggin, Getting from Principle to Practice: An Australian Dialogue on Resale Royalty Rights, Consultations with the
Indigenous Arts Sector, Completed by Terri Janke and Company for the Aboriginal and Torres Strait Islander Board of the Australia
Council, Sydney, 2001, p. 4.
432. ibid.
433. ibid., p. 1.
434. ibid., p. iii. These issues will also be discussed in the context of Indigenous cultural and intellectual property.
page 165
There were some concerns expressed regarding perceived risks to the Indigenous art
market, collectors and artists. In particular, concerns were expressed regarding the:
potential negative impact on the Indigenous market;
perceived fragility of the contemporary art market;
possibility of sales in Indigenous art moving off-shore;
possibility that a resale royalty would constitute a disincentive to collectors;
risk of sales becoming more private to avoid payment of the royalty;
possible impact of the measure on galleries and collectors;
potential disadvantages to emerging artists;
possibility that only successful artists will benefit; and
possible creation of an elite market.
Nevertheless, the majority of respondents indicated support for resale royalties, and
considered that the benefits of the scheme would outweigh the potential difficulties.
The form a resale royalty scheme should take, if adopted, attracted some discussion.
Some respondents asserted that resale royalties should be a voluntary measure, and
pointed to several instances where resale royalties are currently being implemented either
voluntarily or through contractual measures. However, the majority of supporters of the
resale royalty suggested it be introduced through national legislation.435
While recognising there may be some drawbacks in relation to a legislated resale royalty
scheme, the submissions received by the Inquiry also generally favoured the introduction of
resale royalties. One submission highlighted that:
The principle of resale royalty is in line with Indigenous understandings of the ongoing ownership
of cultural property and communal rights to it. It is important to remember, of course, that this
ownership also carries extensive responsibilities to ensure its continuance and the potential of
ongoing financial recompense would assist in the maintenance of these responsibilities.436
ATSIC submitted that the introduction of resale royalties would be positive, and highlighted
the need to structure the scheme with conscious regard for Indigenous social and
health issues, and the extended nature of family units.437 These issues are of the utmost
importance as they have a direct bearing on the need for resale royalties. Indigenous visual
artists and craft practitioners often assume positions of great responsibility in terms of
providing financial support to their extended family and the local community. Further, in
many cases the images and iconography utilised by the artist are communally owned, and
the community will expect that any proceeds of the work will be shared. As a result of these
pressures, and the disadvantage often suffered by Indigenous artists in the market place,
the need for a resale royalty is particularly evident.
The Arnhem and North Kimberley Aboriginal Artists Association (ANKAA) emphasised that
informal indicators from commercial galleries, auction houses and art centres indicate that
the market for Indigenous art is growing. Those artists who do stand to benefit currently
435. ibid., p. 11.

437. Submission: ATSIC.
page 166
Valuing artists
from the introduction of resale royalties may receive a very substantial benefit due to the
dramatic increase in the price of numerous works. For example, amongst the Papunya
artists of the 1970s it has not been unusual for the prices for these works to increase a
thousand fold or more.438 This point was also made by VISCOPY:
income derived from a droit de suite scheme would continue to bring income for an artist or their
heirs in a remote community for the life of copyright If international interest in Indigenous art
continues to grow, it is clear that Indigenous art communities would stand to gain increasing sums
from droit de suiteparticularly through the effects of reciprocal benefits derived from overseas
countries markets with droit de suite schemes in place.439
The Inquiry has concluded that the case for introducing resale royalties is particularly strong
given the needs of the Indigenous visual arts and craft sector.
FINDING
The case for a resale royalties scheme is particularly strong for Indigenous artists.
Models
There are a number of different models which could be adopted if resale royalties were to be
introduced in Australia. To summarise, the issues which need to be considered include:
which artworks are to be covered by the scheme;
which transactions are to be encompassed by the scheme;
the rate for calculating the royalty;
whether a minimum sale amount should apply;
whether a maximum payment limit should apply;
the means for collecting and distributing the royalties;
whether the right to royalties could be assigned or waived;
the duration of the right to royalties;
whether resale royalties will be payable to heirs after the death of the artist;
whether resale royalties will be payable to artists overseas;
whether artists will have a right to information regarding sales of their works;
the availability of remedies for failure to pay royalties; and
processes for dealing with conflicts of law.
The analysis conducted by the Inquiry of the various issues is included at Appendix J.
438. Submission: ANKAA.

page 167
Alternatives
Two options have also been canvassed by artists and commercial art dealers as possible
alternatives to a legislated resale royalty scheme.
Contract
An alternative to resale royalties that has been trialed both domestically and internationally
is the inclusion of specific provisions in contracts granting the artist a resale royalty-like
payment on subsequent resales. This method was trialed in New York during the 1970s,
and evidence suggests that few purchasers signed the agreement.440 As indicated above,
in the context of first sales of art work, buyers (particularly commercial art galleries and
commercial auction houses) tend to have a great deal more bargaining power than
sellers (artists). As a result of this inequality of position, art dealers generally dictate
contractual terms.441
Only in rare cases would an artist possess the requisite bargaining power to ensure a resale
royalty-like clause was included in a contract of sale. Clauses have been included in some
contracts of sale in Australia. The Watters Gallery and Legge Gallery in Sydney voluntarily
collect resale royalties of ten per cent for their artists.442 Contracts of sale made through
Adelaides Greenaway Art Gallery include resale royalty provisions.443 Some individual
artists include rights to payments on subsequent resale of their works in contracts of sale.
Indigenous arts centres have explored the possibility of introducing a resale royalty as part
of their contract of sale.444 A recent development in the Indigenous art market is the launch
of the Art Trade Collectors Pledge by VISCOPY and the Australian Indigenous Art Trade
Association (Art.Trade). The Pledge places the owner of a work under a moral obligation to
remit to the artist a minimum of one per cent of the sale price every time the artwork
is sold.445
It is important to remember that resale royalty contractual clauses are included voluntarily
by the galleries; if the galleries decided not to include these clauses, the artist would have
great difficulty asserting their interests.446 Similarly, it is a moral obligation for collectors
to comply with the Art Trade Collectors Pledge, not a legal obligation. A compulsory resale
royalty scheme would ensure artists do not have to rely on the goodwill of auction houses,
commercial galleries and collectors in order to receive a return from sales of their work.447
Further, in the event that such a contractual clause was included, it is questionable whether
the clause would be enforceable against subsequent purchasers. The artist could enforce
the provision against the initial purchaser. However, subsequent purchasers are not
parties to the contract, and as such are not bound by the terms of the contract.448 In New
York, the lawyers representing the artist attempted to resolve this problem by including
a provision in the original contract of sale requiring the purchaser to make any transferee
enter into a direct contract with the artist. The problem with this approach is that even
if the initial purchaser manages to include this term in a subsequent sales contract, the
artist is not a party to this sales contract and if the subsequent purchaser failed to contract
440. Australian Copyright Council, op. cit., 1989, p. 31.

441. G. Pfennig, Practical aspects of the exercise of the droit de suite, including in the digital environment, and its effects on developments
in the international art market and on the improvement of the protection of visual artists, Intergovernmental Copyright Committee,
Paris, 2001, at, p. 3.
442. A. Davis, Artist Resale Royalties, Arts Law Centre of Australia, 2000, at www.artslaw.com.au/reference/003artist_resale_royalties.
443. M. Backhouse, Not all say droit de sweet, The Age, 28 November 2000.
444. T. Janke, op. cit., 1998.
445. VISCOPY, Aboriginal and Torres Strait Islander artists to benefit from Voluntary Resale Royalty Scheme, Press Release, May 2002.
446. S. Simpson, Droit de Suite: The Artists Royalty, Simpsons Solicitors, Sydney, p. 2,
at www.simpsons.com.au/library/documents/visarts/visarts89/9Artists.pdf.
447. A. Davis, op. cit.
page 168
Valuing artists
directly with the artist, the artist has no right of redress.449 These factors militate against
the use of contract as an alternative to a statutory resale royalty scheme. On the basis of
this preliminary evidence, contract does not appear to offer a practicable alternative to a
legislated resale royalty.
FINDING
Leaving resale royalties to contract law is ineffective in providing benefits to artists. An artist
cannot enforce resale royalty terms in an initial contract of sale on subsequent purchasers.
Fund for artists

An alternative adopted in some jurisdictions to remitting funds obtained from resale
royalties directly to the artists is to direct these funds into a joint fund. There are a number
of different examples of centralised funds for artists operating overseas. For example,
a communal fund exists in Norway, where a tax is imposed on the sale of works of art.
The revenue accrued from this tax is deposited into a central fund for the benefit of
professional artists in need, and their families. No individual royalties are granted.450
In Germany, auctioneers and art dealers pay five per cent of their sales of 20th century
art to the German collecting society for the visual arts, Bild-Kunst. Bild-Kunst deduct a
commission for administration, then distribute a portion of this sum to individual artists,
particularly young and emerging artists.451 The German resale royalty scheme also requires
between five and seven per cent of the value of first sales made by dealers, commercial
galleries and auction houses to be contributed to the social security administration.
The advantage of a communal fund for artists is that the benefits of the scheme will flow
to all visual artists, particularly to struggling artists, not just to established artists, as in
resale royalty schemes. The primary focus is welfare, rather than parity with the intellectual
property rights of other types of artists.
However, such a scheme breaks the nexus between permission granted by the resale right
holder to possess the artwork, and payment of a royalty to that right holder. Thus, in the
Australian context, such a royalty may actually be better described as a type of taxation.
As a result, such a scheme may have to be enacted as a separate tax act, rather than
as an amendment to the Copyright Act or as part of resale royalty legislation.452 Such a
hypothecated tax would firstly limit the Governments budgetary discretion, and secondly
would rightly be seen as a tax on secondary art sales, rather than as a legitimate royalty
for artists.
FINDING
The proceeds of resale royalties should be paid directly to the individual artists, rather than
to a communal fund, as this scheme is a type of taxation on secondary art sales, rather than a
legitimate royalty for artists.
449.
450.
451.
452.
ibid.
Australian Copyright Council, op. cit., 1989, p. 32.
J. H. Merryman and A. E. Elsen, Law, Ethics and the Visual Arts, Kluwer Law International, London, 1998, p. 376.
Australian Tape Manufacturers Association Ltd And Others v. The Commonwealth Of Australia (1993) 176 CLR 480 FC 93/004.
page 169
Mechanisms
It is appropriate that the Commonwealth introduce resale royalties (rather than the various
States and Territories), as the current regime for intellectual property protection was
enacted at the federal level.453 A consistent, national approach would be preferable to
different schemes operating in the various States and Territories. Consistency would provide
more predictability in the market, would avoid conflicts of law between the various States
and Territories and would eliminate the temptation for sales in contemporary art and craft
works to migrate to the least intrusive jurisdiction.
An appropriate way of proceeding would be to form a working group comprising
representatives from government and the visual arts and craft sector. 454 The working group
should analyse the options for introducing resale royalties, and determine the process for
introducing the measure. The Inquiry considered models for introducing resale royalties and
further detail can be found in Appendix J.
Review
It is appropriate for the proposed resale royalty scheme to be subject to extensive
scrutiny and periodic review. The working group could determine the timing and frequency
of this review.
RECOMMENDATION 5
To further protect the rights of visual artists and craft practitioners, the Inquiry
recommends the Commonwealth Government:
5.1
Introduce a resale royalty arrangement;
5.2
Establish a working group, comprising representatives from government and the

visual arts and craft sector, to analyse the options for introducing a resale royalty
arrangement;
5.3
Conduct a tender to determine an appropriate body to administer the resale royalty

arrangement; and
5.4
Allocate $250 000 for the development of an implementation strategy.

454. In its submission, Arts Law recommend that this issue be progressed through a review committee.
page 170
Valuing artists
ESTATE PLANNING
Estate planning, and in particular, the preparation of a legally valid will, is an important task
which should be undertaken by visual artists and craft practitioners.455
Planning for the future may include one, or a combination, of the following approaches:
drawing up a will;
disposing of property during the life of the artist by gifts or sale of assets;
acquiring assets as a joint tenant; and
establishing a trust.
All real and personal property in which the artist has an interest should be considered in
the estate planning process. Property forming part of an artists estate can include artworks
produced for sale, artworks held in the artists personal collection, and any copyright and
intellectual property rights (including design, patents and trademarks) in those works of
art, and in the works of other artists. Consulting a professional appraiser may be advisable
where the artist has questions regarding the value of art forming part of the estate.456
There are some kinds of property that will not be treated as part of the estate. These include
moral rights, proceeds of a life insurance policy and superannuation.
Matters to consider
When planning the estate, an artist should consider a number of different matters
pertaining to their property interests. These include:
property owned overseas, as well as within Australia;
property to be treated separately from the estate;
prospective beneficiaries and the future financial requirements of beneficiaries;
individuals with claims against the estate;
assets available to discharge debts and liabilities; and
taxation implications associated with distribution of the estate.
Each artists estate will be different, and the distribution of the estate should be tailored for
the specific circumstances. Taxation arrangements may impact upon the approach adopted
for the distribution of assets.
Drawing up a will is a key component to estate planning. A will is a written legal document
signed by the artist setting out the intentions of the artist for the disposal of his or her
property after death. Wills are flexible, provide a high degree of certainty, and allow artists
to determine the beneficiaries of the estate and the manner in which the benefit is to be
conferred. For example, there are a number of different ways property can be disposed
of under a will, including an outright gift, a conditional gift, an annuity (an annual sum of
money) and a trust arrangement. The will becomes operable upon the death of the artist,
but can be altered or revoked any number of times up until that point.
455. The Inquiry was kindly informed of issues relating to estate planning for artists by confidential documents provided by the Australia
Council, the National Association for the Visual Arts, and ArtsLaw.
456. A. Bamberger, Plan Your Estate Before its Too Late, 2000, at www.artibusiness.com/
page 171
An executor needs to be appointed to carry out the instructions set out in the will, including
the distribution of assets to designated beneficiaries. Some artists appoint one executor to
deal with all matters pertaining to their artworks and artistic practice, and another executor
to deal with the remaining aspects of the estate. Appointing an executor charged solely with
the responsibility for artworks can be beneficial as the artist is able to appoint someone
with expertise in that regard, and the responsibilities for managing the estate are shared,
thereby making the task less onerous. The executor can also be authorised to manage the
moral rights of the artist and take action if these rights are infringed.
The beneficiaries of the estate may be chosen by the artist, provided the beneficiaries
are clearly nominated in the will and that no successful challenge is brought against the
estate.457 Artists may provide for collecting and educational institutions to be recipients
under a will. Most national, state, and regional art galleries, museums, and libraries have
policies in effect for accepting bequests of artwork, and in some cases, other assets.
Institutions use selection criteria to assess whether or not the institution should accept a
bequest. These criteria vary, but often include a consideration of the following factors:
relevance of the artwork to the collection;
significance of the artist and the particular work;
condition and quality of the work;
whether or not the artist is represented in the collection; and
capacity of the institution to store, care for, and display the work.
Institutions are generally more likely to accept a bequest where the artist has a prior
relationship with the organisation, and the works are suitable for the collection. Where an
artist is considering a bequest to a public institution, it is generally advisable for the artist
to contact the institution prior to settling the will, to ensure the bequest meets the selection
criteria for acceptance by the institution and that the institution will deal with the work in a
manner acceptable to the artist.
The creation of an inventory assists the executor of the estate to distribute works of art to
the desired beneficiary. Artists should note in the inventory all artworks:
sold or gifted, and if possible, details regarding the current owners of
the works;
owned by the artist and in the artists possession;
owned by the artist and on loan to others, including the names and contact details for
the borrowers and the terms of the loans; and
held on consignment for sale by commercial dealers, galleries and retail outlets, and the
terms of the consignments.
Each entry in the inventory should include sufficient detail to allow the particular artwork to
be identified. It may be desirable for a slide or photograph of each piece to be included.458
The inventory can be used to ensure all aspects of the artists estate are accounted for in the
distribution arrangements.459 An inventory also serves as an accurate record of the authentic
works of the artist.
457. Under State and Territory family provision legislation, certain relatives and dependents may challenge the terms of a will if there
is inadequate provision made for the support and proper maintenance of family members. Potential claimants generally include
spouses, former spouses, children and other dependents. While artists retain the right to choose the beneficiaries of their estate, if
the artists family is not to be provided for in the will the artist should seek legal advice on the most appropriate drafting of the will to
reflect this intention.
458. P. Moore, C. Trasobares, J. Silberman, and J. Racanelli, Future Safe: Visual Arts, The Estate Project for Artists with AIDS, 1997,
459. ibid.
page 172
Valuing artists
If a trust is created under the will, the artist will also need to appoint a trustee responsible
for any ongoing duties to be performed on behalf of the trust. The powers of the trustee
will vary according to the type of trust created and the assets to be managed. Some of the
discretions that may be granted by an artist to the trustee include the authority to:
obtain valuations for artwork;
enter into agreements with dealers and commercial galleries for the sale of artworks;
sell outright to dealers and galleries; and
enter into consignment arrangements for the sale of works subject to commission.
While life insurance policies and superannuation funds do not legally form part of the
artists estate, these assets can be distributed to nominated beneficiaries. Where an
artist owns these types of assets, it is important for the artist to specifically nominate
beneficiaries, as these assets will not be covered by a will. For those artists who have
superannuation entitlements, it should be noted that legislation requires trustees of
superannuation funds to allocate assets to surviving financial dependents, and that a
nominated beneficiary may not receive the benefits of a superannuation account if they are
not a financial dependent of the artist.
Once arrangements have been made for the disposal of the estate and other assets owned
by the artist, these arrangements should be reviewed periodically by the artist to ensure
they are still appropriate.
FINDINGS
When appointing an executor for a will, the artist may consider appointing an executor
to manage the artistic works included in the estate, and another executor to manage the
remainder of the estate.
Beneficiaries under the will are determined by the artist, and may include collecting
institutions. If the artist is considering making a bequest of works to a gallery or museum,
the institution should be approached to ensure it is able to accept the bequest.
Artists should formulate a comprehensive inventory of their works to assist the planning of
the estate.
page 173
page 174
Chapter 4
strengthening
the infrastructure
The Inquirys terms of reference require it to examine the organisations and other entities
comprising the contemporary visual arts and craft sector; identify key issues impacting on
the future sustainability, development and promotion of the sector; and assess possible
options and make recommendations on actions that might be taken by governments and
the sector to enhance its future.
In its Issues Paper the Inquiry used the term infrastructure to group all the organisations
and other entities across Australia in metropolitan, regional and rural areas that support
contemporary visual arts and craft practice, promote contemporary art, educate and inform
audiences, and preserve and foster a national culture.
While the Inquiry acknowledges there are many areas of interconnection and overlap that
defy any simple demarcation, it was necessary for the purposes of the discussion in this
Chapter to place some boundaries around the term infrastructure. The Chapter includes
issues relating to:
contemporary arts organisations and craft and design organisations;
major art museums, university and regional galleries;
art and craft centres;
artist-run initiatives; and
membership service or national/regional representative organisations.
These organisations fundamentally split into organisations that share the following key
objectives:
creation, presentation and interpretation;
exhibition delivery;
audience development;
sector professional (business) development;
sector artistic development; and
artist advocacy and assistance.
Due to their primary relevance to audience and market development, the commercial sector,
contemporary art and craft journals, the major national and international art events, the
touring agencies and some aspects of the major art museums are dealt with in Chapter 5
Expanding the market.
page 175
CONTEMPORARY ARTS ORGANISATIONS

Contemporary arts organisations are non-collecting, not-for profit organisations that
facilitate the development, creation, exhibition and interpretation of art work by living
artists. Contemporary arts organisations include:
Artspace (NSW);
Australian Centre for Photography (NSW);
Australian Centre for Contemporary Art (VIC);
Centre for Contemporary Photography (VIC);
200 Gertrude Street (VIC);
Institute of Modern Art (QLD);
Perth Institute of Contemporary Art;
Contemporary Art Centre of South Australia;
Experimental Art Foundation (SA);
Contemporary Arts Services Tasmania;
Canberra Contemporary Art Space; and
24HR ArtNorthern Territory Centre for Contemporary Art Centre
Contemporary arts organisations work closely with artists, performers, writers and curators
in the creation of exhibitions and events, engaging with artists to generate new artworks
and new ways to exhibit and promote that artwork. They also work in partnership to create
a national network in support of experimental and innovative art practice. Contemporary
arts organisations are all co-funded by the Australia Councils VACB and their respective
State and Territory funding agencies.
The organisations listed above are all members of CAOS: Contemporary Arts Organisations
of Australia, an umbrella organisation created to enhance communication between
Australian arts organisations in order to extend the resources of existing infrastructure
thereby delivering greater support to artists and to facilitate inter-network cooperation and
collaboration.460 The Performance Space and Boomalli Aboriginal Arts Cooperative (both
in NSW) and the Australian Network for Art and Technology are also members of CAOS but
they are not funded through the VACB.461
There are other organisations in Australia that perform similar roles to the contemporary
arts organisations listed above but which are not members of CAOS. These include Umbrella
Studios in Townsville, Kick Arts in Cairns, Metro Arts in Brisbane, Linden in Melbourne and
the Casula Powerhouse Arts Centre and Gallery 4A in Sydney. The Museum of Contemporary
Art in Sydney and the Ian Potter Gallery in Melbourne are collecting institutions that also
have as one of their primary roles the presentation of exhibitions of contemporary visual art.
460. Submission: CAOS.

461. They also have divergent roles from the others. Boomalli is an urban art and craft centre with a foregrounded community role; ANAT
is an art and technology advocacy and membership service organisation and the Performance Space while promoting and supporting
visual art practice such as installation, performance art and digital artforms, is primarily focussed on contemporary performance
presentation, support and advocacy.
page 176
Strengthening the infrastructure
Contribution to the sector

The art that contemporary arts organisations present is typically experimental, noncommercial, ephemeral or transient, and site-specificmeaning that each exhibition will
be in many ways unique and unrepeatable. Exhibitions are often created through the
interchange of ideas and expertise between artists and staff. Some works would be unlikely
to be created if the contemporary arts organisations were not there to facilitate its creation.
At this level, contemporary arts organisations are not service providers for artists but are
better seen as part of a symbiotic creative process with contemporary visual artists.
The non-exhibition based activities undertaken by contemporary arts organisations include
publishing, off-site and Internet-based projects, educational programs, residency and studio
management, interstate and international artist and art exchanges, as well as specific
projects for target groups such as emerging artists, culturally diverse artists and Indigenous
artists. These are as essential to the overall program as the exhibition program.462
By concurrently exhibiting the work of artists from many different areas and backgrounds
the contemporary arts organisations create opportunities for dialogue and discussion and
have a developmental impact on the art and careers of artists.
The production of art facilitated by this sector is vital to the health of the contemporary visual
arts as a whole. As catalysts, curators, commissioners and presenters of visual culture, much
innovative practice would not be possible without these organisations. The contemporary arts
organisation sector is one of the primary routes by which new work, new forms and new practices
are developed and disseminated to the public. This responsibility for this transaction of ideas
operates beyond simple support for making and presenting art and encompasses an exploratory
and discursive role. Contemporary arts organisations are involved with the production of objects
and events, and the facilitation of the intellectual debates that surround them. The encouragement
and facilitation of such dialogues is vital to the healthy development of a culture.463
Similarly, by working with artists from overseas through studio residencies, exhibition
touring and other forms of cultural exchange, the contemporary arts organisations often
create relationships which develop international opportunities and spin-offs for artists.464
The contemporary arts organisation sector has had a significant role in pioneering new
international relationships that are deployed in events such as the biennales, the Asia-Pacific
Triennial, Artists Regional Exchange (ARX) and the Melbourne Art Fair in Australia, and a range
of exhibitions, art fairs and events overseas. These developments have been brought about by
individual organisations, contemporary arts organisations collaborating with other contemporary
arts organisations and latterly through CAOS itself seeking opportunities and developing them,
(such as coordinating representation at ARCO 2002 on behalf of the sector).465
This kind of work has often played an important role in promoting Australia internationally. Our
broadly inclusive policies have often anticipated Government priorities including engagement
with the art and culture of the Asia-Pacific region (and in Western Australia, increasingly the Indian
Ocean region).466
462.
463.
464.
465.
466.
Submissions: EAF and IMA.

Submission: CAOS.
Submission: CAOS.
Submission: PICA.
page 177
Artists are actively encouraged to experiment and to focus on ideas without concern
for market acceptance. This work will often have implications beyond their immediate
environment in the form of both methodology (e.g. the development of museum curatorial
practices in the exhibition and collection of contemporary art), and outcome (e.g. the
development of commercial markets for new artforms such as video and digital media).467
While this work will be made without reference to market demands, nonetheless, the artistic
developments achieved in contemporary arts organisations impact on artists commercial
practice. Contemporary arts organisations also affect the commercial market by introducing
and supporting the development of many artists whose work acquires significant status and
commercial value over time within the art market.468 They also often support established
artists by allowing them to revitalise their practice and create developmental work in a
non-commercial environment. While contemporary arts organisations interact with the
art market in this way they do not compete with the commercial galleries through actively
promoting or selling artwork.
In 2000, contemporary arts organisations exhibited the work of more than 1500 artists in
more than 350 exhibitions.469 In the same year, contemporary arts organisations and their
projects had a combined audience of more than 400 000.470
Contemporary arts organisations consider their role in mentoring emerging arts
professionals a key contribution of their organisations to the sector.471 In 2000 they had
more than 50 full and part-time paid staff and 180 volunteers. Volunteers are often either
members willing to demonstrate their commitment to their organisations with their own
time, or work placements from one of the many graduate arts management courses that
are training tomorrows arts professionals. Arts management students receive invaluable
experience in multi-skilling, creative budget-driven problem solving as well as first hand
experience working with visual artists while they develop and install and maintain artworks.
In this way the contemporary arts organisations contribute to the development of the next
generation of arts professionals.
FINDINGS
Contemporary arts organisations play a major role in the development of contemporary
art practice in Australia. Through their exhibition, educational and promotional activities
they nurture the careers of artists and arts professionals. They provide opportunities for
the revitalisation of the work of established artists and they also provide initial professional
experience for emerging artists and emerging curators. Through their network they help build
audiences, create demand for contemporary art and pioneer new international relationships.

468. ibid.
469. Submission: CAOS, and Power Institute of Fine Art and the National Association of Visual Arts, A Planning Matrix for the Visual Arts,
2002.
470. ibid.
page 178
In submissions and in the Inquirys consultations with contemporary arts organisations

there were recurring concerns about missed and/or unrealised opportunities and their
capacity to meet increasing expectations placed on them by artists, funding bodies,
general audiences and their own employees. Increased expectations have meant that
these organisations face cutting back services or struggling to make up the shortfall at the
expense of the professionalism they are expected to show in carrying out core business.472
200 Gertrude Street pointed to some of the issues facing the organisation, which the Inquiry
observed are applicable to all:
(In the last five years) there have been improvements in the productivity, effectiveness and quality
of product produced by contemporary art organisations, including 200 Gertrude Street, as well
as increasing professional demands upon the sector, related to such things as: legal compliance
and corporate governance; financial accountability and audience and market development
responsibilities.473
Almost all submissions from contemporary arts organisations pointed out the difficulty
of working with new technologies. As the Centre for Contemporary Photography stated,
experimentation in these burgeoning areas is vital to the dynamism and innovation of
the sector. 474
However, it was also pointed out that:
Contemporary art organisations work at the forefront of new ideas and formsand with artists
who are among the earliest adopters and adaptors of new technologiesthere has been a
significant increase in the demands to acquire new hardware and software to assist artists in the
production and presentation of their work.475
200 Gertrude Street was one of several that identified the expectation that contemporary
arts organisations will have the appropriate technological infrastructure as they are one of
the few arenas for digital art in Australia. As the submission from the Australian Centre for
Photography points out:
Visual art in general and photo-based art in particular is becoming increasingly reliant upon
sophisticated and costly technology for its presentation. Yet we are funded at a scale set when
artists brought their work into the gallery and you simply had to place it and light it.476
Contemporary arts organisations are not able to create sufficient reserves for sustained
promotion or development, to build audiences or to create staffing levels that allow senior
staff the time to create cultural and financial allegiances with non-arts organisations. For
example, the Institute of Modern Art submitted that:
In order to move to the next level of sponsorship development, arts organisations need an
effective marketing budget. This will enable us to host corporate functions and attract potential
sponsors. For example, established media partnerships and higher level sponsors will not
consider a proposal unless you bring national advertising to the table. Advertising budgets should
be 825% of the total budget, depending on the nature of the business. Currently ours is 0.05%.
Arts organisations can simply not compete and funding bodies have been extremely naive in their
expectations of what arts organisations can achieve in this area.477
471.
472.
473.
474.
475.
476.
477.
Submission: CAOS.
Submission: CAOS.
Submission: CCP.
Submission: ACP.
Submission: IMA.
page 179
The submission from ACCA reiterates the position:

There is clear evidence to suggest that when substantial resources are made available for strategic
marketing and publicity services to be applied to a contemporary visual arts event, there are
clearly quantifiable outcomes in terms of increased media attention and significantly increased
audience attendance figures. Such is the case with the benefits of having access to the extensive
marketing services of a state funded international festival of arts for an individual participating
organisation.478
The capacity to attract and keep appropriately skilled staff is also a widespread concern.
Salaries, benefits and work conditions are not competitive with the conditions and
entitlements available in other sectors.479
One submission stated that while a contemporary arts organisations Board of Directors
will understand it has a duty-of-care for its staff, it may have no financial capacity to ensure
appropriate administrative support let alone professional development opportunities,
appropriate levels of remuneration and healthy, safe working conditions.480
The Inquiry also noted the commitment the organisations put into exhibitions (through staff
time, exhibition costs and artists fees) is not sufficiently matched by promotion, audience
development, educational initiatives and publications and documentation. For this reason,
there is a danger that the exhibitions themselvesbecause of the inherent ephemeral
nature of such workdisappear from the public and artistic record, devaluing the work and
limiting its influence on future artistic developments.
FINDINGS
Contemporary arts organisations are finding that, due to inadequate levels of funding,
it is increasingly difficult to meet rising expectations of artists, staff, the public and funding
bodies, and to exploit potential business and market development opportunities. There
is also a lack of capacity to document and promote the artwork being created in their
exhibition spaces which limits the long-term creative development of the visual arts in
Australia. There is also a limited capacity for creative experimentation due to the cost of
new technology.
478. Submission: ACCA.

479. Submission: 24HR Art.
480. Submission: PICA.
page 180
Financial analysis
Income
In 2000, the contemporary arts organisations total income from all sources (including
grants) was $4.9 million.
Table 4.1 Comparison of selected account items in 1991 and 2000 of 12 contemporary arts organisations
(actual dollars)
Income
Australia
Council
State
Project
funding
Other
revenue
Total
income
1991
$643 302
$1 140 933
$206 071
$698 358
$2 688 664
2000
$898 889
$1 790 136
$499 312
$1 709 714
$4 898 051
% increase
40
57
142
145
82
Source: Annual Reports of individual organisations
The Commonwealth Government has been funding contemporary arts organisations

since the creation of the Visual Arts Board in 1973. The State Governments and the
Commonwealth Government through the Australia Council have funded contemporary arts
organisations in partnership with the Commonwealth contributing, on average, one-third of
recurrent government support and the State or Territory contributing two-thirds.
As a matter of Visual Arts Board policy, the network was developed in the 1980s on a oneper-state basis at a generally equivalent level of funding (regardless of roles, functions and
standards) across the States and Territories.481
In 2000, the 12 organisations received total funding (Commonwealth and State) of
$3 188 337 of which:
$2 063 881 came from State and Territory Governments ($1 790 136 for annual
administration support and $273 745 for project support); and
$1 124 456 came from the Australia Council ($898 889 through the Triennial Grants and
$225 567 for projects).482
481.
Australia Council, Visual Arts/Craft Board: National Infrastructure ReviewSummary and Recommendations, Australia Council, Sydney,
July 1993, p. 3, and Australia Council, VAB Assistance for Contemporary Art Spaces Policy Guideline, Australia Council, Sydney, March
1987, p. 3.
482. Annual Reports and Inquiry questionnaire.
page 181
Figure 4.1
Core funding for 12 Contemporary Arts Organisations from States/Territories and Commonwealth Government
$450 000
$400 000
$350 000
$300 000
$250 000
$200 000
$150 000
$100 000
$50 000
$0
CCP
Gert. St
24HR Art
Source: Annual Reports 2000
EAF
IMA
ACCA
State/Territory
PICA
ACP
CAST
Artspace
CCAS
CACSA
Australia Council
The Australia Council funds contemporary arts organisations through its Key Organisations
category, the purpose of which is to develop a viable strategic infrastructure to advance
the arts in Australia through the provision of operating funding to a limited number of
organisations.483
Roughly two-thirds of government support is for general program and administration
expenditureartists fees, salaries, exhibition costs, electricity, rent, insurance etc.
One-third is gained from project fundingmoney to be spent very similarly to the general
running costs support but for specific projects.
The majority of non-government income for contemporary arts organisations came from
the income generating programs of the organisations. In 2000, income typically came from
workshop fees, membership fees, publications and advertising sales, studio rental and
sponsorship. As can be seen from table 4.1, revenue (other than core funding) is increasing
at a far more rapid rate than core administration support.
Despite extremely limited marketing and fundraising resources, in 2000 the contemporary
arts organisations raised more than $308 800 in sponsorship.484 A large proportion of this
was in-kind support but the breadth of donors/sponsors and the breadth of activities they
supported indicate that there are many possibilities for greater partnerships between the
corporate sector and the contemporary arts organisations.
In 2000, sponsors included Agfa, Sanyo, Ilford, Lake Technology, Woolmark, Ian Potter
Foundation, Photo Technica, Nikon, Carlton United Brewery, Adobe, and Bang and Olufsen.
Benefactors included Mondrian Foundation, Australia-Korea Foundation, Monash University,
the British Council and the University of Dundee, Scotland. 485
483. Australia Council, Support for the Arts Handbook, 2001, p. 124.
484. The figure of $308 800 includes $180 000 sponsorship of ACCA by Monash Universitythis is a sunset sponsorship agreed to at the
point where ACCA was legally reconstituted into a separate entity from Monash University.
485. Contemporary Arts Organisationsvarious Annual Reports for 2000.
page 182
Another form of benefaction takes the form of support for the organisations from the staff
and artists. As the submission from Canberra Contemporary Art Space states:
Staff subsidise the organisation by working for much less than award rates in less than ideal
conditions. The artists also subsidise this organisation by funding their own materials and
installation time.486
Another form of income/support comes from the community. All the contemporary arts
organisations are assisted by the generous support of volunteers. The situation of the
Contemporary Art Centre of South Australia can be considered typical:
During 2000, five to six volunteers were required weekly [i.e. 3540 hours] On an annual basis the
aggregate of this free volunteer assistance is equivalent to one fulltime position of 1 920 hours,
with an estimated salary of $3035 000. Without this volunteer support... the CACSA would be
unable to fully execute its programs.487
However, this form of income is not without pitfalls. As The Performance Spaces submission
noted, there is a breaking point for individuals as to how much personal time and resources
they can invest.488
Another potential avenue of income could come from the sale of artworks being exhibited.
Australia Council policy precluded contemporary arts organisations from overtly selling
artwork in the past but this is no longer the case. Another factor inhibiting charging
commissions on artwork sold is that the sale of art has been considered inimical to the
contemporary arts organisations research and development ethos.
Expenditure
In 2000, the contemporary arts organisations total expenditure was $4.7 million.
Table 4.2
Comparison of selected account items in 1991 and 2000 of 12 contemporary arts organisations (actual dollars)
Expenditure
Artists
fees
Exhibition
expenses
Insurance
Salaries
Other
Total
expenses
1991
$139 471
$410 552
$32 550
$961 570
$1 207 947 $2 752 090
2000
$246 472
$847 853
$128 156
$1 825 539
$1 624 510 $4 672 530
% increase
77
107
294
90
34
70
Source: Annual Reports/Advice to Inquiry from contemporary arts organisations
Table 4.2 shows increases for some items of expenditure have risen above 100 per cent from
1991 to 2000.
In 2000, the 12 contemporary arts organisations paid $246 472 to artists by direct artists
fee payments. They spent $847 853 on exhibition costs (the costs directly associated with
the creation and exhibition of works of art, almost all of which would have been created for
the exhibition space or created in the preceding twelve months).
486. Submission: CCAS.

487. Submission: CACSA.
488. Submission: The Performance Space.
page 183
The significance of this expenditure is highlighted when compared with the direct grants
from the VACB that in 2000 paid 60 artists a total of $895 282 in New Work grants.489
While the aggregated artists fees figure seems reasonable, and has grown significantly over
the last ten years, in 2000 the contemporary arts organisations exhibited more than 1 500
artists in 350 exhibitions. This averages out to a payment of $164 per artist in artists fees
and just $700 per exhibition.
Program expenses such as artists, writers and curators fees, installation costs, printing
and costs of hiring or buying new technology as well as administration expenses such
as salaries, rent, insurance etc are increasing at far faster rates than current government
support. The shortfall between increasing expenses and income is a danger to the
continued viability of contemporary arts organisations. As the submission from
CAOS states:
CAOS organisations whilst having to adjust their programs to accommodate increases in
operational costs have had no choice but to reduce programs in order to maintain professional
standards.490
FINDINGS
Contemporary arts organisations have been able to obtain some sponsorship mainly of an
in-kind nature. They have increased self-generated income substantially in the last ten years.
They have limited their cost increases where practicable and have proven themselves fiscally
responsible. However, rising costs and funding shortfalls have had a significant impact on their
programs and are threats to their continuing viability.
The Inquiry concludes that contemporary arts organisations play a significant role in
the contemporary visual arts and craft sector through their developmental, educational,
exhibition and promotional functions. They are ideally placed not only to maintain vibrancy
in the visual arts but also to build audiences and demand for contemporary visual arts. The
general limitations and the inability to deliver to their full potential that contemporary arts
organisations experience due to their financial situation were apparent to the Inquiry on its
visits to the organisations, and are borne out by their relatively modest incomes and small
surpluses in a time of rising expectations and costs.
Contemporary arts organisations continued operation at current levels will further reduce
their ability to nurture emerging and innovative artists, writers and curators as well as
risking lost opportunities to grow the sector and audiences for Australian contemporary
visual arts at home and abroad. The shortfall between rapidly increasing expenses and
relatively static income threatens the continued viability of the sector.
The Inquiry has set out its Guiding Principles for the sector earlier in this report. In the
opinion of the Inquiry contemporary arts organisations should be the vibrant, strategic,
adaptable and sustainable organisations that can nurture and support Australian
contemporary visual arts in developing their creativity, skills and professionalism, and
489. Australia Council, Annual Report 20002001, Sydney, 2001, and VACB 2000 Assessment Report (increased to $941 091 in 2001).
page 184
to exhibit, promote and to some degree market their work. They should energise audiences,
inspire visitors young and old, and attract media and sponsor and benefactor interest.
They should be the organisations that will ensure that Australian artists maintain pace
with changing international standards in arts practice and exhibition, including advances in
technology. Currently they are unable to adequately perform those functions.
In the opinion of the Inquiry these are convincing arguments for increased government
support for the contemporary arts organisation sector. As detailed above, governments and
particularly State governments, are the contemporary arts organisations major financial
stakeholders. The Commonwealth, through the Australia Council, has a long-standing
commitment to the contemporary arts organisations because of their contribution to the
national culture. Elsewhere in this Report the Inquiry has detailed a range of measures
where the Commonwealth can take the initiative through tax concessions to assist the
sector including contemporary arts organisations. Notwithstanding that, the Inquiry
believes the Commonwealth should make additional funding available to contemporary arts
organisations through the Australia Council, as a contribution to ensuring that the vitality of
this part of the sector does not fade and that its potential to enhance the national culture is
not lost.
The specific outcomes of even moderate additional funding would include the ability of
contemporary arts organisations to cope with rapidly increasing expenses such as artists,
writers, and curators fees, installation costs, printing and costs of hiring or buying new
technology as well as administration expenses such as salaries, rent, insurance etc. More
than that, it would give the organisations the ability to properly document and promote the
artwork being created and potentially increase their ability to exploit business and market
development opportunities towards the long-term creative development of the visual arts
in Australia.
page 185
Leadership organisations
While the Inquiry believes there is undoubtedly a need for an across the board increase in
support for all contemporary arts organisations, it also believes there is a need for some
organisations to take on a leadership role nationally and a developmental international role,
developments in art and technology including sound, performance, and other hybrid
forms of visual arts practice.
These are key developmental areas for the sector that are currently under-supported.
Submissions received by the Inquiry have indicated the great need for policy driven
and properly funded continuing programs within these areas to create long lasting and
sustainable benefit.
If opportunities continue to be missed or neglected, there is the danger of dissipation of
support, inability to properly target energies and funding toward generally agreed sectoral
benefit and the inability to create lasting relationships based on corporate memories
outside the sector and internationally.
The Inquiry believes that some contemporary arts organisations have reached the necessary
program and structural strength and have shown proven ability and could, with properly
increased financial support, move to a level where they become leading contemporary arts
organisations with responsibility to create opportunities for the sector as a whole.
While this chapter has focussed its analysis on 12 specific organisations there are a number
of other organisations (mentioned in the introduction of this section) that are not part of the
contemporary arts organisation network but would nevertheless be suitable organisations
to undertake leadership functions within the sector. Therefore, the Inquiry does not wish
to limit the eligible organisations which may become part of the pool from which the
leadership organisations would emerge.
Key criteria for the organisation to be given leadership status would be its proven financial
and program potential and proven ability to quickly and substantially develop new programs
and responsibilities without organisational destabilisation. The creation and maintenance
of the leadership organisations would require patient, mature and careful management by
all parties.
page 186
RECOMMENDATION 6
To strengthen the key role played by contemporary arts organisations in the development
and promotion of contemporary visual arts, the Inquiry recommends:
6.1
increase funding for contemporary arts organisations by $2 million per annum to
6.2
In implementing this recommendation, the Commonwealth commits an initial

amount of $1 million per annum and the Commonwealth and the States and
per annum.
agreements.
6.3
That the Commonwealth, State and Territory funding agencies also agree
to allocate some of this funding for a limited number of contemporary arts
organisations for:
a. the development of sustainable business practices;
b. the development of major sponsorship opportunities; and
c. leadership roles nationally and developmental international roles, particularly
with regard to:
conferences;
developments in art and technology including sound, performance, and other
hybrid forms of visual arts practice.
6.3.1 That the selection of organisations be by application and based on criteria
relating to:
page 187
CRAFT AND DESIGN ORGANISATIONS

Australia has seven State or Territory based craft and design organisations run on a
professional basis, and a national organisation, Craft Australiaall of which were
established in the 1960s and early 1970s. They began as membership entities with the
mission of providing professional assistance, advice, training and workshop facilities and to
advocate the cultural importance of craft to general audiences and government.
The craft and design organisations have been instrumental in developing and
professionalising craft practice in Australia over the last three decades. More recently,
they have taken on additional roles including exhibition development and touring, studio
management, commissioning, links with industry, internal networking and publication
production. Most craft and design organisations also have a retail function. Their work
supplements a large number of media specific craft guilds and associations (often run on a
volunteer basis).
The State and Territory based craft and design organisations are:
Craftwest (WA);
Craftsouth: Centre for Contemporary Craft and Design (SA);
Object: Australian Centre for Craft and Design (NSW);
Craft Queensland;
Territory Craft (NT);
Craft ACT;
Craft Victoria; and
Craft+Design Tasmania.491
Only Canada has an equivalent infrastructure which, like Australia, is funded by a
partnership of national and provincial arts agencies. 492 Other countries support of craft
practice is either more centralised, as in the case of the United Kingdom or more orientated
to specific craft practices, such as occurs in the United States.
National organisations
Craft Australia, the national body, was established in 1971 to create international craft
opportunities and to act as a central body for the craft and design organisations to
further develop their national role. Its early advocacy initiatives played a crucial role in
the development of the Australia Councils Craft Board (1973) and for the first decade of
the Craft Board, the Board and Craft Australia acted in many ways in partnership, with the
Board using Craft Australia to deliver a myriad of small functions. Until the late 1980s, Craft
Australia was constitutionally owned by the State Craft Councils. In the 1990s it opened up
its membership base to other craft organisations and recently has opened up membership
(on an associate basis) to individuals.493 The future role and functions of a national
craft organisation are currently being reviewed and the Australia Council has released a
document outlining the potential roles and responsibilities of Craft Australia over the next
five years.
491. Craft+Design Tasmania is run on a voluntary basis and is therefore not considered to be professional at this point in time.
492. Craft practice in Canada is supported and promoted by the Canadian Craft Federation as well as by the following organisations, the
Crafts Association of British Columbia, Alberta Craft Council, Saskatchewan Craft Council, Manitoba Crafts Council, Conseil des Metiers
dart du Quebec, Nova Scotia Designer Crafts Council, and the Craft Council of Newfoundland and Labrador.
493. Submission: Craft Australia, and J. Freeland, Report on a National Craft Organisation, Australia Council, Sydney, 2000.
page 188
The craft and design organisations, Craft Australia, the Jam Factory and Tandanya are
members of Craft Organisations Australia (COA), which has a primary role of organising
twice-yearly meetings to develop national policy, advocacy objectives and productive interorganisational relationships for craft and design. Members of COA are also involved in the
National Exhibitions Program, managed by Object Centre for Craft and Design, which both
provides a venue of national significance and also ensures that nationally representative
exhibitions are developed and presented across Australia.
Other craft infrastructure

There are also a number of organisations that provide other valuable support to craft
practitioners. These include organisations such as the Jam Factory Centre for Contemporary
Art and Design and Tandanya, the National Aboriginal Cultural Institute.
The Jam Factory has been one of Australias leading craft organisations since the mid-1970s.
It runs a retail shop, an exhibitions venue, and metal, glass and ceramics workshops.
It receives $1 million per annum from Arts SA and receives regular project support from the
Australia Council (with an average of $30 000 per annum).
Tandanya, the National Aboriginal Cultural Institute, is a national organisation with a focus
on the development and exhibition of contemporary Aboriginal art. It was established in
1989. It is a major client of Arts SA and received $550 000 in administration support in
19992000. It also receives project support from the Australia Council and ATSIC. Tandanya
is Australias major venue for contemporary Indigenous culture and as such is a key
exhibitor of art and craft.
As stated above, the craft and design organisations supplement the valuable work of
innumerable volunteer driven media specific guilds. There are also a number of professional
guilds such as the Queensland Potters Association, the Jewellers and Metalsmiths Guild and
Ausglass, and other organisations such as the Victorian Tapestry Workshop, which while
media specific are active advocates for craft. Over many years these organisations have
played a crucial role in the development of craft in Australia.
Contribution to the sector

In the last ten years, the craft and design organisations have revitalised their businesses,
exhibition programs and the support programs they offer to members and the general
public. Submissions have noted increased memberships, increased interest in their
activities from the public, increased interest in Australian contemporary craft internationally,
and exciting developments in craft practice in relation to other areas such as contemporary
visual arts, design and digital and new technology art practices. Submissions received
by the Inquiry stressed the potential of the sector to grow nationally and internationally,
utilising the developments of the previous three decades as a take-off area for many diverse
trajectories. As stated in the submission from Object:
page 189
The potential for growth in this sector is equally exciting from the practitioner point of view and an
organisational one. The increase of audience interest, increased media, increased professionalism
and sophistication of the sector all contribute to a healthy optimism about the future of Australian
craft and design. With adequate resourcing and support, this growth will include international
growth and a significant Australian presence, real involvement in and contribution to
international events.494
The craft and design organisations have similar objectives of advocacy, membership
assistance, professional development and market and audience development. However,
while they all started under a basically standard model they have evolved into very different
organisations. In the last ten years in particular many of the organisations have rethought
their professional development objectives and redesigned business and exhibition
strategies along divergent paths.
All the craft and design organisations have an exhibition function. They present continuing
exhibition programs in dedicated galleries. They curate and tour exhibitions. They pay
artists fees when they take part in curated exhibitions. They also financially support artists
through paying for exhibition development and installation. They directly support artists
through selling work on consignment through their retail outlets. In 2000, the seven
State-based organisations spent $270 710 on artist payments and $759 685 on
exhibition expenses.
Commercial galleries have indicated their concern over increasing competition from the
retail activities of craft and design organisations, particularly given a limited market.
Nonetheless, retail activities provide significant income for craft and design organisations
and also provide craft practitioners with income from sales.
All the craft and design organisations provide extensive membership support, ranging from
simple advice regarding where to find materials or information to professional development
seminars and workshops often held in both metropolitan and regional locations. They
regularly publish newsletters and provide information through websites, relating to aspects
of professional practice and artform development. Through these measures the individual
crafts practitioner is assisted and nurtured by the organisations, and the organisations
grow because they are supported by members who have an interest in seeing their
organisations develop.
FINDING
Through their exhibitions, membership programs, retail activities and educational and
promotional activities, the craft and design organisations play a major role in the development
of craft practice in Australia.
494. Submission: Object.
page 190
Creating demand
While servicing membership is still the primary role of the craft and design organisations,
there is also a recognition that for the long-term development of the craft sector the outlook
of the craft and design organisations has to move from one of supporting supply to one of
creating demand.
Craftsouth is moving into craft and design business development assistance, in particular
developing partnerships between nascent craft and design and the design industry.
Craftsouths brokerage service, Applied Ideas, has been established to facilitate increased
commercial collaboration between designer/makers and design-based manufacturing
industries.495 It views this service as critical to assist practitioners to participate in an
increasingly competitive marketplace.
Craftwest is shifting its major focus into one specific media, that of the fine woodwork in a
three year project called Designing Futures. By concentrating limited resources it expects
to focus on various media in three year cycles developing media specific business and
sponsorship models and international partnerships. Craftwest considers Designing Futures
an integrated craft/design/small business/big business package with the prospect of
fundamentally repositioning the economic situation of one key area of craft in
Western Australia.
Contemporary design is now understood as a creative philosophy that shifts between design, art,
architecture, history, politics and industry to shape, rather than reflect, public consciousness.
Instead of merely supporting existing industry trends, Designing Futures will effectively re-define
the identity and future of the West Australian timber industry.
Grouping together previously autonomous sectors including commercial furniture production,
studio furniture design and fine wood art, Designing Futures will facilitate the development of
an integrated West Australian timber industry embracing a new awareness of the critical role of
design in international business competitiveness. It will contextualise local fine wood and furniture
producers as part of a national and global network of design-led industry. 496
Craft Australia has also developed many entrepreneurial activities and has, over the
last decade, been at the forefront of market development for craft in Australia and
internationally, bringing Australian craft to international craft and gift fairs and through
projects such as CraftMark and the Australian Craft and Design Development Company.
To take just one example of its impact, through the Australia Councils craft export strategy,
Craft Australia has enabled over 450 craft practitioners to be exhibited at the prestigious
Sculptural Objects and Functional Art (SOFA) fair in Chicago over the past ten years.
Many of the craft and design organisations regard themselves as State or Territory-based
organisations with national and international objectives. For example, Object has a specific
role to support craft and craft practitioners in New south Wales but also publishes a national
magazine. Object Magazine has repositioned itself from being a craft magazine into what it
describes as an objects, ideas, design magazine with a target audience that is far broader
than previously aimed for. Object also manages two retail outlets in the centre of Sydneys
tourist area which aim for a similar target demographic to the magazine.
495. Submission: Craftsouth.

496. Correspondence with Craftwest.
page 191
The recent Australia Council review of the national craft organisations roles and functions
found that virtually all of the generic organisations can legitimately claim to be providing
services which have national aspects or dimensions, along with their State and Territory,
regional and local activities.497
However, while the craft and design organisations lay claim to many roles there are still gaps
in the infrastructure. Craft Australia has moved its predominant resources into fostering the
development of Australian craft by ensuring its continued presence at the international craft
and gift fairs and has in many ways resiled from the advocacy and lobbying role it had in the
early 1990s.
There is a clear need for national leadership in a number of key areas to properly develop
the sector. The areas that particularly need further development include:
the development of public art markets for craft and design practitioners;
appropriate development and marketing of Australian Indigenous craft and design;
further development of partnerships between craft/design and industrial design;
development of mentorships, cooperative workshops and other post-tertiary education
professional development opportunities.
FINDINGS
Over the last decade, in addition to expanding their memberships, the craft and design
organisations have expanded their programs to become more curatorially and commercially
focussed through their retail and exhibition activities. These changes have already shown
benefits to the sector.
However, there are still a number of significant national leadership activities that need to be
undertaken to ensure the future development, promotion and sustainability of the craft and
design sector.
497. J. Freeland, A National Service Organisation for the Crafts and Design Sector, Australia Council, Sydney, 2001.
page 192
Financial analysis
Income
The craft and design organisations obtain income from their memberships and business
activities. This provides almost half of their total income (47 per cent of income in 2000).
They receive 39 per cent of their income from State Governments and 14 per cent from the
Commonwealth Government through the Australia Council.
Table 4.3: Income of seven craft and design organisations in 1990 and 2000 (actual dollars)
State
Federal
Project
funding
Other
revenue
Total
income
total for 199091
$1 077 340
$193 689
$55 361
$666 543
$1 992 933
total for 200001
$1 349 350
$322 960
$743 441
$2 115 599
$4 531 350
25
67
1243
217
127
% increase over
10 years
Source: Inquiry survey / Annual Reports / Australia Council files
As table 4.3 shows, even though there were significant increases from the Commonwealth in
the period, there is still a substantial difference between the support provided by the State
and Commonwealth Governments. The level of State and Federal support for the craft and
design organisations is not set by policy. It is the result of a number of factors including local
demand for services, the types of services provided by specific organisations, historical
funding levels, and the impact of project and special initiative support at both
a State and Commonwealth level.
The most significant change in ten years has been the development of other revenue
streams. Other revenue has increased from one-third in 1990 to almost a half of all
income in 2000. Another trend is the craft and design organisations access to and use of
Commonwealth and State project funding. This area of income has increased from three per
cent of all income to 16 per cent of all income and reflects particularly the Australia Councils
support of the National Exhibitions Program as well as support from both the States and the
Australia Council for a number of successful one-off projects that were developed in 2000.
page 193
Figure 4.2
Core Funding for seven craft and design organisations from State and Territory and
Commonwealth Government in 2000
$400 000
$350 000
$300 000
$250 000
$200 000
$150 000
$100 000
$50 000
$0
CraftACT
Craft QLD
Source: Annual Reports
Craft VIC
CraftSouth
Craftwest
State/Territory
Object NSW
Territory Craft
Commonwealth
While the Commonwealth has strongly supported the national craft organisation (with
more than $8 million in grants since 1985), it has directed less support to craft and design
organisations. However, over the last five years the craft and design organisations have
increased their national impact, particularly in relation to the national body. The VACBs
funding has reflected this change by increasing its administration support of the craft and
design organisations by 37 per cent since 1996 and reducing the national organisations
funding by 35 per cent in the same period. Nonetheless, as the table 4.3 shows, this
percentage increase does not translate into a significant dollar increase, as the initial level
of funding was low.
Table 4.4 Expenditure of seven craft and design organisations in 1990 and 2000
Total for
19901991
2000
% increase
Total
expenses
Surplus
(deficit)
$755 383 $1 900 979
$91 954
$1 481 616 $2 142 836 $4 635 459
-$104 109
Payments
to artists
Exhibition
expenses
Salaries
$25 278
$234 143
$886 175
$270 710
$759 685
971
224
67
Source: Annual Reports / Australia Council files / Inquiry survey
page 194
Other
184
144
In ten years total expenses have risen over 100 per cent. As a percentage of total expenses,
payments to artists have risen from 1.3 to 5.8 per cent and exhibition expenses have risen
from 12 to 16 per cent. Conversely salaries have dropped from 46 to 32 per cent of total
expenses. Other expenses have risen from 40 to 46 per cent of total expenses.
These figures support submissions received by the Inquiry noting increased costs outside
of the control of the organisations (such as utilities, insurance and rent) and substantial
cost cutting by the organisations where the cost factor was controllable (such as staff costs,
office expenses). As the cost cutting is often at the expense of staff the long-term effect is
detrimental to the efficiency and efficacy of the craft and design organisations.
As a group, in 2000, the craft and design organisations ran an end of year deficit of over
$100,000, equal to two per cent of their total turnovers. In 2000, four of the seven Statebased craft and design organisations ran deficits. Preliminary evidence indicates the
situation will be worse for 2001 with at least two of the organisations trading with negative
equity. As with the contemporary arts spaces, a number of submissions from craft and
design organisations indicated the need for substantial funding increases just to keep up
with current programming cost increases.
FINDINGS
The craft and design organisations are dependent on governments, particularly State
governments, for approximately 50 per cent of their income. However, despite increases
in Commonwealth funding over the last decade, a number of the organisations are running
deficits and they face structural difficulties created by income levels which have not kept pace
with changes in business and program practices and changed expectations by craft and design
practitioners. This is hampering commercial and artistic program development and growth.
The Inquiry concludes that craft and design organisations play a fundamental role for craft
practice in Australia and a particularly significant role in the contemporary craft sector
through their support of individual craft practitioners. Through advocacy on craft education,
to issues associated with occupational health and superannuation, to their concern to
ensure craft is properly placed within the Australian major art museum sector, the craft
and design organisations reflect the issues faced by craft practitioners throughout their
professional lives
. Their professional development, education, exhibition and promotional functions ensure
that those issues are dealt with despite a very difficult economic environment.
The craft and design organisations have moved away from the generic member support
roles that they had in the 1970s and 1980s to developing specialist skills which are already,
or have the potential to be, beneficial to craftspeople nationally. In this they are moving into
difficult territory where stakeholder interests are not static. Craft and design organisations
are membership driven entities with local and regional networks which ensure the needs
and desires of local craftspeople are heard. While they have taken on many initiatives with
national and international significance over the last five years (including long-term craft and
design development, audience development and business sponsorship initiatives) they are
still fundamentally grass-roots organisations underpinned by a focus on the professional
development of Australian craftspeople.
page 195
Craft and design organisations are ideally placed not only to support craft practitioners
but also to build audiences and marketsnational and internationalfor contemporary
Australian craft. Like the contemporary arts organisations, the limitations that they
experience due to subsistence level operations were apparent to the Inquiry on its visits to
the organisations, and appear to be borne out by their relatively modest incomes and small
surpluses in a time of rising expectations and costs. Their continued operation at current
levels will further reduce their ability to nurture emerging and innovative craft practice,
as well as risking lost opportunities to grow the sector and audiences for Australian
contemporary craft at home and abroad.
The Inquiry believes that there is a need for additional investment in this part of the sector
to ensure the organisations continued viability. However, while the deficit results of many
of the organisations in recent years are a real concern, there is also a need to fund the
organisations to take advantage of opportunities presenting themselves in the 21st century.
The Inquiry believes that many of the craft and design organisations have achieved program
and structural strength. They could, given appropriate increases in financial support, take
on leadership roles nationally as well as more developmental international roles. Much work
has been and will continue to be the responsibility of the national craft organisation, Craft
Australia, however recent developments have meant that more and more opportunities are
being picked up by the State and Territory-based craft and design organisations.
As with the contemporary arts organisations, apart from proven financial and program
potential a further key criterion for the organisation to be given leadership status would be
its proven ability to quickly and substantially develop new programs and responsibilities
without organisational destabilisation. The creation and maintenance of the leadership
organisations would require patient, mature and careful management by all parties.
page 196
RECOMMENDATION 7
To strengthen the key role played by craft and design organisations,
7.1
increase funding for craft and design organisations by $2 million per annum to
7.2

amount of $1 million per annum; and the Commowealth and the States and
per annum.
agreements.
7.3
That the Commonwealth, State and Territory funding agencies should also agree
to allocate this funding in order for these organisations to:
a. develop sustainable business practices;
b. develop major sponsorship opportunities; and
c. take on leadership roles nationally and developmental international roles,
the development of public art opportunities for craft and design
practitioners;
appropriate development and marketing of Australian Indigenous craft
and design;
conferences;
further development of partnerships between craft/design and industrial
design;
development of mentorships, cooperative workshops and other posttertiary education professional development opportunities.
7.3.1 The selection of leadership organisations be by application and based on
criteria including:
page 197
ART AND CRAFT CENTRES

Art and craft centres are community-based and owned enterprises that facilitate the
production and marketing of Indigenous art and craft. While some act almost solely as retail
outlets, others have myriad functions important to their communities. The centres provide
artists with materials, accommodation and facilities as well as documentation of works,
management, promotion and marketing services. The centres have been variously described
as absolutely vital to the Indigenous arts infrastructure and industry and a positive focal
point for the community.
While the centres are fundamentally important for the creation of art in remote
communities, there are organisations in urban areas that have also proved crucial to the
development of contemporary Indigenous art. These include Tandanya in Adelaide, Boomalli
Aboriginal Artists Cooperative in Sydney and the Fireworks Gallery and Campfire Group in
Brisbane.
Art and craft centres have operated in remote Indigenous communities since the
1940s. Generally their development was a by-product of the missions, which, after the
Second World War played a major role in encouraging the commercial production of
cultural objects.498
Papunya Tula Artists Pty Ltd, the first centre to be established by Indigenous artists, was
incorporated in 1972.499 The success of Papunya Tula, and the funding policies of the
Aboriginal Arts Board (established in 1973) were the preliminary to the establishment of
many other art and craft centres in the Northern Territory during the 1970s and 1980s.
As at 2000, there were 106 art and craft centres in Australia spread over the States and
the Northern Territory. As a group the art and craft centres represent more than 5 000
Indigenous artists.
Table 4.5: Distribution of art and craft centres in 2000
State/
Territory
Number
of Centres
ACT
NSW
NT
QLD
SA
TAS
VIC
WA
Total
21
54
13
10
106
Source: ATSIC 2000 Annual Report
498. Submission: Norman Wilson.

499. G. Cochrane, The Crafts Movement in Australia: A History, New South Wales University Press, Sydney, 1992.
page 198
Government funding of art and craft centres

From the 1950s to the 1970s, the Welfare Branch of the Northern Territory Administration
provided funding for missions to provide art and craft centre style functions. From 1973, art
and craft centres received funding from the Aboriginal Arts Board of the Australia Council
and the Department of Aboriginal Affairs.500
In 1992, following recommendations of a report commissioned by the Aboriginal and Torres
Strait Islander Commission (ATSIC), the responsibility for administration funding of art and
craft centres was given to ATSIC. ATSIC developed a funding program called the National Art
and Craft Industry Support Strategy (NACISS) to support the centres.501
Currently ATSIC supports Indigenous art and craft through the NACISS program and through
its Regional Art and Culture (RACS) program. In 2000, $12 million was distributed though
these two mechanisms of which ATSIC estimates $7 million was expended in support of the
visual arts and craft.502
In 2000, the NACISS program gave 50 art and craft centres (including three representative
organisations, Desart, the Association of Northern, Kimberley and Arnhem Aboriginal
Artists (ANKAAA) and the National Indigenous Arts Advocacy Association (NIAAA) a total
of $4.2 million. This program provides funds for conferences, publications, promotions and
exhibitions on Indigenous visual arts and craft.503
A further $2.8 million was distributed to visual arts and craft related activities through
the RACS program, primarily for projects based on the preservation, development and
promotion of arts and culture within remote communities.504
The art and craft centres also receive project support from the Aboriginal and Torres Strait
Islander Arts Board (ATSIAB) of the Australia Council. In 200001, $202 861 was allocated to
art and craft centres through the ATSIAB. A further $323 000 was allocated to the National
Indigenous Arts Advocacy Association (NIAAA).505
A review of the art and craft centres in 1997 found that for every dollar spent by ATSIC on
funding to the centres through the NACISS program, it generated $3, of which $1.50 was
returned to artists.506 The government support generates a comparatively high return
in terms of sales and income to Indigenous artists by other Australian cultural industry
standards.507 It also has a ripple effect in generating revenue from tourism and other
associated interests and is central to the international profile of Australia.508
Less than half of the art and craft centres are in receipt of ATSIC or Australia Council funding.
ATSIC policy is to redistribute funding of the centres to newer initiatives when the turnover
of the centres reaches a point where they appear to be economically self-sustaining.
However, data collected in 1996 by ATSIC on 14 centres operating since 1988 suggest that
ongoing subsidies are essential for most centres, as the income from sales of works is
insufficient to cover operating costs. It has also been stated that market fluctuations leave
even large unfunded centres at risk in an economic downturn.509
500.
501.
502.
503.
504.
505.
506.
Submission: Norman Wilson.

Submission: Norman Wilson.
Submission: ATSIC.
ATSIC, 2000.
ibid.
Australia Council, Annual Report 2000/2001, Sydney, 2001.
508. ibid.
page 199
Development of training in business skills for centre staff

Indigenous artists rely on the integrity, professionalism and knowledge of their art and
craft centre managers. The centre staff are responsible for ensuring primary materials
are available to artists, an environment conducive to the creation of art is maintained,
and a business environment is maintained where artists are supported and, if necessary,
protected.
As stated above, the centres have a community development as well as a commercial role
and provide a positive focal point for the community which in turn increases the demands
made of managers.
Hetti Perkins submitted:
Greater support for art centres operating at the community level, in terms of staffing and
resourcing, is critical in assisting the financial management of artists working in remote areas.
The regular contact between artists and their representatives in the community is the obvious and
ideal opportunity for artists to be advised and supported. Art centre staff members are aware of
the particular financial demands that artists face within their communities and are also aware of
the dangers presented by unscrupulous dealers. With adequate support they can advise artists
on their financial responsibilities (e.g. taxation) and rights (e.g. intellectual property).
The same applies to a regional artsworker network that comes into regular contact with
independent artists.510
A successful art and craft centre is underpinned by its staff who often work long hours and
are required to deal with a wide range of tasks. After coordinating an art and craft centre
for two years Tim Acker from Warlayirti Artists commented Being an art centre coordinator
in an Aboriginal community is everything and nothing like it sounds, which is why official
qualifications have little to do with being a good one.511
While centre managers are often appointed because of their practical and arts skills, the
complexity involved in a successfully run centre entails superior business, administration
and social skills. A survey of coordinators published in 2000 noted that, while the majority
of centre coordinators already have tertiary qualifications, they still often have significant
training needs in general arts administration, bookkeeping, business studies, practical art
training, linguistics, fine art, marketing, computing, anthropology and Aboriginal studies.512
Coordinators also need to be able to train new staff, in particular they need to be able to
train and mentor young local Indigenous artists to ensure the eventual Aboriginalisation
of these positions.513 The coordinators need great skill to undertake such training. However,
as ATSIC states, accessing training in remote areas is difficult due to time, financial and
access constraints.514 If a coordinator is expected to work 70 hours a week their absence
can have a serious effect on the art and craft centre community. They need to ensure locum
coordinators replace them if they are to undertake professional development.
510.
511.
512.
513.
514.
Submission: Hetti Perkins.

Qantas Magazine No 100 October 2001 p61.
F. Wright, and F. Morphy (eds), The art and craft centre story: a survey of thirty-nine Aboriginal community art and craft centres in
remote Australia, Volume 1 Report, ATSIC, Canberra, 1999, p.56.
ibid.
Submission: ATSIC.
page 200
Training in new artistic methods and techniques for Indigenous artists

Indigenous artists started painting with acrylic paint on unstretched canvas just 30 years
ago. Where Indigenous artists have managed to gain access and training they have always
learnt, appropriated and adapted new non-traditional techniques with great success.515
Yet, training in remote Australia is not easy. There are challenges associated with distance
that are as daunting as those associated with limited teaching and equipment resources.
ATSICs submission stated Indigenous artists may feel ill at ease within the mainstream arts
education system, may not wish to or may not be in a position to leave their community for
any length of time, and the expense of travel and accommodation to a regional centre
is often prohibitive.516
Bringing teachers on site for short-term courses is effective in communicating basic
techniques but it does not allow for follow up training.517 While art and craft centre
coordinators can be expected to be able to supply basic support for a range of media
they cannot be expected to be expert in the large and ever expanding range of techniques
employed in the contemporary visual arts and craft. This is even more the case with
advances in digital media.
Developing skills in the preservation of art held by centres

Many Indigenous artists and many art and craft centres are well aware of the enormous
heritage value of the work that is produced by them. Many communities have dealt with this
issue by creating Keeping Places. These spaces have a heritage and conservation role and,
like the art and craft centres, will often be a focal point for their community.
ANKAAA has developed some prototype workshops, which have taught professional
techniques to Indigenous artists.518 There is a need for further training in museum
techniques for the management and staff of Keeping Places, to ensure this valuable heritage
is not damaged through neglect or through lack of resources and for governments to
acknowledge the significance of Keeping Places with the Museums sector.
FINDINGS
The Inquiry identified several challenges facing art and craft centres in Australia. These include
the development of training in business skills for centre staff; the availability of training in new
artistic methods and techniques for Indigenous artists; and developing skills in the preservation
of art held by centres.
The Inquiry concludes there are many opportunities but many hurdles still to be faced by
art and craft centres. Not just the art that is produced within them but also the centres
themselves are one of the most important developments in Australian culture in the last
three decades. To ensure the centres remain vibrant economic and artistic entities and to
ensure that centre management is properly equipped to support Indigenous artists across a
number of levels, there is a need for art and craft centre management and staff to:
515.
516.
517.
518.
ibid.
ibid.
ibid.
ibid.
page 201
improve management and business skills;

keep-up-to date with new developments in artistic production; and
learn basic museological practices that will be of use in the specific conditions of the
Keeping Places.
While priority for training should be given to Indigenous centre managers and other
Indigenous staff, the Inquiry also understands that the professional development of nonIndigenous centre managers and staff is a benefit to Indigenous artists.
RECOMMENDATION 8
To strengthen the key role played by art and craft centres in the national development
and promotion of Indigenous arts and craft, the Inquiry recommends the Commonwealth,
through the Australia Council or another suitable body, allocate $200 000 per annum to
develop and manage short and medium term professional development opportunities for
art and craft centre staff.
ARTIST-RUN INITIATIVES
Artist-run initiatives (ARIs) can be loosely defined as those facilities, such as exhibition
venues, studios, workshops, information and resource centres, which have been
established and are maintained on a cooperative basis by groups of artists.519
ARIs are primarily exhibition spaces, sometimes incorporating studio spaces, run by a
collective of practising artists and ranging from part-time short-term projects to long
established legal entities. ARIs are distinct from contemporary arts organisations and
commercial galleries in that they generally charge rental fees to artists exhibiting in
them, and are run collectively by a group of artists, as opposed to employing dedicated
administration staff, or having a Board of Directors.
Exhibition spaces which were alternatives to traditional galleries first began to emerge
world-wide around the early 1970s, as a reaction against the traditional forms of galleries
run by art dealers, or government run art museums. Some of these then developed to
become what are now known as contemporary arts organisations and some (that we would
now call ARIs) remained at a more grass-roots level. Both streams have remained crucial to
contemporary visual artists.
Currently there are around 85 ARIs operating around Australia, in all States and Territories.
ARIs exist in capital cities, major cities and regional areas.
ARIs operate in a number of formatssome are associated with tertiary institutions, such
as the Victorian College of the Arts Gallery and PB Gallery. Some ARIs are run on a more
commercial basis, such as TAP Gallery, which is privately owned.
519.
K. Brown, Artist Run Spaces, Report to the Visual Arts Board, Australia Council, Sydney, 1987, page 1.
page 202
ARIs are distinct from commercial or state/regional galleries in that there is little
expectation they will provide public access programs such as forums or education
programs. Due to the way in which they operate, ARIs are flexible, topical and responsive to
the needs of emerging artists, and provide a valuable stepping stone for artists establishing
themselves as professional:
the VACB [] recognises that ARIs have a special place in the encouragement of emerging artist,
creating opportunities in the critical post-art-school period. These spaces act as radical incubators
for the art of the future.520
Artists exhibiting at ARIs may be required to cover additional costs such as promotion,
invitations, catering for openings and mailouts, however this practice varies and often
depends on the ARIs overall budget.
ARIs may be long or short-term ventures, with some intended to operate only for a fixed
period of timesuch as Blaugrauand others going on to eventually become more
established and to receive recurrent fundingsuch as the 4A Gallery. Others can last a very
long time while remaining true to their original missionsFirst Draft, which started in 1986
is still an important venue for emerging artists in Sydney, to a large degree because of a
policy which changes its volunteer Directors every two years.
Support for artist-run initiatives (ARIs)

Due to their scale, and the fact that they are predominantly non-profit organisations, ARIs
are often reliant on some external funding in order to survive:
Ongoing funding, to support a part time worker and other running costs, which we have been
fortunate in receiving from the Australia Council and from the NT Department of Arts and Museums
has been absolutely vital throughout Watch This Spaces existence 521
ARIs are not recipients of triennial or other long-term or recurrent funding, but are funded by
single grants, or private monies. The Australia Council has supported ARIs on a project
by project basis since the late 1970s.
The prevalence and importance of ARIs in the arts community was recognised by the
VACB with the introduction of a separate grant category for ARIs. In 1996, as part of the
Commonwealth Governments Young and Emerging Artists Initiative, the VACB developed
a competitive grant category specifically to support some of the administration and program
costs of ARIs. This has delivered $0.5 million to ARIs since 1997. Grants made to ARIs
are intended to be used towards the running costs of the spaces, not necessarily to fund
specific projects or to provide salaries for staff (as ARIs do not employ staff, but are run as
artists collectives). ARIs have also received support through the VACBs Presentation and
Promotion category.
As well as funding from the Australia Council, ARIs receive support from State and local
governments, and private funds. Local governments in particular have the potential to give
effective and efficient support for ARIs by assisting ARIs to get access to well sited and
equipped properties.
520. Australia Council, Annual Report 20002001, page 53.

521. Submission: Pip McManus.
page 203
The Inquiry found the situation of ARIs was in many ways similar to that faced by other
infrastructure organisations operating in the contemporary visual arts and craft sector:
particularly regarding high levels of unpaid work on the part of volunteer directors, and
professional and artistic development restricted by financial and other constraints.
Submissions noted that, despite their position as viable art entities and their close
relationship with artists, ARIs are not taken as seriously as publicly funded or commercial
galleries, or that their role is discounted by larger institutions.
ARIs are also concerned that they may be regarded more in the nature of trainee commercial
or funded galleries, rather than initiatives in their own right, with a specific role to play
in the contemporary visual arts and craft sector. That is, that their only aim is to become
something else (a funded or commercial gallery), and that there is little value in funding
them to continue in their ARI forms, as this is only a transitory form:
My key concern in the current visual art climate for artists at this level is that the demonstration
of initiative or self-sufficiency (i.e. generating ones own solutions regarding exhibition and
publication opportunities) is met with limited acknowledgment or visibility within the broader
arts infrastructural network. Where one might expect that a demonstration of initiative, ability and
interest in generating critical contemporary art and thinking might occasion a greater interaction or
relationship with other infrastructural administratorssuch as directors and curators from Federal
or State funded galleries/museums and contemporary art organisations [] the reality is in fact the
opposite and artist-run spaces operate effectively in a less than ideal isolation from the broader
network. This both frustrates the ambitions of gallerists to be recognised for their contribution and
retards the availability to artists of the broader range of professional opportunities occasioned by
funded galleries and institutions.522
Because ARIs are low budget, non-profit ventures, they are restricted in their choices
of premises.
as of late November 2001, Perth will have no artist-run spaces. This is a direct result of inner city
development and the absolute and complete lack of support from local government, specifically
the City of Perth for maintaining artistic and cultural diversity. Perth City is increasingly becoming a
zone singularly designed for the retail sector and business.523
Many inner city or other high-density areas have extremely high rents, and ARIs are classed
as businesses, and not as residential buildings (although some are/have been run out of
residential buildings), meaning higher rates and rental prices. This means that ARIs are
often obliged to seek premises in lower rent areas, which are often also less central, less
easily accessed (by public transport, for example) and which do not have an identifiable
public presence.
This problem can cause difficulties for ARIs in a number of ways. Firstly, they are less likely
to attract casual visitors, the ARI is not easy to find for those who have not visited before,
there may not be easy parking or public transport nearby, and they may not be able to
obtain adequate signage. Investing in some form of promotion in order to attract audiences
adds to running costs.
522. Submission: Lisa Kelly.

523. Submission: Kate McMillan.
page 204
If ARIs can only choose from unsuitable or unaffordable sites, they may be obliged to work
in premises which may be or become physically unsafe for members and visitors, not merely
inconvenient. A lack of proper facilities and access to premises can discourage artists and
audiences alike, and can further undermine ARIs as they may be viewed as running their
businesses in an improper way:
Due to low income and rising real estate costs artists are often forced to work in substandard
premises [] consider alternatives such as legal squatting, local councils to provide dedicated
buildings for housing and studios for artists, a levy on development or tax breaks for developers
who give over a portion of [a] building for permanent artist studios.524
Some ARIs see considerable scope for closer collaboration with and greater support from
local government in the areas of publicity, financial assistance and in kind assistance:
Local government could offer gallery signage within each community. A standardised sign could be
designed and attached to already existing street signs to show where ARIs are situated, especially
around train stations and bus stops. Many ARIs exist in the South Sydney City Council precinct, a
high density populated areaas ARIs are often in obscure lower rental locations they are difficult
to locate for passers by or first time visitors.
Street signage would increase the communitys knowledge of ARI whereabouts. Thus increase ARIs
audiences and would be an acknowledgment of ARIs by Local Government.525
And:
local government could be lobbied to provide rent relief to artists and arts workers who
create permanent contributions to their communities. Too often artists who create new uses
and constituencies for disused spaces within cities are forced out of the very areas they have
developed due to rental increases and re-zoning. Local government through out Great Britain
provide rent relief for galleries, studio and living spaces. This support would help improve and
sustain the ongoing visibility and profile of artists and art workers in their own communities.526
It has been suggested that more funding should be made available for ARIs:
...public funding to emerging artists and support for ARIs that provide both exhibition and
professional development opportunities for young artists needs to be increased and ongoing
support made more reliable...527
It has also been suggested that some form of quick response funding might be made
available for ARIs:
I am frustrated about the non-existence of funding available on short notice. As a non-profit
organisation we are confronted daily with cast restrictions and shortage. We deal with it as best
we can using our own money, however there are times of dire straits when we wish there would be
a possibility of funding available within a short space of time for emergencies.528
524.
525.
526.
527.
528.
Submission: Sandra Hall.

Submission: Firstdraft.
Submission: James Lynch.
Submission: James Lynch.
Submission: Block Gallery.
page 205
An option for obtaining premises is to combine the gallery with another business, as with
GoGo Gallery in Melbourne, which shared premises with a hairdressing salon, owned
by one of the ARIs members. Such ventures can help counter any concerns felt by local
business owners or local government agencies regarding the financial viability of ARIs. Grey
Area, another Melbourne ARI, had premises in a shopping centre, for instance. These joint
ventures not only attract viewers to ARIs, but also allow ARIs and artists to be more closely
involved and have a greater presence in their local communities. Where the artist-run
initiative is occupying large enough premises to incorporate studio space, these spaces can
also be rented out or shared in order to increase income.
FINDINGS
ARIs play a vital role in support of emerging artists. ARIs are grass-roots initiatives, and
demonstrate artists working to new business models in an entrepreneurial way.
ARIs face similar sustainability issues as other arts based organisations, and while they receive
some support from the Commonwealth and State governments, ARIs have a particular local
and possibly ephemeral character. This is an area where local government can play a key role.
The Inquiry notes that valuable support is available to ARIs through the Commonwealth
Governments Young and Emerging Artists Initiative but that this support is limited. The
Inquiry believes that the current program offered for ARIs should be augmented with an
additional amount of $100 000 per annumeffectively doubling the support for ARIs
through this program. The Inquiry also notes that the ARI sector could substantially benefit
from additional project funding from both the Australia Council and the States
and Territories.
The Inquiry also strongly encourages local government to acknowledge the contribution
made by ARIs to the cultural health and vitality of cities and towns and to work with ARIs to
explore ways to facilitate affordable access to appropriate premises.
RECOMMENDATION 9
To strengthen support for artist-run initiatives (ARIs), the Inquiry recommends:
9.1
The Commonwealth (through the Australia Council) increase its support for
ARIs through an additional allocation of $100 000 per annum to supplement the
dedicated ARI grant category offered as part of the Commonwealth Governments
Young and Emerging Artists Initiative;
9.2
The Australia Council and the State and Territory arts funding agencies target the
support of ARIs through projects (Recommendation 18) to encourage professional
development of ARI volunteers and wider audiences for visual arts and craft
projects in ARIs.
page 206
MAJOR ART MUSEUMS

Every capital city in Australia has a major art museum (also know as a state or national
gallery). These institutions have a museum function, involving the collection, preservation,
interpretation and exhibition of historical material but the support and exhibition of
contemporary art is also part of their core business.
Major art museums support contemporary art through purchasing works of art at first pointof-sale, through the exhibition of their collections of contemporary art and through the use
of contemporary art in their temporary exhibitions programs.
In the following discussion the Inquiry considers the major art museums to be the:
Art Gallery of New South Wales;
Art Gallery of Western Australia;
Art Gallery of South Australia;
Museum and Art Galleries of the Northern Territory;
Museum of Contemporary Art, Sydney;
National Gallery of Australia;
National Gallery of Victoria;
Queensland Art Gallery; and
Tasmanian Museum and Art Gallery.
There are other galleries that are of a size to be considered major art museums, even if
they can also be considered regional or university galleries.529 Other major institutions, such
as State and National museums, the Australian Centre for the Moving Image in Melbourne
and the National Portrait Gallery in Canberra also impact on the sector.
Contemporary craft and design is collected by most major art museums as well as other key
museums such as the Powerhouse Museum in Sydney. Major art museums and in particular
the Powerhouse Museum present temporary exhibitions of craft which are focussed on the
work of a single craft practitioner or designer, or analyse developments within a particular
media, or aesthetic or historical moment.
529. These include the Queen Victoria Museum and Gallery, Launceston, the New England Regional Art Museum, the Wollongong, Bendigo,
Newcastle and Ballarat regional art galleries, as well as the University of Melbournes Ian Potter Gallery, the Heide Museum of Modern
Art and the Araluen Gallery (Northern Territory).
page 207
Funding
A major art museum will be primarily funded by the State or Territory government (with the
exception of the National Gallery of Australia and the Museum of contemporary Art) but
it may also receive project based grants from the Australia Council and have working and
sometimes financial relationships with the local government.
A very high percentage of total government funding to the visual arts and craft is invested
in capital works and running costs of the major art museums. In 2000, the Commonwealth,
State and Territory governments committed more than $56 000 000 toward the
administration and program costs of major art museums. Governments also support major
art museums through investments in capital works such as the Federation Square project
in Victoria, the redevelopment of the entrance to the National Gallery of Australia and the
development of the Queensland Art Gallery of Modern Art.
Major art museums rarely receive direct government support specifically for the acquisition
of contemporary artgenerally they build their collection through the benefaction of
foundations or friends associations and such like, dedicated to the support of such
purchases, or from the support of corporate sponsorship, or private philanthropy.
As further discussed in Chapter 6, the Commonwealth also supports major art museums
(and regional galleries and other public art galleries) through the Cultural Gifts Program
which offer donors a tax deduction for the current market value of their gift of an artwork.
Recent amendments have further enhanced the incentives by exempting gifts from capital
gains tax. In 200001, gifts of works of art and craft totalling more than $11.5 million in value
were made to major art museums.
Major art museums often receive substantial support for the promotion of contemporary
visual art and craft through sponsorship deals with major companies. Examples of such
partnerships in recent years include Fauldings working with the Art Gallery of South
Australia, Guinness working with the Art Gallery of New South Wales and across the whole
sector, Moet and Chandon.
Temporary and touring exhibitions

The major art museums develop temporary exhibitions of artworks they have not collected.
They will exhibit contemporary art that they do not own and do not expect to purchase
through borrowing from the artists (in which case the artist will receive an exhibition fee),
commissioning an artist or borrowing from a collector or institution that has previously
purchased the work of contemporary art, or from presenting a touring exhibition organised
by another institution. Major art museums will often receive support for their touring
exhibitions through the Commonwealth Governments Visions of Australia national
touring program and from the Australia Council. The potential for touring exhibitions of
contemporary works as a vehicle for better promotion of the sector is discussed in Chapter 5
Expanding the market.
page 208
Support from the Australia Council

The major art museums are significantly more successful than the average applicant in
their applications to the Australia Council. The success rate of applications to the Australia
Council for project support from all major art museums (averaged 19992000) has been
69 per cent. This compares very favourably with the average success rate of 33 per cent.530
Not only are they more successful per application, they also receive more money per
application. The average grant over the ten-year period has been $42 139, which is
32 per cent more than that received by the average applicant in a typical grant round in
that category.531
The reasons for this are twofold:
the major art museums can put more resources into the development of projects and
applications; and
they apply for support towards the presentation of major recurrent contemporary art
events, such as the Asia-Pacific Triennial or the Adelaide Biennial.
Museums and the promotion of contemporary art

By exhibiting contemporary art the major art museums play an important role in promoting
contemporary art to the public. As the Museum of Contemporary Art put it in its submission:
It is critical for the future of the visual arts that the perception of contemporary art as elitist
and thus unworthy of public sector investment be robustly challenged. Contemporary art cannot
be confined to a ghetto, reaching only the dedicated few. It is therefore essential that there
is investment in a range of support structures, from those that give artists the opportunity to
experiment and make new work primarily for their peers, to institutions like the MCA that can
use its position and prominence to engage with the wider community. The more people
that become interested in contemporary art, the more support there will be for artists in
the long-term.532
Major art museums and larger galleries have a role that is wider than exhibiting:
By working closely with the artistic community and acting as a bridge to the wider community,
museums of contemporary art can foster interest and act as a resource, a place where those who
want to take their interest further can find out how to do so. For example, programs that assist
people to start their own collection, visits to artists studios, trips to other cities and introductions
to the art world are all ways in which a more supportive climate for contemporary artists can
be fostered. The exhibition and educational programs have to operate on a number of levels,
increasing the critical understanding of those who already have an interest in contemporary art, as
well as encouraging and engaging new audiences.533
All major art museums exhibit the work of contemporary artists on a continuing basis.
However, the capacity of major art museums to display contemporary art is often limited by
the physical space. As the Art Gallery of New South Wales stated:
530.
531.
532.
533.
Australia Council records.

Australia Council records.
Submission: MCA.
Submission: MCA.
page 209
At present the Art Gallery of NSW has a dedicated space for contemporary collections that is
elegantly designed to privilege major works but demands a very austere hang with only a few
highlights on show at any time. Given that there are some major icons that are always expected to
be on display this is inevitably a very modest attempt to provide a history. In effect we can show a
handful of major Australian and International works well but not represent a history even though
we do have the collections in the storage to be able to do so.534
There are signs that the major art museums and the audiences that attend them are being
more adventurous in their support of contemporary art. As the Art Gallery of Western
Australia stated in its submission:
Of pivotal importance to ensure the continuation of the rich and diverse contribution of
contemporary artists and craft practitioners, are steps that can be taken which would engender a
sense of optimism for artists at all stages in their career.535
FINDINGS
Major art museums are a vital mechanism for the support of contemporary visual arts and
craft in Australia. For many audiences, major art museums provide the first experience of
contemporary visual arts and craft, and as such the role played by major art museums in
promoting contemporary visual arts and craft is particularly important.
REGIONAL GALLERIES
Regional galleries are well positioned to play an active role in addressing the concerns and issues
facing regional and rural communities. They can provide opportunities for fostering local identity,
community pride and access to the cultural life of the nation. They work with groups within their
communities including youth, multicultural groups and Indigenous people on a regular basis.
The regional gallery sector also provides an important vehicle for the promotion and development
of contemporary arts practice through curating, exhibiting and developing new opportunities for
artists to reach audiences and markets. The regional gallery network throughout Australia provide
venues, professional development and exhibition opportunities for contemporary artists.536
All communities, large or small benefit from access to exhibitions of visual arts and craft. In
Australia, there are over 100 regional galleries spread from Geraldton to Coffs Harbour and
Cairns to Albany and Broome to Burnie.537
Regional galleries are mainly but not always a legal entity under the umbrella of their local
council. However, different States and regions, with different populations and demographic
patterns have different needs with regard to regional galleries.
Traditionally, regional galleries have been based on the concept of housing a civic collection
of artworks. This is changing. Recently, new galleries have been established or proposed
in New South Wales and Queensland where no collection function is involved. In Western
Australia, South Australia and the Northern Territory, development of exhibition venues
tends to involve the partial use of public spaces such as meeting rooms or library foyers and
does not involve the formal development of an independent gallery style entity.
534.
535.
536.
537.
Submission: Tony Bond (on behalf of the Art Gallery of New South Wales).
Submission: Gary Dufour (on behalf of the Art Gallery of Western Australia).
Submission: National Regional Galleries Committee.
See Appendix K.
page 210
Regional galleries present contemporary visual arts and craft through temporary exhibitions
and purchase contemporary art for their collections. A few regional galleries specialise
in specific media. For example, they may primarily collect and exhibit ceramics such as
Shepparton Gallery in Victoria or specialise in the exhibition and collection of glass such
as Wagga Regional Arts Centrewhich also has specifically supported craft curating
programs. Some regional galleriesNewcastle, Bendigo, Ballarat for exampleare larger
administrative/financial bodies than a number of the State and Territory galleries and their
impact is not necessarily limited to their local region.
Regional galleries associations

The Regional Galleries Association of Queensland (RGAQ), the Public Galleries Association
of Victoria (PGAV) and the Museums and Galleries Foundation of New South Wales
(MGFNSW) actin various different waysas support and advocacy agencies for regional
galleries in their respective States. They provide services such as touring, professional
development, conservation and advice on funding and government.
The development of regional and suburban galleries

In the 1950s there were eight regional galleries in Australia. In the 1960s and early 1970s
there was a proliferation of new galleriesalmost all of which were established through
grass-roots campaigns. After a relatively quiet period of development from 1975 to 1990,
the last decade has seen the number of regional and suburban galleries in Australia
almost double.
Table 4.6 The development of regional galleries 19752000
State / Territory
1975
1989
2000
16
16
22
Queensland
10
31
Tasmania
New South Wales
18
22
29
Western Australia
Northern Territory
ACT
South Australia
44
59
104
Victoria
TOTAL
Source: Australia Council Senate submission, 1975; Australian Art Museums and Public Galleries, Art Museums Association of
Australia, 1990 and Australia Council records 2000.
N.B. There may be slight differences between Australia Council records and State and
Territory definitions of regional galleries.
page 211
As the above table shows, the network of regional galleries has developed quickly. There is
no indication that the pressure by communities to establish new local galleries will abate in
the near future.
However, while some people in every town or regional centre may feel the development
of a regional gallery is a good thing, there is concern from some existing galleries that
new institutions simply stretch limited funding resources and that it may be better for the
existing regional galleries to take on a truly regional role. This could involve cross-council
support for institutions and could also involve touring exhibitions (e.g. bussing) and also
micro-touring, ensuring that people over relatively large geographical areas received some
benefit from galleries in regional centres.
Lismore Regional Gallery submitted:
a much superior cultural service and facility could be provided if local government shires
contributed to the operation and capital infrastructure of one major cultural institution within their
region rather than all of them fighting for the limited funds to establish many smaller and inferior
galleries within each shire.
In the Northern Rivers we have the Lismore Regional Art Gallery, the Grafton Regional Art Gallery
as well as the Tweed Regional Art Gallery already in place. Byron Shire and Ballina Shire also have
plans for the development of a Regional Gallery to serve their own community. Kyogle Council has
established a small regional gallery and even more recently Nimbin (in the Lismore Shire) have
opened a Regional Gallery.
Each of the venues has substantial funds outlayed in capital and all are underserviced,
underfunded and struggling to provide operational funding for professional staff, curatorial and
educational activities and events.538
It may be the case that the term regional is no longer an appropriate term for these
organisations. Many of the regional galleries have a specific local rather than regional
function. This trend is also seen in the recent establishment of a number of suburban
regional galleries.
Suburban galleries
One contributor to the overall increase in regional galleries is the increase in metropolitan
or suburban galleries in Melbourne and Sydney in the last decade. In Melbourne institutions
such as McLelland Gallery, Linden Gallery (in St Kilda), Monash Gallery (formerly Waverley
City Gallery) and in Sydney institutions such as Hazlehurst (in Sutherland), Casula
Powerhouse (in Liverpool) and Lewers Gallery (in Penrith) play important roles in their
local communities and also provide important exhibition opportunities for contemporary
artists. They are often very well supported by their local Council and community, for both
capital works involved in the initial development, and later for continuing administrative and
program costs.
Of all the capital city councils in Australia, only Brisbane supports the continuing program of
a metropolitan gallery (the Brisbane City Gallery is also considered to be a regional gallery).
The capital cities support cultural programs that incorporate the support of contemporary
visual arts and craft activities on a project basis.
538. Submission: Lismore Regional Gallery.
page 212
Government support for regional galleries

Regional galleries are primarily funded by local government. In 199899, local governments
spent $24 300 000 on the support of art galleriesalmost all of this expenditure would
have been for the support of regional galleries.
The federal and state governments of Australia (need) to recognise the important role of local
government in supporting regional galleries throughout the country and creating opportunities
for contemporary arts practice, especially in non-metropolitan areas. The important role of local
government should be recognised through funding support for programs and incentives for best
practice in all areas of gallery management and promotion of contemporary visual arts (e.g.
collection management, exhibitions programs, educational programs, artist in residencies etc.).539
Regional galleries also receive substantial support from State Governments. Sometimes
this support will be for general administration. For example, in 19992000 Arts Victoria
allocated over $1 million to regional galleries for this purpose. In 19992000, New South
Wales distributed $751 014 to regional galleries for administration and projects. Sometimes
the support will be devolved, for example, Arts SA through its support of Country Arts SA
supports the administration of a number of regional galleries. Sometimes the support will
only be for project funding. This is the case in Queensland, which nonetheless provides
substantial project support and will also provide funding for capital projects. New South
Wales has a specific capital works grant program that in 19992000 distributed $451 891
(plus $172 609 in committed funds).
Regional galleries have also received substantial support from the Commonwealth
Governments Federation Fund. They are eligible to receive support for national touring
projects on an application basis through the Commonwealths Visions of Australia national
exhibitions touring program. Regional galleries receiving donated artworks also benefit
from the Commonwealths Cultural Gifts Program.
Regional galleries are also eligible to apply for special project support to the VACB of the
Australia Council. They are also supported through the VACBs and the States support of
the NETS agencies.
FINDINGS
Regional galleries are vital to their communities. The last decade has seen the number of
regional and suburban galleries in Australia almost double.
Further support for the projects, exhibitions, publications and touring, of regional,
suburban and metropolitan galleries could be available on a competitive application
basis through the Australia Council as well as through the state-based projects grants
(Recommendation 18).
539. Submission: National Regional Galleries Committee.
page 213
UNIVERSITY ART GALLERIES

Australian universities have formal and informal links with art galleries. University galleries
are regarded by their associated art and design schools as being valuable opportunities to
show the work of students and as a resource for teaching purposes.540
Currently, there are university galleries in every State and Territory, ranging from the 800m2
Ian Potter Gallery at the University of Melbourne with a budget of over $1 million per
year and a permanent collection of around 25 000 pieces, to the Drill Hall Gallery at the
Australian National University, with 135 running metres, a budget under $500 000 per year
and a permanent collection of around 1 400 pieces, to Sydney Universitys Tin Sheds, which
is an exhibition gallery only, with no permanent collection.541
Although the university galleries are based within university precincts, and have links
with the resident art schools, they are not an extension of the art schools, many having
been established by the universities before their respective art schools were established.
University galleries have no mandate to show the work of the art students or academics
who are based at their parent institutions, although these artists can submit proposals to
hold an exhibitiontheir submissions, however, would not be preferred over those of other
artists except on merit. Neither are university galleries intended to acquire the work of their
universitys student or teaching bodiesthey hold the universitys own collections, but
these collections are not intended to be representative of the institutions own graduates
or teaching staff.
University galleries acquire works through purchase, donations, and bequests. Many have
a focus on Australian contemporary arts and craft, as part of their aims to support research
and education in the sector. Many university galleries also provide education programs,
offering activities such as open lectures, floor talks, seminars, forums, conferences
and programs for school groups. University galleries are also able to take advantage of
institutional websites, with a number of them offering online catalogues for research
purposes, as well as other reference material, including their own publications.
Due to their connection with universities, these galleries have a function which combines
elements of library and art museum, making them an especially useful resource for
students of all fields. The permanent collections held by many university galleries are also
of academic and art historical value, and many galleries acquire works with the intention of
holding a useful art historical record of Australian art practices.
The galleries links with tertiary institutions also allow them to take advantage of
collaborations with other branches of the university, for example, medical and technology
research centres. Since they are funded by their universities, they are also likely to be able
to access equipment required to show new media and technology based artworks,
a difficulty for distant or less well funded institutions.
Some university galleries also extend their activities beyond the university arena to the local
community. For example, the Royal Melbourne Institute of Technology (RMIT) gallery actively
links its programs with event festivals.
540. Submission: ACUADS.

541. ibid.
page 214
FINDINGS
University galleries are a valuable and often under-recognised resource for the sector for both
education and exhibition purposes.
Further support for university galleries could be available on a competitive application
basis through the Australia Council as well as through the state-based projects grants
ARTISTS SERVICE ORGANISATIONS AND ASSOCIATIONS

Australian contemporary visual artists and craft practitioners are assisted in many ways
by a number of organisations that offer advice and support for individuals and also play
representative roles of advocacy and development for the sector as a whole. Artists become
members of such organisations because the service provided is valuable to them.
Artists service organisations and associations in Australia range from media-specific
volunteer-run associations and guilds developed with the aim of self-support between small
groups of practitioners to large organisations with key national advocacy and lobbying
objectives and large memberships. Some are very active, some are less active. Some have
been representing the needs of arts and craft practitioners for decades, some only started
last year.
In the Inquirys Issues Paper it was stated that there were over 24 membership service or
national/regional representative organisations that support contemporary visual arts and
craft.542 The National Association for the Visual Arts (NAVA) has commented that though at
first glance this may look like an overabundance of servicing, each entity has developed to
fill a perceived need gap.543
The roles of service organisations

Service organisations play an important role in brokering agreements between artists
and business (and government), which can have a positive effect on artists incomes and
professional development. Both the Artworkers Alliance in Queensland and the Artists
Foundation of Western Australia manage employment programs (the Artist Referral Service
and ArtSource respectively), which link artists and employers. With the introduction of
Percent for Art legislation and policy in some States the artist employment services often
act as an interface between artists and government. Through lobbying and advocacy to
governments they can create further financial opportunities for artists.
Through the provision of professional advice and service they can assist contemporary
visual artists and craft practitioners to attain the high standards of professional practice
that are necessary to create beneficial relationships between business and artists.
542. See Appendix K.

page 215
Service organisations are membership-based organisations and, as such, they need to

be responsive to the needs of large numbers of artists. Input from their membership
contributes to the organisations own priorities with regard to research, projects and general
programming. Service organisations will often work with each other or form partnerships
with other institutions with synergistic benefit; they also meet regularly to discuss common
issues across the sector.
Key organisations
There are three main visual arts and craft service organisations in Australia with a national
brief: these are Craft Australia, the Australian Network for Art and Technology (ANAT) and
NAVA. The (Queensland) Artworkers Alliance and the Artists Foundation of Western Australia
are two state-based organisations which have similar roles. However, NAVA is the only
organisation in Australia with an industry-wide brief that is national, non-media specific and
based on support for individuals and organisations.
NAVA
NAVA was started in 1983 at the instigation of the Australia Council and has 2 600 members,
predominantly visual artists.
The Commonwealth Government has supported NAVA since its establishment, initially as a
program of the Australia Council and from 1988 through the VACB. Since then, NAVAs base
administration funding has increased by 20 per cent in real terms. However, in the five years
to 2000 (since it started being funded through the VACBs Key Organisations category) its
funding has only increased by one per cent in real terms. At the same time NAVA appears to
have substantially increased its outcomes, its presence is strongly felt in the sector, and its
membership has grown.544 NAVA increased income from membership by 37 per cent in the
five year period from 1995 to 2000; increased sponsorship income tenfold; and increased
other income by 154 per cent.
NAVA currently receives operational funding of $157 000 per annum from the VACB. The
VACB also contributes $12 500 per annum towards the Pat Corrigan Grants (a semi-devolved
grant program managed by NAVA).
NAVA projects
In the last ten years NAVA has undertaken the management of a number of major initiatives
including the initial development of VISCOPY, the visual arts copyright collecting agency.
More recently NAVA has substantially focussed on issues associated with the New Tax
System. It has been the industry partner in the University of Sydneys Visual Arts Industry
Guidelines Research Project, which resulted in the publication of the Visual Arts Code of
Practice for the Visual Arts and Craft Sector. It has also managed the development and
publication of Doreen Mellor and Terri Jankes Valuing Art, Respecting Culture, Protocols for
Working with the Indigenous Visual Arts and Craft Sector. NAVA has also been a key partner
544. NAVA, Annual Reports, Sydney, 1996 and 2000.
page 216
in the Australian Research Council funded Big Picture: A Planning Matrix for the Visual Arts.
NAVA has also been the organiser and manager of meetings of the National Visual Arts and
Craft Network (NAVCN), an umbrella group for a number of national visual arts and craft
organisations. Since its establishment, NAVA has been a key player in discussions on all
areas concerning the rights of artists.
While it often receives special project funding, NAVA states that project funding usually
does not include support for the fundamental administration of such projectsthese costs
are subsumed within the organisations general administration budget.
NAVA had submitted that it will need to substantially reduce its services in the near future if
its is to remain financially viable:
(NAVA) currently has to choose between servicing the needs of individuals or alienating
them by reserving their energies for programs that benefit the whole sector. Recently NAVA
has been unable to provide the staff resources to maintain activities at a local level in the
States and Territories.545
NAVA and Craft Australia

In recent years many of the advocacy roles that Craft Australia had played have been taken
on by NAVA. The role of Craft Australia was initially to act as a coordinating body linking
the programs and activities of the State craft and design organisations enabling a thorough
communications network to operate nationally and internationally. In 1986 this role changed
to see Craft Australia represent, develop and promote the professional crafts industry
nationally and internationally as a whole (i.e. not limited to the assistance of the State craft
and design organisations). In the early 1990s the role changed again to one of leading the
Australian vocational craft industry nationally and internationally.546 Therefore, the role
changed over three decades: from service, to representation to leading. In the last ten
years Craft Australia has moved even further into an international and national marketing
role, managing the Australia Council Craft Export program and developing domestic craft
marketing initiatives such as Craftmark, the national branding scheme and the Best in
Sydney coordinated marketing strategy.
NAVA works closely with Craft Australia by representing the interests of the craft sector as
part of the broader visual arts sector.547 The Australia Council review of the role of a national
craft organisation recommended that NAVA should continue to play a key role in the
provision of applied policy research, general advocacy for craft to government and advocacy
on artists rights.548
NAVA and VISCOPY

In the early 1990s, the VACB supported NAVA to develop the concept of an art reproduction
fee collection agency. VISCOPY was established as an independent entity in 1995.
VISCOPY is a visual artists copyright collecting agency with international affiliations with a
mission to protect and enhance the legal and financial rights of Australian and international
visual artists by ensuring that fees are paid whenever an artists work is reproduced.
VISCOPY also distributes secondary rights royalties via agreements with international
societies and Australian societies such as Screenrights (The Audio Visual Copyright Society).
545.
546.
547.
548.
Submission: NAVA.
Craft Australia, Report on the Years 1990 and 1991, Sydney, 1991.
Submission: NAVA.
J. Freeland, op. cit., 2000.
page 217
VISCOPY has received substantial government support from the Commonwealth Department
of Communications, Information Technology and the Arts since its establishment. It was
originally envisaged that VISCOPY would be self-supporting after four years. Now after
seven years, VISCOPY still requires substantial funding from government. Under recent
arrangements made between VISCOPY and the Australia Council, VISCOPY will receive
approximately $225 000 from the Council in 200102, $175 000 in 200203 and $80 000 in
200304. The intention of the Council is to provide funding to VISCOPY for a sufficient time
for the project to be self-sustaining.
Indigenous art
NAVA has been involved for many years in representing the interests of the Indigenous
visual arts and craft sector. As NAVA put it, in all its advocacy, lobbying and service
provision work, NAVA includes the issues of concern to this sector.549 Having secured
funding for an Indigenous Arts Officer in 199698, NAVA was a partner agency in
the National Indigenous Arts and Cultural Alliance (NIACA) which was constituted of
representatives of all Indigenous arts organisations and arts officers within non-Indigenous
organisations.550 NIACA successfully campaigned to maintain ATSICs funding commitment
to the arts and cultural section of its portfolio in the face of funding cuts. In 2001, NAVA
commissioned and published Valuing Art, Respecting Culture, protocols for working with the
Australian Indigenous visual arts and craft sector.
The Australian Network for Art and Technology (ANAT)

The Australian Network for Art and Technology was established in 1985. It advocates,
supports and promotes art and artists in the interaction between art, technology and
science, nationally and internationally.551 ANAT was initially funded by the Australia Council
through the VACB but since 1996 has received triennial funding from the Australia Councils
New Media Arts Board. It also receives support from Arts SA. ANAT keeps its membership
informed of national and international opportunities and assists members to take
advantage of opportunities available in other sectors, particularly the science
industry sector.
ANAT is particularly concerned that opportunities in art and technology are open to artists
throughout their careers and that knowledge of advances in art and technology is readily
available to interested artists. ANAT manages an annual art and technology summer school,
with ongoing support to participants afterwards It also manages masterclasses, residencies,
workshops and mentorships on an ad hoc basis. It works with other technology-interested
organisations such as the contemporary arts organisations, The Performance Space and
D-lux media Art in Sydney to create, present and promote projects which highlight the value
of technology art (and particularly digital art) in Australia.

550. ibid.
551. Submission: ANAT.
page 218
ANAT and Indigenous artists

ANAT inaugurated a National Indigenous Summer School in New Media Art (NISNMA) in
July 1999, at the Northern Territory University in Darwin. Fourteen Indigenous artists were
selected to participate. The School aims to expand opportunities for Indigenous artists in
the field of art and technology, and to provide access to training, hardware and software
in order to assist in the development of digital arts practices. ANAT plans to hold a second
NISNMA in 2002.
The National Indigenous Arts Advocacy Association

The National Indigenous Arts Advocacy Association (NIAAA) describes itself as a non profit
organisation dedicated to protecting Indigenous Australian peoples rights, culture, cultural
respect, protocol and values through the promotion and protection of Indigenous arts
and crafts.552
NIAAA has recently been involved with the development of the National Label of
Authenticity. This is a national trademark to authenticate cultural products as the work of
Indigenous artists. A national registry will be set up to issue the label to individual artists
and organisations for both the visual and performing arts.
The 1999 National Aboriginal and Torres Strait Islander Visual Arts and Craft Conference
called for the establishment of a National Indigenous Visual Arts and Craft Alliance, to
inform and disseminate information on key areas of concern affecting Indigenous visual and
craft artists, communities and organisations.553
The arts and craft centres and their two major umbrella organisations, Desart and ANKAA,
all of which are very valuable artists services organisations, are dealt with elsewhere in
the Report.
The Artists Foundation of Western Australia and the Queensland

Artworkers Alliance
Two other agencies, the Artists Foundation of Western Australia (AFWA) and the Queensland
Artworkers Alliance (QAA) provide similar services to NAVA on a State basis. They are
primarily funded by their respective State governments. While both of the organisations
see lobbying, advocacy, research, membership services and collaboration with other
organisations as key functions, they also are involved in broadening the opportunities
available to artists by increasing employment opportunities either through the facilitation of
private commissioning or the engagement of government in public art schemes.
In Western Australia there are 270 artists registered with the AFWAs ArtSource project.
In 2001, ArtSource facilitated $2 400 000 worth of projects.554 QAA, in its submission stated
it had secured over $10 million worth of employment opportunities for artists over the past
five years.555
552.
553.
554.
555.
Submission: Vincent Copley.

Aboriginal and Torres Strait Islander Arts Board, Australia Council, Input to the Inquiry.
Submission: AFWA.
Submission: Artworkers Alliance.
page 219
The Public Art Development Agency

Queensland also promotes the employment of artists through the Public Art Development
Agency, which is a wholly controlled government agency with a brief of creating and
managing public art projects.
Artsource, the Artworkers Alliances Artists Referral Service and the Public Art
Development Agency are model initiativestheir contribution to the arts economy is
obvious. Less obvious but a nonetheless extremely important aspect of their work is the
dissemination of contemporary art into the public arena.
Small and large commissions in both Brisbane and Perth create an accessible interface
between the general public and contemporary artworks. Art referral services and Per cent
for Art policies often result in commissions of artwork which can at first be off-putting to the
casual viewer but which increase in interest as they become more familiar day-by-day.
The Arts Law Centre of Australia

Artists can also be supported through entities which offer specific services, for example
the Arts Law Centre of Australia which is membership based but provides free telephone
legal advice, as well as information sheets and sample agreements. The Arts Law Centre of
Australia, the Arts Law Centre of Queensland and the Arts Law Referral Service in Victoria
also provide consultation meetings for subscribers where initial advice is given freely and a
referral is made for more complex legal advice. The referred lawyers may give assistance for
a standard fee, semi-pro bono or free. The Arts Law Centre of Australia receives $186 200
recurrent funding from the Commonwealth through the Australia Council.
As the artworld becomes more complex, artists become more likely to interact with other
sectors or work in the public arena, and as government legislation concerning artists rights,
taxation and social security becomes more complex the need for entities such as the Arts
Law Centres becomes fundamental.
Guilds and associations

The formation of professional organisations, groups, guilds and associations continues to
be an effective way of organising, promoting and creating efficiency and economy through
sharing and organised volunteering.
The Inquiry received submissions from a number of service organisations. Three submitters
give an indication of the breadth of activities. The Society of Arts and Craft in New South
Wales is a crafts organisation which has been active for 95 years and has 130 members
and two shops in the Rocks in Sydney with an annual turnover of more than half a million
dollars. Members benefit from sales (which return up to $25 000 per annum to members)
and members are active advocates for community craft training in rural New South Wales.
Similarly the Australian Watercolour Association has been active since 1923. In 2001, the
Australian Wearable Art Association was formed to provide a platform and increase the
profile of Australian wearable art nationally and internationally.
page 220
Multiple memberships
Many of the services offered by the organisations discussed above are only available to
members. The economic importance of members can be seen by the fact that membership
contributed 26 per cent of NAVAs non-project income in 2000 and 11 per cent of the total
income of Artworkers Alliance in the same year. However, the organisation, due to the cost
of service provision, incurs additional expense with each membership. While there may
be some economies of scale to be had by increased membership (for example, the cost
of editing and designing a members magazine), other costs, such as postage, telephone
advice etc. are fixed. In many instances the membership fee does not cover the actual cost
of the membership.
As different organisations offer different membership services an artist may need to be
a member of several organisations to obtain a range of necessary services. A potter for
example may need to be a member of the relevant State Craft Council, Craft Australia, an
Arts Law organisation and NAVA.
Effectiveness of national service organisations

While NAVAs membership is extremely important to the economic viability of the
organisation it does not have a secure base outside the south east of Australia.
The arguments the Inquiry makes for additional support for contemporary arts
organisations and craft and design organisations also apply to NAVA. The Inquiry
believes it is difficult for an organisation to develop as an organisation when it
works at a basically subsistence level.
NAVA, Artworkers Alliance and Artists Foundation of Western Australia need to be funded so
that the value of the membership fee becomes less important than the value of the member.
This is particularly the case with NAVA. NAVA needs additional support to manage its
current programs and to allow it to create national partnerships with not just QAA and AFWA
but with other logical project partners such as ACUADS and Create Australia, CAOs, COA,
ANAT and the major art museums.
The Inquiry finds that NAVA is an effective association representing visual artists, especially
in the areas of research and advocacy. Government support has not kept pace with NAVAs
expanding role in the contemporary visual arts and craft sector. NAVA is increasingly
performing a national role, and to date, has not been funded to do so.
For NAVA to carry on a truly national role it needs to work particularly in close partnership
with AFWA and QAA without any of the organisations having the concern of membership
loss or any other financial disincentive. As all three organisations can be considered to
be effectively meeting their aims and objectives they do not need to change so much as
negotiate territory between them to facilitate synergy and national efficiency.
page 221
The Inquiry has noted the possibility that the many memberships that an individual
practitioner may feel they need is costly, confusing and inefficient. The Inquiry believes that
a national membership scheme could go some way to addressing this particular problem
and suggests that the Australia Council should undertake research on the practical aspects
of such a scheme.
The artist employment functions of QAA and AFWA (Artsource) are good ideas that create
income for artists and a valuable interface between artists and business. The Inquiry has
received submissions pointing out the benefits of managing such schemes on a national
model. Nevertheless, the Inquiry believes that there is substantial scope for funding statebased schemes.
FINDINGS
Membership and service organisations are a valuable and integral part of the contemporary
visual arts and craft sector.
Effective service delivery for Indigenous communities would be enhanced by dedicated
Indigenous personnel.
There is an increasing need for the sector to be serviced by a network of national organisations.
RECOMMENDATION 10
To ensure national artist service membership organisations continue to develop an
integrated national program for artist services and representation, including the support
and representation of Indigenous artists, the Inquiry recommends the Commonwealth,
through the Australia Council, increase its funding for national artist service membership
organisations by $200 000 per annum.
page 222
NEW TECHNOLOGY
For many years there has been national and international recognition of the many Australian
artists that work with new technology. For Australian artists to continue to create and exhibit
work at international presentation standards there needs to be consistent investment in
new equipment.
As more visual artists and craftspeople make artworks using new technology there is an
increasing demand for state of the art technological equipment in contemporary visual arts
and craft organisations. Contemporary arts organisations, in particular, are expected by
artists, audiences and other stakeholders to present new media and screen based works as
both part of their general program and in special events. However, exhibition spaces with
very limited resources face difficulties in responding to this demand, given the enormous
cost and rapid obsolescence of much contemporary equipment and software.
Many organisations borrow equipment for exhibitions on a needs basis, others expect
that the artists will supply the equipment, and some organisations have been able to
achieve partial in kind sponsorship deals with technology companies. However, to ensure
reasonable professional standards, most organisations have to access new technology by
either purchasing, leasing or hiring. This is almost always at or near standard market rates.
The issue is one that affects organisations nationwide. Many organisations, from major art
museums to artist-run initiatives find themselves faced with ever increasing costs when
they work with new technology. They are unable to properly budget for rapid increases in
costs for presentation quality equipment and therefore have a choice of either not showing
an ever increasing percentage of museum quality new media art or exhibiting new art but
only at the expense of other areas of their program.
The demand for new technology art exhibitions is also strong in regional Australia. For
regional Australia distance becomes an additional debilitating factor as costs such as
equipment hire, freight, travel and telephony charges are substantially higher than they are
for metropolitan galleries.
The issue of access to modern computer and audio-visual equipment for regional galleries and
other exhibition venues is one which should be addressed. Often the lack of suitable equipment
impacts upon their ability to display and exhibit artworks which use new technology and
multi-media. As a result of this lack of access regional artists and audiences are significantly
disadvantaged in this important area.556
The submission made by the Regional Galleries Association of NSW raised the possibility
of establishing a travelling New Media Modulea modular room557 which could travel to
regional galleries and exhibition spaces enabling wider audiences to experience technologybased artworks which would be unable to be toured otherwisedue to a widespread lack of
appropriate exhibition space. The Ivan Dougherty Gallery noted:
With artists increasingly using the latest in new technology, which is constantly being upgraded,
equipment banks in each State would be a beneficial and more cost effective mechanism, than
every individual institution or even artist attempting to be fully resourced.558
556. Submission: Regional Galleries Association of Queensland.

557. Submission: Regional Galleries Association of NSW.
558. Submission: Ivan Dougherty Gallery, UNSW
page 223
Members of the tertiary education sector have also commented that it is difficult for them to
obtain access to high end technology for their arts programs: initiatives such as these are
expensive [and] can only be done in cross-disciplinary collaboration559 and the cost of
our IT-suites is up to ten times that of traditional studio areas such as painting560
A secondary concern brought to the attention of the Inquiry was that many organisations,
particularly those housed in older premises or in premises that were not custom built as
gallery space, have experienced difficulties with regard to finding appropriate display space
for artworks utilising new technology.561 Premises that may have been perfectly adequate
for past exhibitions can suddenly be fraught with problems when curators extend their
collections into technology and screen based art.562
Technology facility
A popular idea for the resolution of these technical difficulties continues to be the
technology bank, similar to the Cooperative Multimedia Centres but loaning or brokering the
leasing of equipment rather than simply providing access to it at a centralised point: lack
of equipment for multimedia works is an impediment. Many organisations require high tech
equipment that is prohibitively costly to purchase or rent. A national bank or equipment
library could provide access to expensive equipment which wastes project funding and goes
straight to equipment suppliers563
A submission from the New Media Arts Board (NMAB) of the Australia Council examined the
costs and benefits of a national not-for-profit technology lending facility.
Costs to the sector

Current expenditure on technology from a sample of 15 organisations and individuals in
the field in 2001 totalled $1 096 293. The programs and projects ranged from small creative
enterprises to exhibitions in major galleries. Total expenditure across the field in Australia
would be significantly more than this.564
Table 4.8 shows the average expenditure on new technology equipment for ten
organisations annual programs, and five individuals project activity in 2001. Projects
ranged from large one-off exhibition events to smaller contemporary arts spaces and
performance art companies. This sample was chosen to represent the diversity of new
media arts practice, in the size of projects and in the types of works created and presented.
Although the larger projects have an impact on the average spending, it is likely that such
projects will occur at least once or twice per year into the future and so must be included in
any overview of expenditure in the sector.
559.
560.
561.
562.
563.
564.
Submission: ANU School of Art.

Submission: Noel Frankham, Head of School, SA School of Art.
Submission: Regional Galleries Association of NSW.
Submission: 24HR Art.
Submission: Biennale of Sydney.
Submission: NMAB.
page 224
Table 4.8 Average expenditure on equipment, 2001 by ten organisations and five individuals
Purchase
Hire/Lease
In-kind
sponsorship
Average for
all equipment
Organisations average
$ 61 671
$ 9 124
$ 13 191
$ 83 986
Individuals average
$ 31 851
$ 2 415
$ 224
$ 34 490
Source: NMAB submission
The potential benefits of a technology lease facility identified by the NMAB included:
A possible 30 per cent reduction in expenditure on new technologies by the 15 sample
organisations mentioned above translates to a saving of $328 888. A 30 per cent
reduction across the field will translate to at least a $1.5 million saving in the first year of
operation.
By reducing the need for organisations to purchase outright new technologies, the
technology facility could significantly reduce problems associated with the obsolescence
of equipment.
A technology facility could address issues of equitable access to new technologies for
creators and presenters of new media arts in Australia by loaning equipment to as broad
a range of arts organisations and groups as possible.
With broader access to new technology, smaller organisations would be able to plan and
implement more sophisticated exhibitions of leading new media works thus increasing
the exposure for the visual arts and technology at a wider range of venues and
audiences around Australia.
The features of the scheme outlined in the submission included:
The technology lease facility would purchase equipment that does not have a high rate
of obsolescence and will maintain its value over time (e.g. video players, DVD players,
audio equipment, television monitors). Equipment that will become obsolete over
shorter periods (e.g. data projectors, plasma screens, high-end computers, laptops, etc.)
would be leased.
The facility could be used to broker sustainable relationships with equipment
manufacturers and suppliers. For example, the conVerge 2002 Adelaide Biennial as
part of the Adelaide Festival managed to attract $262 000 in in-kind sponsorship from
suppliers. The brokering and coordination of sponsor relationships at the national level
would have significant benefit for organisers of smaller events that do not have the staff
resources to devote to seeking sponsorship.
The facility would deliver its service throughout the country including regional Australia.
Given the distances between cities and regions in Australia, expenditure on freight will
be a significant cost for the organisation. The facility might require a location on the
eastern seaboard and one to service South Australia, the Northern Territory and
Western Australia.
page 225
The facility could generate limited income from hiring fees but would require an annual
appropriation of around $1 million to cover the replacement costs of low-end technology
and to cover on-going leasing costs of high-end technology.
FINDINGS
The use of new technologies in digital and other arts has added an extra cost factor for
artists and organisations, both those producing and those presenting such works.
Due to the rapid evolution of technology, levels of obsolescence are high.
A lack of access for artists will increase the digital divide forming between those who do
have easy access to technology and those who do not. Australian artists have achieved
international standing, but may lose representation in international exhibitions if they are
unable to contribute in the fields of new technology-based and digital art.
If galleries and other art spaces do not have adequate access to new technology, works
based on new technology will be unable to be shown and collections will be reluctant to
acquire them.
Artists and organisations alike are increasing their uses of new technology in art practice
and exhibition, and it is unlikely that this usage will plateau in the near future. For this
reason, the visual arts and craft sector will continue to look to a mix of public and private
support to access new technology.
The Inquiry believes a technology lease facility will be an effective way of ensuring
organisations and artists have access to essential new technologies. Preparatory work
scoping this concept shows potential for further development.
The forecast costs of such a facility are not unreasonable if the anticipated outcomes can
be delivered. However, the Inquiry believes demand for and the cost of equipment, and
transport costs, could mean that a significantly higher investment will be required. It also
believes the States and Territories should match the Commonwealths contribution given the
potential of the scheme to assist artists in all States and Territories and in areas outside of
metropolitan centres. Prior to these commitments being made the Australia Council should,
in consultation with the States and Territories and the corporate sector, develop a business
model for the facility.
page 226
RECOMMENDATION 11
To ensure appropriate and current arts creation and presentation equipment is more
accessible to contemporary visual artists and craft practitioners and their organisations,
11.1
The Commonwealth and State and Territory governments allocate $2 million

per annum to establish a national technology loan facility.
11.2
The Australia Council develop as soon as possible a business model for the
technology lease facility, in consultation with the State and Territory governments.
11.3

ART ADMINISTRATORS AND CURATORS

A number of staffing issues have been raised in the course of the discussion on the various
components of the contemporary visual arts and craft infrastructure. This section is a
dedicated discussion of the role played by art administrators and curators in the sector.
Curating in major art museums

Both small and large art museums need contemporary art curators to collect work, research
and develop policy, oversee collections and undertake contemporary art projects. Such
projects have multiple benefits in that they are a benefit to the contemporary artists
involved, they can create publicity and interest and therefore potentially new audiences for
contemporary art, and they assist with the professional development of curatorial practice
in Australia, thereby potentially creating a cycle of more adventurous programming by major
art museums.
While a contemporary art curator position is not unheard of in other areas (e.g. many
university galleries employ curators), usually only the major art museums are substantial
enough to properly support such positions on a regular basis. Apart from employing
contemporary art curators, the major art museums may employ specialist curators to work
with contemporary craft and design, photography, Aboriginal and Torres Strait Islander
art and sculpture. Often such positions will have some historical collections duties (such
as overseeing the care of collections) but will have a major focus on the development of
contemporary collections and exhibitions.
page 227
The Inquiry has received persuasive submissions that major art museums with Indigenous
collections should ensure they employ Indigenous curators, education officers and other
relevant staff as well as Indigenous reference committees in the care and exhibition of these
collections. It was argued that such programs should come from their regular budgets and
not be seen as a special case.
Independent curators
Major art museums will also use people employed in other positions (e.g. academics,
contemporary art space employees) to undertake the curating of exhibitions on a project
basis. While such curators may not be employed by the major art museums they are rarely
freelance. Naomi Cass, the Executive Director of NETS Victoria, has stated that within the
Australian contemporary arts economy and infrastructure the position of independent
curator is financially unviable, as the work is infrequent and poorly paid.565 In this sense the
situation in Australia may simply be lagging behind the situation in most other economically
developed countries. However, given the size of the contemporary arts economy there may
never be independent curators in Australia such as there are in Europe, America and Japan.
Notwithstanding the economic arguments, there are benefits that a freelance or
independent curator can bring to a major art museum project. Major art museum curators
can have limited time to keep up with new work being produced by younger artists, they
may not have the time to work through problems in partnership with artists or they may
simply not enjoy working with certain artists. Independent curators are often more flexible
in their work patterns and more mobile with regard to where they can work. By working in
different institutions they can also professionally develop in a more holistic way and bring a
fresh perspective to the institutions.
By working across major art museums, contemporary arts organisations, regional galleries
and craft and design organisations an independent curator can build up a highly practical
and diverse knowledge. With the potential of working overseas for short periods on a
freelance basis they may also make invaluable international contacts. One current difficulty
facing Australian artists is that many of the international curators working independently
are not aware of the work of Australian artists. If younger Australian curators were
supported to create exchanges with other younger curators overseas it could create
understanding with the next generation of international curators before they become fixed
in their artworld views.
FINDINGS
Curatorial work, exhibitions and gallery management, and artist management are essential
components of the research and development, education and marketing aspects of the
contemporary visual arts and craft sector. They are important issues for generating audience
demand, and the provision of valuable career opportunities for people working in the arts
would benefit both the individual curators and the sector.
565. Inquiry notes of meeting with Naomi Cass, Executive Director of NETS Victoria.
page 228
There is a need to develop Australian curators at a younger age and show them support
outside of institutional employment. Emerging and student curators in Australia and
overseas should engage in supported exchange programs. These programs should
be targeted at major art museums, contemporary arts organisations, craft and design
organisations and commercial art galleries. Such programs will have a national benefit in
that they promote the art of Australia to sophisticated and potentially influential emerging
art curators overseas.
Curators and arts administrators outside of major art museums

Arts administrators and curators are important to the sector as facilitators, organisers and
interpreters of contemporary visual arts and craft. All three roles are important:
Gallery staff play a key role in determining the interface between contemporary visual arts and
crafts and the public.566
With the current focus on audience development, marketing and obtaining sponsorship
(private and corporate), the traditional roles of arts administrators and curators are either
being changed, to their eventual detriment, or are no longer regarded as being essential:
Curating is undervalued within the current climate in art galleries where the emphasis is on
marketing/media/public relations and public programs. There is a need for curators, both
freelance and institutionally based, to reassert their voices as well as a need to recognise the
contribution curators can make in regard to historical research, conceptualisation, interpretation,
planning and promotion of exhibitions and collections.567
Organisations and institutions which are under financial pressure may not be able to afford
the comparative luxury of hiring full-time staff members to take on administrative and
curatorial roles, despite the advantages they would reap from doing so. Concern has been
expressed that a lack of recognition of the importance of such roles by local government
agencies and funding bodies makes it difficult for institutions to access additional funding
for salaries. This difficulty, coupled with restricted training and development options, limits
regional galleries abilities to attract staff:
Informal learning through peers is limited as gallery staff are small in number and often isolated.
Networking as part of the Regional Galleries Association of NSW is supported but limited mainly
to gallery directors []A strong commitment to professional development is not strongly embraced
by regional galleries due in part to the all-engulfing nature of their work; lack of opportunities or
appropriate programs. The lack of recognition of the importance of professional development by
local government employers as well as the lack of incentives special funds, scholarships and
funds to ensure that a minimally-staffed organisation can survive if one member is absent - further
mitigates against (sic) professional development.568
Many institutions, regional and metropolitan, are faced with a multiple dilemma: they
have trouble attracting and retaining appropriately trained and experienced staff, and staff
members can experience burnout through overwork in understaffed workplaces.
566. Submission: Museums & Galleries Foundation of NSW.

567. Submission: Museums AustraliaVisual Arts, Crafts and Design Special Interest Group (VACDSIG).
568. Submission: Museums & Galleries Foundation of NSW.
page 229
The organisations are having to compromise on things like: occupational workplace safety
issues; quality of life of employees is compromised by long hours of unpaid time; reliance on,
and exploitation of, volunteers; board members are forced to condone compromised fiduciary
standards; there is difficulty in attracting good candidates to boards because of poor financial
situations; legal implications impinge on organisations; organisations continue to work on old
historical models as organisations, because they cannot muster the resources for change; poor
regional response and representation; lose staff due to low salaries and conditions, ie. loss of
trained expertise; training for executive director roles is inappropriate for what is involved; no
opportunities for career paths; unacceptable differences in salaries and conditions of people
working in government arts departments and state galleries, with people working in the funded
craft organisations.569
Further, after securing administrative or curatorial positions, some staff are not unnaturally
reluctant to move on, due to job satisfaction, or simply a fear that they will be unable to find
another equivalent position.570
This bottleneck which forms when there are many more applicants for positions than
positions available may lead to arts administration and curatorial jobseekers leaving the
sector to find work elsewhere:
Many gallery directors have been working in the area for long periods of time and need
refreshment. Emerging staff need encouragement to remain in the field and build up strengths in
varying aspects of gallery practice. Local government employers need greater understanding of the
professional needs of their staff.571
NAVA submitted that:

For a number of worthwhile projects, the management falls to existing staff because the funding
is not enough to cover the cost of project management. Funding bodies expect that this will be
undertaken within the existing administrative resources of the organisation. This results in staff
fatigue and overwork and protracted project timelines in order to fit the work in around other ongoing core responsibilities.572
Professional development
The professional development opportunities for arts administrators and curators are thus
very important. The Australia Councils VACB currently provides professional development
opportunities for arts administrators working in craft organisations under the Craft
Leadership Program. The program, now in its second year, is designed to encourage
Australian craft organisations to develop international projects and networks that benefit
Australian craftspeople and audiences.
Through the program, curators and other senior staff associated with craft organisations
are encouraged to develop new, self-directed, international professional development
opportunities. Such projects may include but not necessarily be restricted to exchanges
of curators and writers, and participation in international craft and design conferences.
Development work for craft exhibitions with international content may also be considered,
as will any other area of international activity identified as relevant to the further
development of a craft organisation. Proposals need to be well planned, and must
demonstrate the potential benefits from the project to the individuals involved, and to
Australian contemporary craft more broadly.
569.
570.
571.
572.
Submission: COA.
Submission: Museums & Galleries Foundation of NSW.
Submission: Museums & Galleries Foundation of NSW.
Submission: NAVA.
page 230
In its submission, Object acknowledged the value of the Craft Leadership Program
in promoting Australian artists and organisations overseas and for developing new
international opportunities.
The Craft Leadership Program funded by the Australia Council is hugely important in a number of
ways: expanding the vision for craft and design organisations and key individuals, for promoting
Australian organisations, exhibitions and programs and most importantly, facilitating the exchange
of ideas and the development of new international opportunities.573
The Inquiry considers this program has considerable potential. Providing craft
administrators and curators with the opportunity to undertake international professional
development activities not only benefits them but also the other staff involved in the project
and the craft and design organisations by improving the skills of managers. This program
also facilitates the exchange of innovative ideas between countries, both in terms of
creative and artistic developments, and emerging trends in arts administration and curating.
The program also enables networks to develop, which in turn leads to greater collaboration
and cooperation between organisations on an international scale.
The Inquiry notes that some crafts administrators and curators are unable to make use
of the program due to difficulties finding replacement staff. Craft organisations tend to
be run with minimal staff, and as such it can be difficult for senior staff to take leave for
professional development purposes as funds may not be available to fill the position with
an appropriately qualified person.
FINDINGS
The Inquiry believes that arts administrators, curators and the sector benefit from continuing
professional development opportunities.
The Australia Councils Craft Leadership Program provides important professional
development opportunities for individual curators and managers. Nevertheless, some crafts
administrators and curators are unable to make use of the program due to the difficulties
locating appropriate replacement staff and affording wages for those replacement staff.
Visual artists would benefit from an extension of this program.
Extension of the program to encompass the visual arts would allow administrators and
curators of contemporary art spaces, galleries and art and craft centres to enjoy the benefits
of professional development opportunities overseas, as well as extending benefits to the
organisation to which those individuals are affiliated.
Significant additional funding needs to be made available for the potential of this program
to be realised. The program currently is allocated $50 000 per annum. The Inquiry would
recommend an additional $200 000 per annum of recurrent funding to extend the program
to encompass the visual arts. This additional funding would extend the program to support
visual arts workers as well as crafts people, and would allow the program to grant financial
assistance to organisations which would be otherwise unable to afford the wages for a
replacement staff member.
page 231
RECOMMENDATION 12
To further the professional development of visual arts and craft curators and managers,
the Inquiry recommends the Commonwealth make available additional funding of
$200 000 per annum to the Australia Council to extend the current Craft Leadership
Program to encompass both the visual arts and crafts and to target both emerging and
experienced visual arts and craft professionals.
page 232
Chapter 5
Expanding the market
Demand for contemporary visual arts and craft is variable yet it is fundamental to the
sustainability of the sector. Audience development and education are critical factors and
the commercial galleries and auction houses and publications are key players in the market.
Access programs including touring can increase appreciation and interest. Promotional
activities in Australia and overseas can boost and stimulate demand.
AUDIENCES FOR CONTEMPORARY VISUAL ARTS AND CRAFT

Audiences for visual arts and craft are many and varied; they can be visitors to a gallery,
people observing visual arts and craft through the media, pedestrians passing a work of
public art, people relaxing at home with an artwork hanging on the wall. For the purpose
of this discussion, audiences are taken to be those people who visit art galleries and
museums, private and public,574 to enjoy and understand works of contemporary visual
arts and craft.
The importance of audiences

In a direct financial sense, audiences as defined above are not as critical to the
contemporary visual arts and craft sector as, say, they are to the performing arts. In fact, in
cases where audiences are not charged to view a gallerys collectionand in 19992000 this
was the case for approximately 78 per cent of art gallery and art museum attendees575
they impose a net financial cost on the institution. However, in a broader sense, audiences
are critical to the health of the contemporary visual arts and craft sector. Firstly, audiences
underscore the relevance of contemporary visual arts and craft to Australian society and
in part provide a rationale for government support, and secondly, a knowledgable and
appreciative audience is more likely to purchase works of visual art and craft.
In Australia, the Commonwealth Government plays a large role in providing audience
access to contemporary visual arts and craft. Over 60 per cent of institutions displaying
contemporary visual arts and craft receive some form of government funding.576
And government support of visual arts and craft is dominated by the provision of
accessin 19992000 over 80 per cent of public funds for visual arts and craft went
to art galleries and museums.577
Besides galleries and museums, there are other government initiatives that provide
access to contemporary visual arts and craft for the general public. The Commonwealth
Governments Artbank program rents contemporary visual art and craft works from its
collection to over 600 public and private clients. Audiences in regional areas are able
to experience contemporary visual art and craft works through the National Exhibition
Touring Support program (NETS) and Visions of Australia programs (discussed later).
The commissioning of public art works is also a means of government support that puts
contemporary art into the public arena.
574. Unless otherwise stated, galleries refers to contemporary art spaces; craft organisations; artist-run spaces; national, state and
regional galleries; university galleries; and some commercial galleries.
575. ABS, Attendance at selected cultural venues, cat.no. 4114.0, ABS, Adelaide, 1999.
576. Australia Council, Contemporary Art and Craft Audience Development Study, Draft research report commissioned by the Australia
Council and prepared by Woolcott Research and Positive Solutions, 2001.
577. National Centre for Culture and Recreation Statistics, ABS, Cultural Funding in AustraliaThree Tiers of Government, 19992000,
Cultural Ministers Council Statistics Working Group, 2002.
page 233
Audience data
In the 12 months to April 1999, an ABS survey indicated that almost 3.2 million Australians,
or 21 per cent of the adult population, attended an art gallery.578 To place this in perspective,
three million people attended a museum in the same period, 3.8 million people attended
a popular music performance, and almost ten million attended cinemas. The overall rate of
art gallery attendance was slightly higher in capital cities than in regional areas (22.3 and
19.4 per cent of adult population, respectively). The total attendance at art galleries and art
museums in 19992000 was over 6.5 million.579
Audiences for contemporary visual arts and craft, while naturally smaller than the total
gallery audience, are nonetheless significant. In a survey commissioned by the Australia
Councils Visual Arts/Craft Board in 2001,580 approximately 31 per cent of respondents had
visited a contemporary visual arts or craft venue in the previous two yearsnine per cent
had visited at least four times in the previous two years. Twenty-one per cent had visited
contemporary art venues, but not in the previous two years, and 48 per cent of respondents
had never attended one of these venues.
Attendance
The Australia Council survey of contemporary visual art and craft venues included public
and commercial galleries, as well as smaller, public venues such as contemporary art
spaces, craft organisations and artist-run spaces. The demographic profiles of attendees
(those who attended a contemporary visual art and craft venue at least twice in the previous
two years) and those who never attend that emerged from the survey are presented below
for comparison. These observations are supported by research commissioned by the
Australian Centre for Contemporary Art (ACCA) in 1999.581
Compared to the general population, attendees are more likely to be female, younger
(1829 years old), have a higher level of education, higher incomes and no children. Those
who never go to contemporary art and craft venues are more likely to be male, over 55
years old, with lower levels of education and lower household incomes, compared with the
general population. Interestingly, according to the Australia Council survey those in regional
areas are only marginally less likely than those in capital cities to attend contemporary
visual arts and craft venues.582
578. ABS, Attendance at selected cultural venues, cat. no. 4114.0, ABS, Adelaide, 1999.
579. ABS, Museums, cat. No. 8560.0, ABS, Melbourne, 2001. The number of attendances differs from the number of people who attended
art galleries because a person can attend more than once.
580. Australia Council, Contemporary Art and Craft Audience Development Study, 2001.
581. Submission: Australian Centre for Contemporary Art.
582. Australia Council, Contemporary Art and Craft Audience Development Study, 2001.
page 234
Motivations
The Australia Council also undertook an analysis of the attitudes of attendeesand nonattendeestowards contemporary art and craft.
The committed attendees of contemporary visual arts and craft venues were found to
enjoy belonging to a group of people defined by their involvement with the challenge,
understanding and appreciation of contemporary arts and craft and culture.583 This group
liked the thought-provoking aspects of contemporary visual art and craft. This group was
also quite protective of the contemporary art scene as it issome felt that it would lose
some of its appeal and uniqueness if it were promoted to a wider audience.
On the other hand, the survey found that the same factors that appeal to regular attendees
act as a barrier to those that do not attend contemporary visual art and craft venues. People
who do not attend contemporary art and craft venues see themselves as excluded from the
group of people they would see as being more frequent embracers of visual art.584
These people feel they have a lack of understanding about contemporary visual art and
craft, and are therefore often intimidated by the intellectual challenge that they perceive
is its heart, and the perception that frequent attendees speak in jargon serves to further
exclude them. This group prefers to view beautiful or familiar art that they feel they do
not have to understand to enjoy. The reports authors suggest that non-attendees have
stereotyped views towards contemporary visual art and craft, and that this can act as a
deterrent to attendance.585
These observations tend to be supported by the Australians and the Arts report
commissioned by the Australia Council as part of it Promoting the Value of the
Arts project.586 However, when asked What is it that you do not like about the arts,
only eight per cent of respondents nominated modern visual arts.
Sales
According to the 1997 Australia Council survey, approximately 60 per cent of people who
had visited a public art gallery in the previous 12 months had also purchased an original
painting and 40 per cent had purchased one-of-a-kind craft.587
The same report found people who regularly buy works of art and fine craft are more likely
than the general population to have a high household income, and are more likely to have
a university degree. Importantly, many buyers surveyed worked as artists, highlighting the
importance of an arts education to the development of a market for visual arts and craft.588
Art and craft purchasers were also much more likely than the general population to have
visited a public art gallery in the previous year than the general population (94 per cent of
respondents, against 26 per cent of the general population589).
583.
584.
585.
586.
ibid., p. 67
ibid., p. 68
ibid., p. 65
Australia Council, Australians and the Arts, Research report commissioned by the Australia Council and prepared by Saatchi and
Saatchi Australia, Australia Council, Sydney, 2000.
587. Australia Council, To Sell Art, Know Your MarketSurvey of Visual Art and Fine Craft Buyers, Sydney, 1997.
588. ibid.
589. NB. The ABS report on cultural attendance (ABS 1999) estimated that 22 per cent of the general population visited public art galleries
and museums in the 12 months to April 1999).
page 235
Audience and market development

Consolidation and development of contemporary visual art and craft audiences is vital to
the sustainability of the contemporary visual arts and craft sector. A significant proportion
of government support for the contemporary visual arts and craft sector is devoted to
increasing audiences.
An example of a contemporary art venue broadening its audience is the collaboration
between the Museum of Contemporary Art (MCA) and Telstra.com. Sponsorship by
Telstra.com has allowed the MCA to introduce well-publicised free general admission
audiences have increased three-fold since its introduction.590
However, whilst audience development is beneficial, it is also costly. Given that most
attendances at contemporary visual arts and craft venues do not generate direct revenue
for the organisations involved, a targeted development of audiences is necessary. The
sustainability of the sector would not be aided by venues wasting scarce resources on
broad-based marketing campaigns. At some point, the costs of attracting larger audiences
would start to outweigh the benefits.
The survey of visual art and craft venues commissioned by the Australia Council591 indicates
there is a lack of understanding of contemporary visual art and craft among those who
never attend. Other surveys conducted by the Australia Council in the 1990s support
the observation that there is a feeling of exclusion from the sector among a significant
proportion of the Australian population.592 It is likely the costs involved in attempting to
attract audiences from this segment in the short-to-medium term would be high. However,
the 2001 survey highlighted the fact that, while 31 per cent of the population claimed to
have attended a contemporary arts and craft venue in the previous two years, only nine per
cent had visited more than three times.593
On the surface, there would seem to be short-to-medium term potential for contemporary
visual arts and craft venues to encourage greater visitation from those that infrequently
attend these venues, and who have relatively positive attitudes towards contemporary
visual arts and craft. In its submission, the Museums and Galleries Foundation of New South
Wales identified a need for contemporary visual arts and craft to engage with the public and
to demystify practice.594
In the longer-term, arts education in schools is important. People who attend contemporary
art venues are more likely to be artists themselves, or have close links with the
contemporary visual arts and craft sector. Contemporary Arts Organisations Australia
identified primary and secondary education as areas that need attention in order to develop
contemporary visual arts and craft audiences in the long-term.595 In its submission, Craft
Queensland suggested placing educators within regional, tertiary and craft and
design galleries.596
590.
591.
592.
593.
594.
595.
596.
See the MCAs website: www.mca.com.au.

Australia Council, Contemporary Art and Craft Audience Development Study, 2001.
For example, see Australia Council, To Sell Art, Know Your MarketSurvey of Visual Art and Fine Craft Buyers.
Australia Council, Contemporary Art and Craft Audience Development Study, 2001, p. 29.
Submission: Museums and Galleries Foundation of NSW.
Submission: Contemporary Arts Organisations (Australia) (CAOS).
Submission: Craft Queensland.
page 236
Demand
The demand for contemporary visual arts and craft in Australia can be broadly split into
public demand and private demand. Public demandthe commissioning and/or purchase
of art and craft works by governmentis significant. It includes per cent for art programs
administered by various state and local governments, and the Commonwealth Governments
Artbank programwhich has a stock of Australian art and craft works valued at over
$13 million, and which in 200001 purchased $500 000 worth of contemporary art and craft
items. These initiatives are further outlined elsewhere in the Report.
State and regional galleries are also significant purchasers of contemporary visual arts and
craft works. Galleries may also have a role in commissioning contemporary visual arts and
craft. For example, the National Portrait Gallery has an active program for commissioning
works from contemporary Australian artists.597
Private demand for artworks consists of private individuals demand and private
corporations demand. During the late 1980s, corporate expenditure on art works was
highan Australia Council survey found that $15 million dollars was spent in 1989,
78 per cent of which was on new Australian works.598 Following the stock market crash of
1989, and the recession of the early 1990s, corporate expenditure on art fell dramatically
in 1996 Australian companies spent approximately $4.2 million acquiring artworks, of which
71 per cent was spent on new Australian works.
Making more people aware of contemporary visual arts and craft through targeted audience
development could be expected to result in an increase in visual arts and craft purchases.
Several submissions to the Inquiry suggested measures for increasing demand for
contemporary visual arts and craft works by lowering the cost to consumers of purchasing
contemporary visual art. One submission suggested a tax deduction for purchases of visual
arts and craft in the first-sale market:
If artists were able to offer tax deductibility for the purchase of a work, this would remove an
impediment for the investor, the risk element, and offer an incentive to the collector or potential
collector. If the sale of a work was accompanied by tax deductibility, works should be easier to
sell, the potential market should increase, and the prices at which works could be sold could be
increased because for those collectors already in the market the current cost would now be an
after tax cost.599
Arts SAs submission600 brought to the attention of the Inquiry the ArtCred Scheme operated
in the United Kingdom by two of the Regional Arts Boards. ArtCred is an interest-free art
purchase program, where eligible buyers can borrow money on interest-free terms towards
buying art and craft works by living artists at selected member galleries. In the first eight
months of its operation, 700 000 (A$1.95 million) worth of artwork was purchased, and
over 500 000 (A$1.4 million) has been lent. Other Regional Arts Boards in the United
Kingdom operate similar programs.
597. Submission: National Portrait Gallery.

598. Australia Council, Corporate support for the arts 1996, Research Report commissioned by the Australia Council and prepared by Yann
Campbell Hoare Wheeler, Australia Council, Sydney, 1996. Figures are in 1996 dollars.
599. Submission: Brian Tucker.
600. Submission: ArtsSA.
page 237
While such programs would likely increase the amount of contemporary visual arts and craft
purchased in Australia, it is questionable how effective and efficient such a program
would be. For such programs to be efficient, they would need to lever a larger amount of
additional expenditure on contemporary visual arts and craft. For this to occur, the price of
visual arts and craft would need to be a major factor holding back people who would like to
purchase visual arts and craft, but currently do not.
FINDING
The Inquiry notes the existence of a range of models for interest-free art purchase programs
and proposes that relevant sector participants continue to examine options for their
introduction in Australia.
THE COMMERCIAL MARKET

The sale of artistic product occurs in a number of different arenas. Visual arts and craft
practitioners may sell their work directly to the public, the practitioner may engage an agent
to sell the work on behalf of the artist, or the work may be produced for the prospective
owner by commission. Marketing and promotion of the artist and their works is a significant
factor contributing to success in the highly competitive market place, and these are roles
which are often assumed by an agent acting for the visual artist or craft practitioner.601
A variety of different agency arrangements can be observed in the contemporary visual
arts and craft sector, the most prevalent being the representation of artists by commercial
galleries and merchants. Visual artists and craft practitioners may also be members of artistrun spaces. Auction houses make some primary sales of contemporary works of visual arts
and craft, but generally are predominantly focussed on secondary sales, i.e. resales of work
by collectors.602
Despite the range of agency arrangements observable within the contemporary visual arts
and craft sector, the most common manner in which artistic works are sold is by the artist
directly to the public.
A survey commissioned for DCITA in 1997603 also estimated that the most important source
of total visual arts and craft sales was direct from the artist (Table 5.1).604 It is notable that
while the majority of visual art is purchased from either galleries or from the artist, craft
items are purchased from a wider variety of sources.
601.
602.
603.
604.
D. Throsby and B. Thompson, op. cit., p. 38.

Submission: NAVA.
Department of Communications and the Arts, Cultural Trends in Australia No 7: Art and Craft Purchases 1997, Canberra, 1998, p. 18.
The survey on which these data are based is a household survey, and as such may not be representative of the market for artworks
as a whole; it is likely that sales from auction houses are under-estimated, and sales from outlets such as department stores are over
represented.
page 238
Table 5.1 Source of visual art and craft purchases, 1997
By proportion of total value
Visual art items %
Craft items %
Market
6.6
13.3
Craft fair
2.5
5.4
25.0
6.4
Specialty craft shop
4.7
14.7
Museum/gallery shop
8.9
2.5
30.0
18.8
Department store
4.4
6.9
Other retail
4.9
27.7
13.0
4.2
Art/craft dealer
Artist producer
Other
Source: Department of Communications, Information Technology and the Arts 1998
An emerging trend is the practice of selling artworks on the Internet. Both primary and
secondary sales are now made over the Internet through virtual galleries and auction sites.
Examples of these sites are both internationally and Australian-based. Antiques and Art
Australia have established a virtual gallery where over 1 500 works are offered for sale.
Each work offered in the virtual gallery is also linked back to the dealers home page,
to allow collectors to recognise and develop relationships with exhibitors.605 Sothebys
Australia launched an online auction site in October 2001.606 A variety of art and craft is also
sold on ebayan online dedicated sales site.607
Size and composition of the Australian art market

Estimates extrapolated from 1998 DCITA data showed the total value of visual arts and craft
items (in the broadest sense) sold in Australia in 1997 was approximately $1 821.6 million.
Approximately $551.6 million was spent on visual arts; the remainder ($1 270 million) was
spent on craft items.608 The figures include, but are not limited to, contemporary visual arts
and crafts.609
More recent data indicates that in 2001, approximately $70 million of art was sold in
Australian auctions610 (of which the majority is assumed to be secondary sales). The value of
art sold through commercial galleries in 19992000 was $218 million, of which $106 million
was first sales sold on commission.611 There is no corresponding data available on the value
of art sold privately, or sold by dealers that do not operate commercial galleries. Again,
these figures are not limited to contemporary visual arts and craft.
605.
606.
607.
608.
609.
610.
611.
Antiques and Art Australia, Virtual Gallery, 2000, at www.antique-art.com.au/gallery/index.cfm.

G. Maslen, Cyber Art Sales, The Age, 31 October 2001, at www.theage.com.au/entertainment/2001/10/31/FFXFQTDJETC.html.
ebay, Art, at pages.ebay.com/catindex/art.html.
Department of Communications and the Arts, op. cit., 1998, p. 18.
The DCITA household survey was quite broad, and included all manner of arts and crafts, including furniture, jewellery, clothing,
ceramics and woodcrafts. The survey included sales in retail stores, markets, fairs, specialty shops, as well as dealers, museums and
galleries, and direct from the artist.
ABS, Commercial Art Galleries, cat. no. 8651.0, ABS, Melbourne, 2001.
page 239
Auction houses
There are approximately 20 auction houses dealing with fine art in Australia. Sothebys,
Christies and Deutscher-Menzies dominate the market, with 33 per cent, 27 per cent and
23 per cent of total value of art sold at auction in Australia in 2001 respectively.612
The value of artworks sold at auction in Australia increased by over 300 per cent between
1990 and 2001. Auction sales of works by Indigenous Australian artists showed the biggest
proportional increase over that period. As shown in Figure 1, sales rose from $169 000 in
1990 to $4.7 million in 1999an almost 30-fold increase. These trends indicate a truism
with respect to the auction housesthe market for works at auction is not static, rather the
market is dynamic and subject to rapid change.
Figure 5.1 Value of Australian auction sales, by nationality of artist
80
70
60
50
40
30
20
10
0
1990
1991
1992
1993
Note: Includes buyers premium where charged.

Source: Furphy (2000).
1994
1995
Non-Indigenous Australian
1995
1996
Indigenous Australian
1997
1998
Other
Australian auction houses charge the vendor of a work of art a commission on the sale, as
well as charging the buyer a premium. The vendors commission is usually on a sliding scale,
ranging from two per cent of hammer price to 20 per cent, while the buyers premium
introduced across the Australian industry in 1993is 1015 per cent.613
Artworks sold at auction are also subject to the goods and services tax (GST). The buyer
pays the ten per cent GST on the buyers premium, and will only pay GST on the hammer
price where the vendor is registered for GST. The vendor pays the ten per cent GST on the
vendors commission and any other costs.
In most cases, income tax is payable on increases in the capital value of an artwork
(Capital Gains Tax). The capital gain on any painting acquired for more than $500 on or
after 20 September 1985 is subject to income tax.
612.
613.
J. Furphy, op. cit., 2002.

Australian Art Collector 2000, no. 12, p. 39.
page 240
Most auction sales are secondary sales, although some artists market their primary sales
though auction houses. Generally, only well-established artists will put their works up for
auction. The benefits of auctioning works are that prices can be much higher at auction and
that auction houses generally charge a smaller percentage as vendors premium than the
commissions imposed by the commercial galleries. A further incentive is that some auction
houses, including Deutscher Menzies, offer vendors guaranteed sales at a certain price.
Commercial and private galleries

Commercial galleries have a vital role in the contemporary visual arts and craft sector:
Commercial galleries perform an important function for the viability of the visual arts.
They are also the major means of dissemination of artworks and are crucial to the economic
viability of artists.614
Submissions have argued that:

the artist-gallery system has been extraordinarily successful at what should be the main
objectives of any inquiry into artists welfare:
1. encouraging and facilitating the emergence of new artists
2. bringing a greater and greater number of the public into contemplation of the work of serious
Australian artists
3. vastly increasing the financial welfare of artists.615
The Australian Commercial Galleries Association also submitted comments on the

importance of the economic and creative contribution of the commercial galleries to
contemporary visual arts and craft. The commercial galleries play a number of important
roles in the sector, including providing long-term professional support to artists,
encouraging patronage and audience development, and cultivating new markets, both
domestically for new artistic media, and internationally.616
Nevertheless, there is anecdotal evidence that for collectors new to the commercial market,
it can be difficult to obtain assistance and information from the commercial galleries
regarding the market.
In 19992000 the ABS conducted a survey of Australian commercial galleries.617 For the
purposes of the survey, a commercial art gallery was defined as a business, the primary
activity of which is the display and sale of works of art. According to the survey, at June 2000
there were 514 commercial galleries operating in Australia, with total sales of artwork of
$218 million in 19992000. Of this, art sold on a commission basis totalled $145 million
(67 per cent), while own-account sales totalled $73 million.
The value of secondary sales of art by Australian commercial galleries was $111 million, of
which approximately 16 per cent was sold on a commission basis, with the balance ownaccount sales. The survey indicated that the average commission for artworks sold on a
commission basis was 30 per cent, and that the average mark-up on own-account sales
was 61 per cent.
614.
615.
616.
617.
Submission: Richard Dunn.

Submission: Utopia Art and Watters Gallery.
Submission: Australian Commercial Galleries Association.
ABS, Commercial Art Galleries, 2001.
page 241
No comparable data is available for firms, primary business of which is the sale of craft
works. Craft Australia indicated that the ABS Survey of commercial galleries:
may significantly undervalue sales through Craft sector retail outlets There are many types
of Craft retail outlets that are not captured in the Gallery categorythere are lifestyle stores,
gift retail outlets, department stores as well as the traditional Craft shop and more specific Craft
galleries all retailing Craft products.618
As discussed elsewhere in this Report, artist-run initiatives (ARIs) provide opportunities
for artists, including both emerging artists and more established artists, to exhibit their
works in spaces other than commercial galleries. Artists receive the benefits of studio and
gallery space, and have the opportunity to engage with diverse audiences and exercise selfdetermination regarding how works are selected and displayed.619 Whilst some first-sales of
contemporary visual arts and craft works are made through ARIs, the primary emphasis of
these spaces is the exhibition and promotion of works.
Major art museums

Major art museums play an indirect role in the market by affecting prices in the commercial
gallery sector. For example, if a major art museum purchases a work from a particular
commercial gallery, the prices of the works of both the artist responsible for the work
acquired by the museum, and the prices of the remaining works held by the commercial
gallery (whether created by that particular artist or not), will generally rise. The rise in price
is due to the publicity and exposure associated with the sale, and the relationship (real or
perceived) between the public institution and the commercial gallery. Major art museums
and galleries play the role of a known and respected collector, and in this way may
influence the purchasing practices of other collectors. This is similar to the effect on
prices generally observed where an artist is collected by a well-known private collector or
corporate collection.
The purchasing of art works by art museums and state galleries is a multi-stage process.
Generally, when a curator locates a work which may be suitable for acquisition, the work is
held by the commercial gallery on reserve while the curator discusses the proposal with the
Director. If the Director approves the purchase, the trustees of the institution will also need
to approve the purchase before the sale is finalised. There are thus a series of checks and
balances which occur before the purchase of a work of art is finalised by a museum
or gallery.
618.
619.

Submission: Museums and Galleries Foundation of NSW.
page 242
Craft sales
Craft is sold by subsidised organisations dedicated to the marketing, promotion and sale of
contemporary craft. Craft Australia, the craft and design organisations and the Jam Factory
are the key players in the commercial market. Unsubsidised, commercial outlets compete
with these subsidised craft organisations. For example, in Sydney commercial galleries such
as the Glass Artists Gallery, Mura Clay Gallery, Quadrivium, Makers Mark and a number of
other craft focussed businesses operate in competition with government subsidised stores
such as Craft Australias retail outlet (in the David Jones city store) and the two retail outlets
operated by Object in Circular Quay and the Rocks.
There are relatively few commercial outlets operating in competition with the subsidised
craft organisations. Craft Australia indicated in its submission that commercial gallery
representation for craft practitioners has been declining:
A shrinking of the public profile of the crafts has encouraged a decline in commercial gallery
promotion of the crafts and many galleries have closed. This has caused a great downturn in
exhibition and sales opportunities for Craft practitioners, and while there are new opportunities
arising in other fields (such as public and corporate commissioning) the majority of Craft
practice relates to exhibition and sales of product, and as such needs avenues to reach the
buying public.620
Craft Australia indicated that retail opportunities are arising through the regional galleries
and museums:
The increasing commercial and retail activities of the wide network of regional art galleries and
museums offers increasing opportunities for Craft practitioners, especially as a means of local
practitioners being seen in their own communities by providing product related to the regional
gallery exhibition program.621
Opportunities for craft sales also exist through the broader retail network, such as tourist
shops, gift shops and department stores.
It has been suggested to the Inquiry that government involvement in the commercial market
has resulted in the build up of tension between subsidised sellers and unsubsidised sellers.
Quadrivium made comments in relation to the retail stores which have emerged as part of
the various craft and design organisations:
No longer is the priority of these crafts councils to represent their members through exhibitions
and other events, but rather to support themselves through retail and corporate sales of the
leading craft artists in the country. This results in the councils now positioning themselves as retail
outlets in direct opposition to the commercial spaces, and in turn maximising the opportunities for
its members and emerging artists.
The conflict which has occurred with the retail spaces of government supported craft councils, has
had a noticeable impact on the sales of contemporary craft through commercial spaces, such as
Quadrivium, who are completely self funded and cannot continue to operate without sales, and
competition from tax funded organizations, places us at a disadvantage.622
620. Submission: Craft Australia.

621. ibid.
622. Submission: Quadrivium.
page 243
This is clearly an important issue for the commercial sector. It should be noted, however,
that government programs support many commercial galleries to attend art fairs and to
strengthen markets for contemporary visual arts and craft. Both commercial galleries and
craft and design organisations are able to apply to the Australia Council for funding.
Art and craft fairs

In its submission, NAVA highlighted the promotional role of art and craft fairs:
The Art and Craft Fairs are the opportunity for the general public to see and buy from a wide choice
of recent work by Australian artists and crafts people and for representing commercial galleries to
capture new clients.
All of these events are an opportunity for the community to see state of the art surveys of
recent work by artistic creators and get something of a picture of the scope of work currently
being done.623
Art fairs are regularly held in a number of locations around Australia, both urban and
regional, and are often sponsored by government. For example, the Melbourne Art Fair,
owned and operated by the Australian commercial Galleries Association, is sponsored by
Arts Victoria, the Australia Council, the City of Melbourne, the Australia-Korea Foundation,
the Melbourne Airport and Vicnet.624 Australian works are also promoted and sold at
international art fairs, and some government funding is available through the Australia
Council and State and Territory governments for participation by artists and dealers in these
events.
In addition, art and craft fairs are regularly held in a great number of locations around
Australia, providing thousands of craft practitioners with the opportunity to display,
promote and sell their works both within their local community, and to wider audiences.
These art and craft fairs are held in every State and Territory, and vary from small craft fairs
dedicated to a particular type of craft, to larger craft fairs with many stalls and a variety of
arts and crafts for sale.625 The following are some examples of art and craft fairs:
Treasured Craft Creations, an annual fair held at the Claremont showgrounds in Western
Australia, combines the sale of crafts with sales of antiques and collectibles.
The Needlework Craft and Quilt Fair held in Brisbane includes displays, free workshops
and advice for crafts practitioners, in addition to the promotion and sale of needlework
and quilt crafts.
The Annual Yuletide Art and Craft Fair, held in Croyden, Sydney, features a variety of arts
and crafts, including homewares, jewellery, and teddy bears.
Thus, while the avenues for marketing and selling high-end, fine craft may be limited, for the
crafts more broadly, there are a great number of outlets for promotion and sales.

624. Melbourne Art Fair 2002, www.artfair.com.au/2002/index.htm.
625. A comprehensive listing of art and craft fairs around Australia can be found at Australian Craft Fairs,
at www.intercraftmarket.com.au/craft-fairs.html.
page 244
Indigenous art sales

A significant proportion of the primary sale of Indigenous art occurs through art and craft
centres. As discussed elsewhere in this Report, these are community-based, Indigenousowned enterprises that facilitate the production and marketing of Indigenous art and
craftmostly at the wholesale level.626 Indigenous art and craft centres play an important
role in promoting Indigenous artistic work and ensuring the profits from the sale of
Indigenous works are returned to the artists and the community. Indigenous art and craft
centres receive government funding. NAVA makes the following observation in relation to
Indigenous art and craft centres:
[Indigenous art and craft] centres have set themselves both social and commercial objectives
which are sometimes in conflict. But they have proved to be one of the most effective ways to
both sustain living Indigenous cultural expression, providing Aboriginal and Torres Strait Island
people with a sense of purpose and autonomy, and also to generate earned income from art and
craft sales and cultural tourism. They are also an effective investment of government funding,
demonstrating that eg in 1997 every dollar of NACISS funding was generating $3 in sales and $1.50
in returns to artists.627
Auction houses
The secondary, or resale, market for Indigenous art occurs through auction houses,
commercial galleries, and other means such as department stores and tourist enterprises.
In 1997, the value of Indigenous art sold though auction houses in Australia was
$3.8 million, up from $175 000 in 1992.628 This increase was driven by both increases in
sales and pricesthe 53 sales in 1992 averaged $3300, while in 1997 there were 716 sales
with an average price of $5300. The total value of Indigenous art is significantly influenced
by a few large-value salesin 1997 the top 90 sales attracted $2.5 million of the total
$3.8 million. By 1999, the value of Indigenous art sold through Australian auction houses
was $4.7 million.629
Commercial galleries
In 19992000, commercial galleries sold $35.6 million of Indigenous artworks, $12.6 million
of which was secondary sales.630 It should be noted, however, that the ABS survey on which
this estimate is based may not include all Indigenous art centres. In their submissions, the
Association of Northern, Kimberley and Arnhem Aboriginal Artists (ANKAA)631 and
Mr Norman L. Wilson632 indicated that the ABS survey appeared to overlook 70 art centres.
As such, the above estimates may in fact underestimate the sale of the Indigenous art sales
through commercial galleries.
No comparable figures are available for the value of Indigenous art sold by other means,
such as through department stores and tourist enterprises, but it is possibly significant.
A 1996 survey undertaken by the Australia Council estimates that international visitors
purchased (from all sources) $5 million worth of Indigenous paintings.633
626. F. Wright, and F. Morphy, (eds) The art and craft centre story: a survey of thirty-nine Aboriginal community art and craft centres in
remote Australia, Volume 1: Report, ATSIC, Canberra, 1999.
628. H. Guldberg, The arts economy 196898: Three decades of growth in Australia, The Australia Council, Sydney, 2000.
629. J. Furphy, op. cit., 2000.
630. ABS, Commercial Art Galleries, 2001.
631. Submission: ANKAA.
633. H. Guldberg, op. cit., 2000.
page 245
Competitions, prizes and awards

There are a great number of competitions, prizes and awards operating in the field of visual
arts and crafts. These vary a great deal as some:
are acquisitive, and some are non-acquisitive;
competitions, prizes and awards occur annually, while others occur biennially
or triennially;
involve the sale of works at the end of the exhibition, whereas others do not
involve sales;
competitions have a number of conditions which must be satisfied by each entrant, while
some competitions are very flexible;
competitions involve image preselection, some are by invitation only, and some are
available only to a certain demographic or locality; and
are open only to professional visual artists and craft practitioners, and still others are
open to all visual artists and craft practitioners, professional and hobbyist.634
The competitions, prizes and awards currently available to the contemporary visual arts and
craft sector cover a variety of media and styles, including sculpture, painting, drawing, print
making, digital art, textiles, jewellery, photography, glass, and Indigenous art.
A full listing of the prizes, awards and competitions in the contemporary visual arts and craft
sector is set out in the NAVA publication, Money for Visual Artists.635 Prizes include:
Archibald Art Prize for portraiture ($35 000);
Centre for Contemporary Photography Documentary Photography Exhibition and Award
for photography ($13 000);
Contemporary Wearables for textiles ($5 000);
Helen Lempriere travelling art scholarship for various art forms ($40 000);
Metro 5 prize for painting ($40 000);
National Craft Acquisition Award for craft (various);
National Digital Art Awards for electronic art ($11 000);
National Indigenous Heritage Art Award for Indigenous arts ($20 000, plus additional
awards in the range $1 000$8 000);
Outback Art Prize for works on paper ($5 000, plus travel expenses);
Rena Ellen Jones Memorial Print Award for print making ($10 000);
RFC Glass Prize for glass art ($7 500); and
Wynne Prize for painting and sculpture ($15 000).
634. National Association for the Visual Arts, Money for Visual Artists, Fifth Edition, Sydney, 2000, p. 17.
635. ibid.
page 246
There were a number of issues identified in submissions in relation to competitions,

prizes and awards. These included concern regarding the time, effort and cost associated
with entering competitions.636 A further difficulty identified relates to the distinction
between public competitions, commissions, competitions by invitation, and tenders, as
the Association of Sculptors Victoria suggested that many competition organisers do not
understand this distinction.637
The VAIGRP Code of Conduct sets a number of standards, including conditions of entry,
entry fees, judging, and commission, sales and payment.638 These standards have the
potential to standardise industry practices, thereby promoting certainty for both individual
artists and business.
Commissions
Government is one of the largest sources of commissions in Australia. With respect to
government commissioning of artistic works, the Association of Sculptors Victoria made the
following comments:
It is essential that [commissions and purchases] are conducted at the highest level of correctness,
not only to fulfil the Governments underlying obligation to deal fairly with its contractors, but
if it wishes to support the arts, to deal with artists in a manner which makes Government work
desirable For this reason, the NAVA guidelines should be mandatory for Government at all levels
and an advisory service should be available to help in difficult situations.639
The VAIGRP Code of Practice sets out processes and standards for commissions. The role
of both the commissioner and the artist are clearly articulated in the Code.640 The Code
sets out standards for producing project briefs, for selection processes, and for producing
the final commission agreement.641 Further, the Code provides best practice guidelines
for commission fees, payment schedules, insurance, copyright, moral rights, and dispute
resolution.642 These guidelines could be used by government to inform and educate
Commonwealth officers and the sector. In this way, the Code could influence standards for
government commissions. Government should consider the suggestions made in the NAVA
Code of Practice in the context of any future review of government commissioning policies
and processes.
FINDINGS
The market is expanded by competitions, prizes and awards, which operate effectively to
promote contemporary visual arts and craft to new audiences.
There are a variety of prizes available to artists, in a variety of disciplines. There is often
ambiguity regarding the distinction between a public competition, a commission, a competition
by invitation, tenders, and the commercial arrangements with artists.
The VAIGRP Code of Practice addresses these issues with the intention of standardising
industry practice. This model should be considered in the context of any future review of
government commissioning practices.
636.
637.
638.
639.
640.
641.
642.
Submission: Association of Sculptors Victoria.

Submission: Sculptors Association of Victoria.
VAIGRP, The Code of Practice for the Australian Visual Arts and Craft Sector, NAVA, Sydney, 2001, section 4.2.
Submission: Association of Sculptors of Victoria.
VAIGRP, The Code of Practice for the Australian Visual Arts and Craft Sector, sections 2.2.32.2.5.
ibid., sections 2.2.62.2.8.
ibid., section 2.2.9.
page 247
National marketing
There are a number of major commercial art fairs conducted on a regular basis in Australia,
including the Melbourne Art Fair, the International Works on Paper Fair, and the Western
Australian Art Fair.
The Melbourne Art Fair, owned and operated by the Australian Commercial Galleries
Association (ACGA), is sponsored by Arts Victoria, the Australia Council, the City of
Melbourne, the Australia-Korea Foundation, the Melbourne Airport, and Vicnet.643 The
Melbourne Art Fair is held biennially, and includes a number of public programs
comprising forums, collectors programs, talks delivered by artists and curated exhibitions.
Since the first Melbourne Art Fair held in 1988, (then known as the Australian Contemporary
Art Fair), audience numbers have increased. In 2000, 19 500 attended the Melbourne Art
Fair.644 The Melbourne Art Fair is discussed further later in this Chapter.
The International Works on Paper Fair (IWOPF) is held biennially in Sydney, and its aim is
to create opportunities for accessibility, education and enjoyment of works on paper and
their production.645 This art fair is largely self-funding, as it receives substantial support
from corporate sponsors, both in the form of financial assistance and in-kind contributions.
IWOPF also receives funding from the Australia Council for audience and market
development. Participants in the fair are predominantly local commercial galleries and
dealers, and the fair features high-quality works on paper from both Australia and overseas.
IWOPF includes an informative demonstration and exhibition program. Attendees are able to
purchase works on paper, and discover more about creating art and collecting art.
The Western Australian Art Fair is supported by seed funding provided by the Western
Australian government, and modest funding for audience development provided by the
Australia Council. The Western Australian Art Fair is held every two years, and is managed
by the Association of Western Australian Art Galleries (AWAAG). The art fair has only been
operating since 1999, and as such the long-term impact of the art fair on sales of works
is yet to be fully realised. However, this art fair appears to have the potential to play an
important role in developing audiences and promoting the work of Western Australian visual
artists and craft practitioners throughout the state, nationally, and internationally.646 The Art
Fair of 2001, Art 01, brought together both commercial and non-commercial organisations
to promote contemporary visual arts and craft and develop the commercial viability of the
sector. The participants at Art 01 reported good sales during the fair, and flow on interest
subsequent to the fair.
The argument made by the AWAAG in its submission is that for the Western Australian Art
Fair to most effectively promote Western Australian art and craft a more stable and longterm funding strategy is necessary:
To administer, promote and develop these art fairs effectively, in a way which will reach their
potential, requires a commitment from the Commonwealth Government through the Australia
Council for substantial support, over the long-term. (To its credit, the State Government has set a
useful precedent by committing its support albeit to a fixed relatively modest amountto Art01
and the next two art fairs, 2003 and 2005).647
The contribution made by domestic art fairs to the promotion and sale of contemporary
visual arts and craft works is significant, and government support of these events is
essential to ensure their survival.
643.
644.
645.
646.
647.
Melbourne Art Fair 2002, www.artfair.com.au/2002/index.htm.

Submission: International Works On Paper Fair.
Submission: Association of Western Australian Art Galleries.
ibid.
page 248
PROMOTION AND ACCESS THROUGH TOURING

Almost all exhibition venues in Australia will have at least some touring activity in their
annual program of activities. For some smaller regional galleries, touring exhibitions will be
the only exhibitions they present.
Australian governments have long recognised the value of supporting cultural touring
programs in meeting their objectives of providing access to cultural programs for nonmetropolitan based citizens. The Commonwealth and the States support exhibition touring
through regional galleries and other exhibition venues (such as community centres, town
halls and libraries) through special project funding and through their support of dedicated
touring agencies. In 1996, the Commonwealth initiated the Visions of Australia program for
interstate touring of exhibitions. This program supports some contemporary visual arts and
craft touring.
Touring framework: NETS

In each State and in the Northern Territory there are exhibition touring agencies dedicated
to the support of contemporary craft and visual arts and ensuring that interesting
exhibitions are developed by and accessible to regional Australiaparticularly the regional
galleries sector. These agencies are linked through the National Exhibitions Touring Support
(NETS) program. There are seven organisations that are NETS agencies.
Museums and Galleries Foundation of New South Wales;
Regional Galleries Association of Queensland;
Artback: Northern Territory Arts Touring;
Art on the Move (NETS Western Australia);
Country Arts SA Visual Arts Touring Program;
NETS Victoria; and
CAST Touring: Contemporary Arts Services Tasmania.
NETS Australia is the national network consisting of the seven NETS agencies plus a
representative of the Australian National Gallery touring program. The VACB currently
supports the biannual NETS Australia meetings.
Last year, through the NETS program 845 379 visitors saw 105 exhibitions featuring a total
of 1 220 artists. These visitors were often in rural and remote areas that would not have
the chance to see exhibitions without dedicated touring agencies. NETS touring programs
include craft, visual arts, design, community art, regional art and art and technology.
The effectiveness and potential of the touring programs is indicated by the experience of the
Country Arts SA program. In 2000, Country Arts SA exhibitions were seen by 109 000 people
(equivalent to 27 per cent of the total regional population of South Australia). Country Arts
SA created eight new exhibitions which were augmented by seven exhibitions still touring
from development in the previous year.648
648. Submission: Country Arts SA.
page 249
Artback: Northern Territory Arts Touring noted in its submission the high demand for quality
exhibitions of Indigenous art from the Northern Territory both nationally and internationally.
Two of its recent exhibitions, Two Laws and The Meeting Place Mural will have toured to 35
venues across Australia by the end of 2004 and another exhibition,
Bush Colour, has toured to four venues in the United States funded 100 per cent by the
host organisations.649
Touring agencies sometimes develop their own exhibitions but generally work in partnership
with regional galleries, state galleries, Aboriginal and Torres Strait Islander corporations,
communities and art and craft centres, contemporary arts organisations, craft and design
organisations or other public galleries such as university galleries to create, develop and
tour exhibitions. Touring contemporary art and craft allows new audiences to become
familiar with new art practices and allows people that live in regional and remote Australia
to see first hand recent developments.
The exhibition venues they tour to will often be regional galleries but they will also be
libraries, multicultural organisations and community halls. Every year new venues are
foundthis is particularly the case with the Northern Territory, Western Australia and South
Australia. The development of new venues ensures that those people in remote areas also
receive benefit from the touring programs.
Touring has economic benefits in that resources are shared and initial costs can be
mitigated by economies of scale.
The cost share in receiving a touring exhibition is a fraction of the cost of instigating the equivalent
exhibition. Touring exhibitions also offer galleries and audiences numerous exhibitions of diversity
and high curatorial standards, and increased access to quality artworks. Many galleries do not
have sufficient funds to fill their annual program with internally curated exhibitions; others have
neither the expertise nor depth of collection.650
The NETS agencies themselves provide a further service in that they are professional
touring agencies with the expertise to handle delicate artworks. Sometimes NETS agencies
will facilitate the touring of exhibitions developed by galleries, sometimes they will initiate
their own exhibitions and offer them to regional galleries.
NETS agencies provide in-kind support in the form of tour management, resources and expertise
in the preparation of education and promotional activities. These services are subsidised by the
state/federal funding, sponsorships and generated income. The dollar value of these imbedded
and often-unrecognized professional and logistical services would amount to many, many
thousands of dollars. Also professional tour management reduces the risk of damage or loss of
an artwork.651
Issues
Submissions received by the Inquiry regarding NETS indicated concerns with regard to
insufficient funding and staffing, education and public programs, audience development
issues and the need for NETS to be resourced to be able to tour exhibitions which may be
quite complex to mount and dismount and freight.
649. Submission: Artback.

650. Submission: NETS Australia.
651. ibid.
page 250
A number of issues brought up in relation to NETS agencies and touring art in Australia
have been dealt with elsewhere in this report. These include the difficulty of touring new
media works and the difficulty NETS agencies and regional galleries have keeping up
to date with new technology requirements (these have been addressed in the previous
chapter); the need for a new standard of professional fees for artists, curators and writers
is addressed in Chapter 3, professional development opportunities for arts administrators
and curators is discussed in Chapter 4. Specific issues regarding regional galleries and local
government have been addressed in the previous chapter and will be further addressed in
the following chapter.
The need for better education and public programs associated with touring exhibitions was
pointed out in a number of submissions. The Museums and Galleries Foundation of New
South Wales stated that it was considered particularly beneficial for exhibiting artists to
visit tour venues.
Touring agencies and organising galleries face similar difficulties in supporting a comprehensive
public program which incorporates the travel of artists and curators to tour venues.652
Each NETS agency predominantly tours intrastate, generally dealing with the regional
galleries in its State. The agencys ability to tour interstate is limited both by its
performance agreements with the local State funding agencies (which often expect
predominantly State-based benefits) and generally insufficient funding to mount large
scale exhibitions. The focus on intrastate touring also reflects the importance of State and
Territory arts funding in relation to the VACB support for the agencies.
Such support has been valuable and contributed to real successes. However, as NETS
Australia point out in its submission, the real cost of preparing and touring two exhibitions
annually is approximately $350 000.653 The Regional Galleries Association of Queensland
has pointed out shortfalls between funding and demand for service:
There is a need for funding for regional venues and exhibitions spaces to subsidise the cost of
accessing significant contemporary art exhibitions. Increasing the resources available to NETS
agencies would also enable them to undertake more innovative touring models such as touring
artists rather than exhibitions, these would be based upon the NAVA guidelines for residencies
including fees for artists, accommodation requirements and other costs. 654
Income and expenditure

The NETS agencies are heavily reliant on government funding. As Figure 5.2 shows, more
than two-thirds of their income is from government grants. Given the strong regional focus,
and the emphasis on regional service, there is limited scope for increasing earned income or
attracting sponsorship.
652. Submission: Museums and Galleries Foundation of New South Wales.

653. Submission: NETS Australia.
page 251
Figure 5.2 Sources of income for NETS Agencies
Other income 4%
Sponsorship 7%
Govt funding 72%
Earned income 17%
The Australia Council supports each NETS agency for administration and program costs.
They each receive $61 000 per annum on a triennial basis (a total of $427 000 per annum).
VACB support for NETS agencies is in almost all cases more than matched by the State
funding agency. As Table 5.2 shows, both State and Territory administration and project
funding is much greater than the Australia Councils contribution. Because many of the
agencies are a function of larger organisations there is also benefit and economies that
come from operating from within a larger organisation.
Table 5.2 Income of NETS Agencies in 2000
Funding source
Total
% of total income
Visual Arts/Craft Board
$426 265
19
Other Australia Council
$83 566
Other Federal funding
$87 300
State/Territory program
income
$729 575
33
State project funding
$308 083
14
Other income - earned
$604 313
27
$2 239 102
100
Total income
Source: Annual Reports of Organisations and Australia Council 19992000 Annual Report
page 252
NETS agencies have also received support from the Commonwealths Visions of Australia
touring support program when they have developed interstate projects. (The Visions of
Australia program is discussed in more detail below).
Costs associated with touringfreight, insurance, wages etc. are increasing above CPI.
Concurrently funding for NETS agencies has been static for more than five years. The end
result of this mix can only be a smaller service (less tours, less support for regional arts) or
a service of lesser quality.
Under the Australia Councils two applications per year rule (under which a NETS agencys
triennial grant will be counted as one application in each year of its operation), if the
organisation of which the NETS agency is a function decides to make a project application
then the NETS agency is unable to apply for project funding in that year.
Figure 5.3 Expenditure of 7 NETS agencies in 2000
Salaries 34%
Administration 19%
Marketing etc. 8%
Fees 3%
Program 36%
Source: Annual Reports 2000/ Australia Council records
As a group, in 2000 the NETS agencies had a total expenditure of $2 263 025, leading to
an overall deficit of $44 553, equivalent to two per cent of turnover. However, the explicit
funding by the States for the touring function can sometimes be hard to disaggregate from
the overall State funding of the larger institution within which the NETS function operates
(for example, with the funding of the Museums and Galleries Foundation of New South
Wales by the NSW Ministry for the Arts or the funding of Country Arts SA by Arts SA). A
deficit in this case indicates a commitment from the mother organisation to the touring
function that is greater than the funding from governments for the function combined with
the income associated with the touring function.
page 253
Nonetheless, as a group and as individual agencies, the NETS agencies operate on very
small budgets and very small margins year-to-year. Their funding from the Australia Council
is currently effectively cappedthe greater support they receive from the States and
Territories is also basically static. This means that as costs increase the quality and quantity
of product delivered will necessarily diminish. This is concerning in itself but is even more
concerning given that the NETS agencies are a very effective form of ensuring that arts
funding benefits are attained by regional, rural and Indigenous communities.
FINDINGS
Regular touring of exhibitions of contemporary visual arts and craft to regional and remote
areas, including to Indigenous communities, is essential for general audience development.
It also provides a valuable service for metropolitan galleries and artists.
The level of government support is not keeping pace with rising costs for exhibitions touring.
The NETS structure is an effective model for regional touring, which clearly establishes both
Commonwealth and State and Territory funding responsibilities.
There are few opportunities currently to increase philanthropic support or corporate
sponsorship for the NETS agencies.
The Inquiry concludes there is clearly a case for increased funding for touring contemporary
craft and visual arts exhibitions. However, given the State and Territory-based nature of
the majority of their programming, the Inquiry finds that the increased support for general
administrative costs and State-based program costs should be fundamentally borne by the
State and Territory Governments.
RECOMMENDATION 13
To ensure that National Exhibitions Touring Support (NETS) agencies expand their role in
developing audiences, demand and access in regional areas for contemporary visual arts and
craft in Australia, the Inquiry recommends:
13.1
The Commonwealth and the States and Territories increase their funding to NETS
agencies by $500 000 per annum.
13.2
In implementing this recommendation, the Commonwealth commit an initial amount

of $100 000 per annum; and the Commonwealth, States and Territories agree that the
Commonwealth will commit a supplementary amount of $50 000 per annum if the
States and Territories commit $350 000 per annum.
page 254
Visions of Australia touring program

Visions of Australia is managed by DCITA and was established by the Commonwealth
Government in 1993 to provide greater access to original cultural material through funding
assistance for cultural and community organisations, to develop and manage touring
exhibitions which tour to at least one other State or Territory.
A committee of experts appointed by the Commonwealth Arts Minister considers
applications and makes recommendations to the Minister. Funding of $1.8 million was
allocated for the Visions program for the 200102 financial year.
In summary the objectives of the program are to:
provide access for all Australians to a wide range of cultural material;
develop new audiences;
enable exhibitions based on regional collections to receive wider exposure;
foster partnerships within and across museum disciplines; and
support projects that promote community involvement.
A primary goal of Visions of Australia has been to assist regional galleries and museums
to initiate touring exhibitions and to be the beneficiaries of tours from other galleries
and museums, including from major state and national institutions. Because touring
exhibitions are resource intensive, there is limited capacity for regional organisations to
develop and sustain touring programs. Visions funding assists in both the development
and touring stages, and may also result in valuable skills transfer in a number of areas
including exhibition design and installation, museum education, promotion, curatorial and
conservation services.
The majority of Visions-assisted exhibition tours include regional venues and overall almost
65 per cent of venues for tours are in regional Australia. The Visions program is thus a
valuable resource for regional galleries and operates as a supplement to NETS, which
generally supports only intrastate touring, while Visions covers interstate. For instance, the
NETS agencies have all successfully coordinated interstate exhibition tours with Visions
assistance, covering areas such as contemporary printmaking, sculpture and painting.
However, unlike NETS which is targeted at contemporary visual arts and craft touring,
the Visions program is broadly based and is intended to support interstate touring of
exhibitions without direct reference to the category of the exhibitions. Thus organisations
eligible to apply include cultural organisations, including museums, art galleries, science
centres, art/cultural centres, libraries, archives, community cultural organisations and
other public collecting institutions655 and the exhibitions themselves cover a wide range of
subject areasincluding science, history, visual arts and crafts, multimedia, and Indigenous
arts and cultural objects.
655. DCITA, Visions of Australia Guidelines, available on at the DCITA website, www.dcita.gov.au
page 255
Relevance of Visions for contemporary visual arts and craft

While Visions does not target contemporary visual arts and craft specifically, nor indeed
visual arts and craft more generally, the visual arts and craft category (though not
necessarily contemporary) has been well-represented over the life of the program and is
the largest single group supported37.5 per cent of touring exhibition projects funded
by Visions have been in this category. In 19992000, Visions provided some $1.7 million
towards 40 projects. Eighteen were visual arts or crafts projects and ten of these
were contemporary.
There are two main barriers to Visions being a more targeted mechanism for support of the
As a broadly based program, Visions cannot earmark contemporary visual arts and craft
exhibitions in any concerted way, without changing its fundamental policy basiswhich
is centred on broadening access to exhibitions of all types.
Secondly, as the majority of applications are for development and touring of museumbased collections and exhibitions, the program has also tended to mirror this and be
seen to favour heritage rather than contemporary collections. Indeed, a further difficulty
may centre around the concept of an exhibitionwhich may have tended to favour
a traditional heritage and collection-based interpretationwhereas it now should
encompass more broadly a grouping of material unified by a particular theme or event.
In relation to the latter point, however, it has been observed that the collections and
exhibitions of some art museums and galleries are becoming more contemporary and this
is being reflected in the applications for touring support which come before the Visions
Committee. While the bulk of Visions funding has traditionally been provided for tours
based around public collections, there have been a number of instances where exhibition
projects have involved development and touring of material assembled from sources other
than the gallerys collection. In addition, projects have supported the creation of new works.
Contemporary visual artists and craftspeople from both Indigenous and non-Indigenous
backgrounds have been, or will be, significant beneficiaries from support for a range of
exhibitions. Recent examples include Rings of History: Contemporary Craft from Historical
Timbers; One Tree; Future Factor; Out of Site; None More Blacker; Fathoming: Contemporary
Australian Sculptors and Art on a String.
These examples seem to indicate a trend towards a more contemporary flavour in
exhibitions touring.
Nevertheless, the Inquiry was aware of one aspect of the program which could be
addressed and would result in the removal of a current impediment to the funding of
contemporary visual arts and craft exhibitions. Under its General Principles for Applications
for Touring Assistance,656 the program has two guidelines which operate to limit funding of
contemporary exhibitions of art and craft:
656. ibid.
page 256
Artists touring exhibitions comprised solely of their own work, for commercial purposes,
are not eligible for assistance.
Single artist contemporary art exhibitions are not generally assisted unless the
organisation applying can demonstrate special cultural significance.
It is suggested the combination of these two guidelines has resulted in a general exclusion
of single artist exhibitions, on the grounds that they would provide commercial benefit to
an artist. Indeed, it seems that there is an assumption that providing access to such an
exhibition would by definition be seen as commercial promotion.
FINDINGS
There is a trend towards more touring of contemporary visual arts and craft exhibitions with
the assistance of the Visions of Australia program. However, the programs current guidelines
may be unnecessarily inhibiting tours of this kind.
In the Inquirys view, the guidelines should be reviewed and clarified. The Inquiry accepts
the guideline that these tours should not be commercial in naturei.e. involve commercial
promotion and sale of work. However, undue restriction on exhibitions of single artists
work, or groups of contemporary artists on the implicit grounds that they are commercial
promotions, is in direct contradiction of the Visions programs aim of providing access to quality
exhibitions through touring.
RECOMMENDATION 14
To ensure that contemporary visual arts and craft are adequately represented in the
exhibitions supported through the Visions of Australia program, the Inquiry recommends
the Government should amend the guidelines for the program so that they do not
unnecessarily restrict the touring of non-commercial exhibitions of contemporary works.
Art museums and touring exhibitions

Major art museums develop, present and tour exhibitions of contemporary visual arts and
craft. Apart from their permanent collections, major art museums exhibit contemporary
art that they do not own and do not expect to purchase through borrowing from the artists
(generally with a loan or exhibition fee), commissioning an artist or borrowing from a
collector or institution, or presenting a touring exhibition organised by another institution.
Major art museums may also receive support for their touring exhibitions through the
Commonwealth Governments Visions of Australia national touring program, from the
Australia Council, and from State and Territory arts funding agencies.
page 257
The creation, presentation and touring of major exhibitions requires a balancing of

priorities of cost, educational function and popular acceptance. In 2000, the Art Gallery of
Western Australia used the whole of its ground floor for a major retrospective of the senior
Queensland artist, Robert Macpherson. The exhibition was a major and daring commitment
to contemporary visual arts and craft by the Gallery.657
The Art Gallery of Western Australia proposed that the Inquiry consider an expansion on
the Macpherson exhibition model. It noted in its submission that budgets for exhibitions
such as these to tour to two venues are in the order of $500,000. Currently, the financial
strain that such an exhibition places on the whole program of a major art gallery makes
major exhibitions of Australian artists generally unattractive to museum directors and
boards. However, exhibitions at major art museums are undoubtedly a very efficient way
of introducing the general public to developmental contemporary art. Retrospectives of
senior artists, curatorially-themed exhibitions and longitudinal or media-based surveys
of individuals or a small group of individuals may prove a successful and popular way of
introducing contemporary art to new audiences.
Successful major exhibitions create audiences for, and engender respect for, the work
of contemporary Australian artists. High quality catalogues, such as that produced for
the Robert Macpherson exhibition, also act as efficient promoters of Australian art in
international curatorial markets.
The Art Gallery of Western Australia has submitted that if two major exhibitions could be:
undertaken each year by two pairs of galleries in the country, we would in five years have a
published history on over ten contemporary artists and have seen these major exhibitions on 20
occasions at State Galleries and the National Gallery in that same five year period. This would
contribute enormously to raising the profile of our most talented artists both nationally and
internationally, as the feedback from the Robert MacPherson catalogue internationally has been
overwhelming.658
Such a program would stimulate and further develop the support of contemporary
visual arts and craft by the major art museums. Over the last two decades, similar style
retrospectives of Arthur Boyd, Sidney Nolan and John Olsen have been developed by major
art museums.
Curating and touring Indigenous art

Art and craft centres such as Papunya Tula in Alice Springs, Boomalli Aboriginal Artists
Cooperative in Sydney and Lockhart River Art and Craft Centre in Northern Queensland have
assisted in the creation of an extraordinary array of artwork which the Inquiry believes could
be the basis of many high quality national and international exhibitions. The majority of
artwork is rarely seen in broadly accessible galleries. National and international exhibitions
potentially have great benefits for the promotion of contemporary art to Australians and the
promotion of Australian culture to the world.
657. Submission: Gary Dufour (on behalf of the Art Gallery of Western Australia).
658. ibid.
page 258
Governments can create greater opportunities for the presentation of Indigenous culture at
the highest level through specially earmarked institutional support towards acquisitions,
and nationally and internationally touring exhibitions. For major institutions the process of
accessing the funding devolved through the Australia Council is complicated by the restrictions
on number of applications per institution and the limited funds available. There is perhaps also
a misguided perception that institutions are fiscally healthy. To absorb only part of the resources
required to mount a major survey would draw away much of the funding, depriving other very
needy organisations and individuals. Furthermore, it would not appear from current guidelines
that considerable partial support would be available from ATSIC. Therefore, in the absence of
significant corporate support, it remains contingent of the institutions themselves generating the
funding in lean times.659
It is extremely difficult to sell Australian exhibitions to galleries outside of Australia.660

However, Indigenous Australian art is an area where this is not the case and where there
is undeniable international interest. A collaborative exhibition of the work of Indigenous
people from Australia, Canada and the United States currently being developed at the
National Gallery of Australia illustrates the complexity and the potential benefits of working
on large international exhibitions.
By the time the exhibition opens in mid 2005, it will have been over a decade in the planning.
Collaborative partnership projects like these arouse intensive interest, yet funding costs for such
projects are high. This is a true collaboration in the sense that it is not a packaged exhibition from
one country touring with no input from the receiving/hosting countries. Ongoing exchanges from
such projects (via the residencies and so forth) are an inevitable and welcome outcome.661
FINDINGS
Exhibitions at major art museums are an efficient way of introducing the general public to the
work of Australian contemporary visual artists and craft practitioners.
Successful exhibitions create audiences for, and engender respect for, the work of the artists
in such exhibitions and increase Australian, and potentially international, audiences for
contemporary visual arts and craft.
Such initiatives need long-term commitment and strong support from major art museums.
High quality catalogues also act as efficient promoters of Australian art in international
curatorial markets.
Exhibitions at major art museums are an efficient way of introducing the general public to the
history and complexity of contemporary Indigenous art.
Successful exhibitions create audiences for, and engender respect for, the work of Indigenous
Australian artists and increase audiences for contemporary arts generally. Such initiatives need
long-term commitment and strong support from major art museums.

660. Submission: Gary Dufor.
661. Brenda L Croft, follow-up correspondence with the Inquiry.
page 259
The Inquiry believes the development of major touring exhibitions is an effective way of
promoting contemporary visual arts and craft to a wide audience. However, the cost of such
exhibitions and the risk of diminished audiences (as compared to those achievable with
historical exhibitions) has been a disincentive for many major art museums. A series of such
touring exhibitions would fundamentally change the way that many Australians perceive
contemporary art practice. The exhibitions would have a significant and positive impact on
the careers of the artists involved and would also develop curatorial expertise and critical
writing in Australia.
Further, the now well established cultural significance of Indigenous art and the critical
success of the Papunya Tula: Genesis and Genius exhibition and the recent touring
retrospectives of Emily Kame Kngwarreye and Lin Onus, led the Inquiry to the view that the
promotion of contemporary art would benefit by enhanced promotion and support of major
touring exhibitions of Indigenous art. Such exhibitions could be thematic or could present
the work of individuals in a retrospective format. This proposal would also further develop
the support of Indigenous art by the major art museums and their commitment to such
projects would be acknowledged through financial assistance from governments.
The Inquiry believes that Commonwealth funding of a maximum of $200 000 for any one
exhibition and tour will be an incentive for major art museums to develop suitable projects
and will also ensure a further commitment to contemporary visual art and craft projects by
State and Territory governments and corporate sponsors. Each touring exhibition supported
would have a total project budget of at least $500 000, of which at least $100 000 would be
provided by State and Territory arts funding agencies.
The Inquiry concludes that the implementation of this proposal will further develop the
key role that major art museums play in cultural development as well as in developing
audiences and demand throughout Australia for contemporary visual arts and craft.
RECOMMENDATION 15
To enhance the presentation and promotion of contemporary visual arts and craft
(including Indigenous arts), the Inquiry recommends:
15.1
The Commonwealth (through the Australia Council) provide $600 000 additional
funding per annum towards three major touring exhibitions of the work of
contemporary Australian visual artists and craft practitionersat least one of
which must be an exhibition of the work of Indigenous artists:
15.1.1 The Commonwealths commitment be dependent on the following eligibility
criteria being met:
a strong commitment to the project from the initiating institution;
collateral and long-term benefits resulting from high quality catalogues,
with quality critical input from respected writers and designers;
a strong commitment to the project, incorporating exhibition fee input
and in-kind commitment by at least one touring partner;
page 260
developmental business planning for the exhibition including

sponsorship, philanthropic and marketing strategies; and
substantial funding support for the initial exhibition and tour being
received from State and Territory governments, corporate sponsorship
and in-kind support from initiating and receiving museums.
MAJOR CONTEMPORARY VISUAL ARTS AND CRAFT EVENTS

In its submission to the Inquiry, Arts SA commented:
To build the profile of the visual arts nationallyand develop the international and export profile
of Australias outstanding visual artistsa national annual/biennial calendar of major visual arts
and/or craft events needs to be developed, and promoted.662
The Inquiry examined the potential for such a calendar to be developed around existing
major contemporary visual arts and craft events or major recurrent exhibitions. The
concept that emerged from discussions and consultations was one that would make major
recurrent exhibitions the centrepiece of a wide range of contemporary visual arts and craft
activities in a particular location at a particular time. For example, the Asia-Pacific Triennial
of Contemporary Art in Brisbane would be the catalyst for other visual arts and craft events
involving contemporary arts spaces, craft and design organisations, galleries and other
venues in and around Brisbane and south-east Queensland and northern New South Wales.
With the support and involvement of local and State and Territory governments, the events
could have wider benefits for the tourism and hospitality sectors.
Events
Major contemporary visual arts and craft events individually and collectively are important
contributors to the promotion and development of contemporary visual arts and craft in
Australia and attract significant national and international participation and attention. Key
features of these exhibitions include that they:
often have both a national and international profile;
are highly visible and are popular (with audiences, artists and governments);
often result in significant sales of artworks;
bring sponsorship dollars into the sector; and
can act as important stepping stones for Australian artists careers.
Many events of great value to contemporary visual arts and craft are held on a regular
annual or biannual basis. Such events and exhibitions range from Sculpture by the Sea and
the International Works on Paper Fair in Sydney, to the Multimedia Art Asia-Pacific event
in Brisbane to the Artrage and Hatched festivals in Perth to the South Australian Living
Artists week held annually in Adelaide and the Next Wave Festival in Melbourne. Many of
Australias international art festivals also have visual arts components. Such events make
important contributions to Australias culture.
662. Submission: Arts SA.
page 261
The Inquiry, through submissions and through discussions held during the consultation
process, takes the view that a small group of major events across Australia could create an
informal and synergistic network which would have broad benefits for the events and the
organisations behind them; for other local visual arts and craft institutions and local artists;
and for contemporary visual arts nationally and internationally.
The Inquiry found there are currently six recurrently held major contemporary visual arts
and craft events which, while very different individually, as a group may broadly represent
the breadth of contemporary Australian art as a network.
The Asia-Pacific Triennial has been staged since 1993 and is unique in international art
exhibitions in that it has always had a specific geographical focuslike the Biennale of
Sydney the artists it exhibits are primarily international, with only a handful of Australian
artists represented in any exhibition. It is held in Brisbane with the exhibition lasting four
months. It is an initiative of the Queensland Art Gallery. The Asia-Pacific Triennial and the
Biennale of Sydney are important international events in Australia and are also generally
accepted as important events within the international artworld calendar.
The Biennale of Sydney is an international art biennale (one of more than 30 worldwide)
which has been staging exhibitions since 1973. The focus is always on bringing
international artists and artworks to Australia (generally Australian artists are less than
20 per cent of represented artists). It is held in Sydney over two months. It is managed by
the Biennale of Sydney Ltd, an independent company.
The Melbourne Art Fair is primarily a commercial venture with 75 per cent Australian
Galleries and 25 per cent international galleries gathering over a three-day period every
second year. It is a project of the Australian Commercial Galleries Association. It was first
held in 1988 and was originally called the Australian Contemporary Art Fair.
The National Aboriginal and Torres Strait Islander Art Award attracts work from across
Australia, from remote, rural and urban Indigenous artists. It is held annually in Darwin
over four months. It is a program of the Museum and Art Gallery of the Northern Territory
and has been an annual event since 1984. The National Aboriginal and Torres Strait Islander
Art Award is the least developed of all the exhibitions and perhaps presents the most
opportunities for national expansion.
The Adelaide Biennialoriginally based on the Whitney Biennial of American Artonly
exhibits Australian artists generally chosen on a thematic basis. It is presented for six to
eight weeks every two years to coincide with the Adelaide Festival with a widened audience
by its placement centrally within an International Arts Festival. It is a program of the Art
Gallery of South Australia and was initially held in 1990.
The Perth International Triennial of Craft and Design is one of the worlds pre-eminent
specialist craft exhibitions. It was originally mooted in 1986, first held in 1989 and has also
been held in 1992 and 1998. It is a program of the Art Gallery of Western Australia, which
has recently restated its commitment to the program.
page 262
The Inquiry has been mindful of the fact that these events take place in five different States
and the Northern Territory. There are currently no events in Tasmania or the Australian
Capital Territory that are potentially part of this network, with the possible exception of the
currently defunct Canberra Sculpture Festival. While the Perth International Craft Triennial
is included it should be noted that it has not been presented since 1998. However, it will
be presented by the Art Gallery of Western Australia in 2003. The Inquiry notes it is not
necessarily the case that the network would remain unchanged over time.
Sources of income
All the events are supported, or have been supported, by the Commonwealth through the
Australia Council and by State and Territory governments. However, the differing timelines
and programs of the events mean that caution is required when making comparisons.
The Asia-Pacific Triennial of Contemporary Art receives around $200 000 per event from the
Australia Council. The Queensland government also provides up to $500 000 per event (over
and above support for the Queensland Art Gallery). The Asia-Pacific Triennial as a matter of
policy does not apply for support from foreign governments.
The Biennale of Sydney receives around $294 000 per event from the Australia Council. This
includes support for administrative costs on off years, while they develop the exhibition.
The New South Wales government provides $150 000 per annum for the event. The Biennale
is the only event that has achieved significant long-term support from local government.
The City has supported the Biennale with a three event $150 000 per annum agreement.
The Biennale is also the only major event with substantial income derived from international
sources. Expected income from international funding bodies in 2002 is $750 000. The
Biennale of Sydney expects to receive fundraising revenue and donations in the order
of $1 250 000 in any two year cycle. Sponsorship is fundamentally underpinned by the
support of two major investors, Transfield and Tempo Services which between them provide
approximately 50 per cent of sponsorship income.
The Melbourne Art Fair is funded intermittently by the Australia Council. The Australia
Council provided $20 000 towards a freight equalisation program in 2000. The Fair is
supported on a case by case basis by the Victorian Government (the fifth Fair received
$70 000). The City of Melbourne supports the Melbourne Art Fair on an application basis.
The National Aboriginal and Torres Strait Islander Art Award has not applied for funding from
the Australia Council since the mid-1990s. The Award does not receive specific funding from
the Northern Territory Government, although it is a major part of the general program of the
Museum and Art Gallery of the Northern Territory. The Aboriginal and Torres Strait Islander
Art Award is known as the Telstra Prize, reflecting that institutions long and valuable
relationship with the event.
The Australia Council provided $70 000 to stage the 2002 Adelaide Biennial. The South
Australian Government intermittently supports the Adelaide Biennial (for example, $22 500
for the 2000 event, the 2002 event was not funded).
page 263
The Perth International Craft Triennial received $50 000 from the Australia Council towards
the development costs of the 2003 event. The Craft Triennial is not specifically supported by
the Western Australian Government.
It should be noted that the events that are part of the programs of major art museums
receive considerable great support from State Governments through government funding of
the general administration and programs of the major art museums.
Funding issues
The major events are generally acknowledged as being highly effective in furthering
general public knowledge of contemporary visual art and craft practice. The Asia-Pacific
Triennial and the Biennale of Sydney in particular have managed to create international
reputations of excellence while being relatively poorly supported by government, and in the
face of growing competition internationally from an increase in the number of international
art biennales.
While such comparisons are of limited benefit given the contextual disparities, it is
interesting to note that internationally governments recognise the benefits of hosting
major recurrent exhibitions and invest in them accordingly. The Bulletin magazine recently
compared the operating budgets of a number of major internal recurrent events and found
the Biennale of Sydney, with a budget of $US2 million per exhibition could not compete
with other major events, whose budgets ranged from $8 million for Venice to $11 million
for Sao Paulo to more than $12 million for Kwangju.663 Submissions received by the Inquiry
mentioned figures as high as $US20 million for new events such as the Yokohama Biennale.664
Currently the events have cyclical funding patterns reflecting their major activity cycles.
Understandably, the events see their long-term development requiring consistent
recurrent funding.
The submissions from the Biennale of Sydney and the Queensland Art Gallery (APT) point to
the detrimental effect of potentially irregular Commonwealth Government supportdue to
the current process of having to apply in competition with other applicants for limited funds
through grant categories. Because of the biennial or triennial nature of the programs, the
Australia Councils Triennial Grants program (within the Key Organisations category)
is inappropriate.
Of great benefit to most of the major events is the fact that they are part of the program of
a larger entity. The investment of the Queensland Art Gallery, the Art Gallery of Western
Australia, the Art Gallery of South Australia and the Museums and Galleries of the Northern
Territory should not be underestimated. The Inquiry observes that, with the recent decision
of the New South Wales Government to take responsibility for continued development of
the Museum of Contemporary Art, it may well be an appropriate moment for the and the
Biennale of Sydney to discuss the potential administrative benefits of a closer relationship.
However, discussions would be unhelpful if such a relationship had the potential to
destabilise the Biennales current corporate sponsorship commitments.
663. M. Hutak, The Bulletin, April 16 2002.

664. Submission: Queensland Art Gallery.
page 264
Even including the valuable contribution of the City of Sydney, local governments
contribution does not come close to reflecting the value of these events for their host cities.
All of the events have the potential to create greater benefits for their local and the wider
communities in terms of prestige and cultural tourism dollars.
Opportunities
The Inquiry observed that while each individual event is valued there has been little if any
promotion of the events as a synergistic network. The priority of the management of each
event has rightly focussed on the creation of the event itself. There are few resources
available to allow wider exploitation of the potential opportunities of these events for the
surrounding visual arts and craft infrastructure and local artists.
While each event brings many artists together from overseas and interstate, there have
been few attempts to create programs of artistic interaction between exhibitors and local
artists. This has meant that local artists and arts organisations have not been able to see
benefits from their proximity to major exhibitions.
International art events are an effective way of enticing international art curators to
Australia. International curators are being encouraged to visit Australia in the hope that
they will include [Australian artists] work in international exhibitions and biennales.665
There is also a converse need to ensure Australian curators have the opportunity to
travel overseas.
There is a need for Aboriginal and Torres Strait Islander representation in the management
of such events, commensurate with the contribution of Indigenous visual artists to the
events and Australian culture generally. Concern was also expressed that many conferences
are still held which discuss Indigenous arts issues with no Indigenous people present.666
There is an opportunity for the events to re-position themselves as broad umbrella events,
consisting of not only the key central exhibitions but incorporating events, and exhibitions,
conferences and education programs for both institutions and the general public.
Local arts organisations would need to create and promote related exhibitions, creating
a sense of carnival, using the central large event as a catalyst for a myriad of smaller
exhibitions and events, which would bring artists from different regions together.
The events could also provide a focal point for national and regional art form conferences
for Indigenous artists and organisations that are crucial to the development of an
Indigenous arts infrastructure. In 2002, ATSIC organised an Indigenous visual art conference
to coincide with the Adelaide Biennial. Possibly future conferences could take place at the
time of the Biennale of Sydney or the Asia-Pacific Triennial.
To date, while resources have been invested into each event to ensure each exhibition
takes place there has been no financial support to create a unified marketing strategy for
the exhibitions.
665. R. Radford, Director of the Art Gallery of South Australia.

666. D. Mundine, Paper commissioned by the Inquiry.
page 265
Unified marketing is not without difficulties. Because the events are variously annual,
biannual and triennial in some years only one will take place (2001 for example) whereas in
other years such as 2002, five will be held, many of them simultaneously.
While this may appear haphazard, the long time frame that these exhibitions work
through and the fact that the general dates of exhibition are known years in advance is an
opportunity for an international marketing component to globally market the geographically
diverse exhibitions over a long period, to install them as major items in the international art
calendar. This could be developed with DFATs Cultural Relations program.
There would be a need to create a national and international audience development
campaign through the calendar concept with targeted cultural tourism campaigns. There is
significant opportunity for the major events to be promoted as a synergistic network. These
events require the support and planning across a number of government departments,
including Commonwealth and State tourist bodies, DFAT, state major events corporations,
and capital city governments.
FINDINGS
The major events are significant contributors to the promotion of contemporary visual arts
and craft and the development of local, national, international and tourist audiences. These
events significantly contribute to international networking opportunities for Australian
artists and institutions. The events are funded by governments, but the level and absence of
recurrent funding may inhibit their further development and potential.
The Inquiry has observed that major events take a number of years to establish their
reputation.
There is significant opportunity for the major events to be promoted as a synergistic network.
The Inquiry believes that funding of $2 million per annum would be required to be invested
to provide the necessary security of funding to the major recurrent exhibitions, for
promotion and marketing, and for the facilitation of partnerships with and related funding of
contemporary visual arts and craft artists and organisations involved in activities around the
major exhibitions.
Programs should both have a national benefit in that they promote the unique exhibitions
of Australia to an overseas market and they should also have a local benefit creating joint
programs of activities with local arts organisations.
page 266
RECOMMENDATION 16
To ensure major contemporary visual arts and craft events have the potential to make a
significant contribution to developing audiences and demand throughout Australia, and to
create international opportunities for individual visual artists and craft practitioners, the
Inquiry recommends:
16.1
The Commonwealth, through the Australia Council, and State and Territory
governments increase funding for the long-term promotion and recurrent support
of a number of major contemporary visual arts and craft events and related
activities by $2 million per annum.
16.2

INTERNATIONAL PROMOTION AND EXCHANGE

Submissions from all areas of the sector indicated the fundamental importance of
international promotion, market development and cultural exchange. Contemporary visual
arts and craft communicate more effectively across cultures than many other media,
for a number of reasons. Visual arts and craft do not rely on words, unlike art forms like
the theatre, opera, and literature, and so are more easily accessible when language
barriers exist. Visual arts and craft exhibitions are generally exhibited for a longer period
than other art forms and are often not accompanied by an entrance fee, thereby making
them more accessible to a broader and larger audience. Further, as artists tend to work
independently, they have more capacity to work overseas with minimal infrastructure
and group support.667Contemporary visual arts and craft are thus an effective vehicle for
communicating innovative ideas, concepts and cultural views overseas.
Short-term goals for Australian artists participating in international exhibition opportunities
(the Venice Biennale, ARCO, Carnegie International, Lyon Biennale are some examples)
include increased sales and a larger audience for their work. However, participation in
international events also offers longer-term goals such as the expansion of opportunities for
Australian artists abroad, opportunities to make connections and network with other artists,
collectors and curators internationally, and a truer representation of Australia and Australian
culture worldwide:
cultural export is critical to establishing new markets and dialogues. There is a need to support
cultural exchange so as to maintain and develop distribution networks. There is a greater need
for Australian artists to travel, to meet with their colleagues, to develop close interpersonal
relationships between individuals and organisations, for it is through these kinds of relationships
and intimate understandings of different contexts that opportunities arise668
667. Submission: Asialink.

668. Submission: 200 Gertrude Street.
page 267
International activity is more expensive than equivalent activities being undertaken in

Australia. Therefore, for international projects, fewer artists can be supported. As the
Experimental Art Foundation commented:
Given increased costs related to travel, freight and insurance, it may be there is a need for a
dedicated grantline to neutralise the adverse affects of distance with regard to Australian artists
exhibiting overseas. It has been observed that, given the spiralling costs of transport, freight and
insurance, there is little chance for most organisations to participate in any kind of international
opportunity without outside support.669
Government programs for international promotion

Australia Council
More than $3 000 000 of the Australia Councils total support for visual arts and craft is
dedicated to international activities, either assisting artists to take advantage of overseas
opportunities; increasing the international reputation of Australian visual arts and craft
through the support of international touring exhibitions; or through assisting international
curators (and other individuals who may benefit Australian art) to come to Australia.
The Councils VACB supports international activities through the following initiatives:
Overseas Studio Program (a group of ten managed studioseight available for three
month residencies and two available for one-year residencies);
Recurrent International Exhibitions Strategy;
Out-of-time grant application facility;
Support for international activities in and out of Australia through the New Work, Skills
and Arts Development, and Presentation and Promotion grant categories; and
Self-developed studio and other international opportunities primarily for individuals
through the Skills and Arts Development category.
The VACB introduced the Craft Leadership Program in 2000, a program which aims
specifically to encourage senior staff of leading craft organisations to access international
opportunities by travelling overseas to undertake short-term work placements.
The VACB has drafted a strategic policy aimed at enabling the organisation to respond in a
timely way to international events, to deliver appropriate funding, to identify and expand
export opportunities and to develop its international visitors program, amongst other
projects. Part of the VACBs strategy will include limiting the Boards focus to six major
international events over the next five years (Documenta and Berlin, Istanbul, Kwang Ju,
Sao Paolo and Liverpool) in order to maximise the effectiveness of its resources. The VACB
has also established an International Visitors Program, providing for international curators,
researchers, arts administrators and journalists to visit Australia in order to increase their
knowledge and appreciation of contemporary Australian culture.
669. Submission: Experimental Art Foundation.
page 268
Another option under consideration is that of allocating substantial funds to contemporary

art spaces in order to allow them to develop international partnerships with their
equivalents overseas. The aim of this project would be to facilitate exhibitions of
Australian contemporary art overseas, and to allow artists to establish an international
profile. The VACB is also considering cooperation with DFAT, by working with its Images
of Australia branch, which has as its charter the projection abroad of a contemporary
image of Australia.
The Australia Councils Audience and Market Development Division (AMD) also runs the
Craft Export Program, with Craft Australia. This Program aims to provide promotional
and export sales opportunities for craftspeople overseas, and to represent Australian
craft at international events. AMD also manages the Councils Visual Arts Export Strategy
which assists commercial art galleries with the costs incurred by attending prestigious
international art fairs such as the Armory in New York, ARCO in Madrid and Basel in
Switzerland. This is discussed in more detail later.
The Inquiry noted the Venice Pavilion is owned and operated by the Australia Council. An
ongoing review of this key piece of arts infrastructure is deemed necessary and desirable.
Any further development of this asset should involve private philanthropic support and
corporate sponsorship.
Department of Foreign Affairs and Trade

The Department of Foreign Affairs and Trade (DFAT) is committed to exhibiting Australias
artistic and cultural assets, including visual arts and craft, to international audiences. DFAT
undertakes much of its international cultural promotion activities through the Australia
International Cultural Council, a group comprised of representatives from government, the
arts and cultural community and business.
DFAT also funds cultural activities by way of its Cultural Relations Discretionary Grant, a
program currently budgeted at $200 000 which provides ad hoc funding to projects which
promote a positive image of contemporary Australia overseas through cultural activity.
Overseas posts are also provided with discretionary public diplomacy funds, of which
around $1 million per year is earmarked for cultural activities. Last financial year this
discretionary funding provided for 1 386 Australian artists to give performances or
participate in festivals and exhibitions globally, activities which were attended by over
1.6 million people. DFAT also works with Asialink (see below) in developing and touring
visual arts exhibitions in Asia.
State and Territory Government support for international activities

artsACT does not offer a specific funding program for international projects, however,
such opportunities could be pursued under its normal project funding or emerging artists
($100 000 in 2002) funding program. artsACT also offers quick response funding of up to
$1 500 for applications which cannot be dealt with in the standard project funding
timetable.670
670. artsACT website, www.arts.act.gov.au/, February 2002.
page 269
The NSW Ministry for the Arts offers International Programs which subsidise the cost
of travel involved in either touring exhibitions abroad or participating in professional
development and residencies overseas. Up to $10 000 is available in 2002 for international
touring (to fund artists travel and freight). Grants for professional development are offered
for amounts up to $2 500 for individuals, and are intended to cover airfares only.671
Arts Victoria has an International Program as part of its International Market Development
strategy. Funding opportunities arise from an Export and Touring Fund and a Cultural
Exchange Fund (current priority exchange countries include Italy, the United Kingdon,
Greece, Singapore, Indonesia, Japan and China).
Arts Queensland does not offer a specific international program of funding, however, funds
may be applied for under its Professional Development Program. Funding is divided into
major grants ($5 000 and over) and small grants (under $5 000). Options included under
this funding are attendance at international events and overseas residencies.672
Arts SA offers an International Professional Development Program for individuals
and organisations. Funds are available for up to $10 000 (individuals) and $25 000
(organisations). The funds are intended to allow artists to present their works overseas,
or assist with cultural exchange projects.673 There are funds available under the Marketing
Assistance Program, of up to $7 000, intended to assist applicants to establish new
international markets, or to extend existing international markets.
Applications can also be made to the Invitation at Short Notice program for international
events with funds of up to $2 000 per individual application and $3 000 per group. Arts
SA also offers the New York Studio School Scholarship and the Bank of Tokyo-Mitsubishi
Japan/South Australia Award (a mentorship based in Japan), both of which are targeted at
emerging artists.674
Applications to participate in international arts and craft events can be made to Arts WA
through the Distribution category, which funds initiatives which distribute the work of
West Australian artists to new audiences, and also covers marketing and export projects.
Applications will be considered for amounts up to $20 000. 675 Arts WA has worked with the
Office of Aboriginal Economic Development to market Indigenous artwork internationally.676
Arts Tasmania offers funds for promotional projects (not including international
residencies), and has an international exchange program which includes Asialink
residencies, allowing two Tasmanian artists and one arts administrator to participate in
residency programs in Asia. Arts Tasmania further co-funds and administers residencies
at the McCulloch Studio in Paris.677 Arts Tasmania supports commercial galleries to attend
international art and craft fairs and has links with its Department of State Development to
identify and develop new overseas markets for cultural products.678
artsNT does not offer a specific international grants program, however, funds can be applied
for under its Projects grants category ($5 000 maximum for individuals and $15 000 for
organisations and community groups).679
671.
672.
673.
674.
675.
676.
677.
678.
679.
NSW Ministry for the Arts website, www.arts.nsw.gov.au/, February 2002.

Arts Queensland website, www.arts.qld.gov.au/, February 2002.
Arts SA website, www.arts.sa.gov.au/, February 2002.
Arts SA, Arts Industry Development Programs 2001, Arts SA, pp. 16-17.
Arts WA website, http://hosted.at.imago.com.au/artswa/, February 2002.
Submission: Arts WA.
Arts Tasmania website, www.arts.tas.gov.au/, February 2002.
Submission: Arts Tasmania.
arts NT website, www.nt.gov.au/cdsca/dam/artsnt_intro.htm, February 2002.
page 270
Other international opportunities

The Artists Foundation of WA (AFWA)
AFWA manages the Basel Exchange in association with the Christoph Merian Foundation of
Basel, Switzerland. A Western Australian visual artist has the use of a studio apartment in
Basel for the last six months of the year and a Swiss visual artist lives and works rent-free
in Old Customs House (Perth) for the first six months of each year. AFWA provides a $16 000
grant to the WA recipient of the exchange.680
AFWA is collaborating with Edith Cowan University to develop a visual artist exchange in
India, and with the Bartel Arts Trust in Durban, South Africa for a similar program in
South Africa.
200 Gertrude Street
This Melbourne gallery offers cultural exchange and professional development projects that
contribute to the contemporary culture of artists in Australia and internationally. Initiatives
include overseas residencies and exchanges with Scotland, Pasadena and Oslo.681
Artspace
Artspace, based in Woolloomooloo (Sydney) runs residential and non-residential studio
programs which allow the organisation to invite both Australian and international artists
and others to develop ideas, work and their professional networks on-site.682
Craft Australia
Craft Australia has built international marketing programs and networks specifically for the
professional Australian craft sector, including an export program in Germany and the
United States.
Craft Australia is the Australian commissioner for international awards including the Faenza
International Ceramics Concorso, the Lodz Craft Triennial, the Schmuck International
Jewellery Award, and the Talente Young Designers and Craftspeople Award.683
Object Australian Centre for Craft and Design
Object, the Sydney-based craft and design centre, offers residencies for craftspeople in
its own studios, as well as international residencies, in order to promote the profile of
contemporary Australian craft and design overseas and to allow craftspeople and designers
to form networks and collaborate.684
680.
681.
682.
683.
684.
AFWA website, www.afwa.com.au/, February 2002.

Artspace website, www.artspace.org.au/, February 2002.
Submission: Object.
page 271
Asialink
The Asialink Centre is a non-academic department of The University of Melbourne
supported by the Australia Council, the Myer Foundation and the University of Melbourne.685
The Asialink Centre promotes public understanding of the countries of Asia and creates links
with Asian counterparts. Asialink enables Australians to contribute to and benefit from the
dynamism of Asia through three major programs:
corporate and public programs;
Asia Education Foundation; and
arts.
Asialink Arts works in 19 countries in Asia, and its visual arts branch has been involved in
50 exhibitions touring to 154 venues and showing the work of 375 artists since 1991. The
touring exhibitions program aims to facilitate bilateral exchanges and partnerships by
providing opportunities for Australian artists to work in Asia, developing their work and
forming personal contacts.
Asialink Arts also provides artist residencies in Asia, mainlybut not restricted toChina,
India, Indonesia, Japan, Korea, Malaysia, Sri Lanka, Taiwan and Thailand. Candidates
are required to be eligible under normal Australia Council criteria, that is, they must
be permanent residents of Australia and be able to demonstrate a proven record of
professional activity over at least three years. Residencies are not offered for the purposes
of study or research only.
International marketing at commercial events

Government has a role in promoting Australian art internationally, primarily through
commercial art fairs supported by the Australia Council and the Department of Foreign
Affairs and Trade (DFAT).
The Audience and Market Development division of the Australia Council and various
State and Territory governments support contemporary visual arts and craft activity
in international markets through a number of different approaches. These include:
international market development programs, showcase events, the international visitors
program, new audience programs and international promotion.686
DFAT supports Australias international activities through the Australia International Cultural
Council (AICC). The AICC aims to project a positive image of Australia, and promote and
enhance the export of Australian products.687 A major focus of the AICC is on coordinated
programs of high quality artistic presentations at major international events.688
One example of the international marketing and promotion of Australian contemporary
visual arts and craft is the presence of Australian commercial galleries at ARCO. In 2002,
Australia was designated as the focus country of the event. More than 100 Spanish
galleries and 150 international commercial galleries were represented at the event. The
Australia Council and various State governments provided funding for 13 leading Australian
contemporary art galleries and one art space to represent artists at ARCO.689 Total sales
685. Asialink website, www.asialink.unimelb.edu.au/arts/, February 2002.

686. Audience and Market Development Division of the Australia Council, Information provided to the Inquiry Secretariat, November 2001, p. 1.
687. Department of Foreign Affairs and Trade, Promoting Australias Culture Abroad Aims, Australia International Cultural Council,
www.dfat.gov.au/aicc/paca/aims.html.
688. Department of Foreign Affairs and Trade, Information provided to the Inquiry Secretariat, December 2001.
689. M. Hutak, Viva Pitch, The Bulletin, 5 March 2002, p. 72.
page 272
at ARCO valued $890 000, and while Australian collectors were involved in some sales,
Spanish, British and other overseas collectors predominated the buyers of contemporary
Australian art.690
There has been some criticism in submissions of the funding directed towards commercial
art fairs. For example, Arts WA submits:
The Australia Councils international program for the visual arts appears to have a focus on
trade fairs rather than encouraging our artists to be part of the international high art world.
Working on joint strategies with the State Galleries and providing more support to individual
artists who have received invitations to exhibit overseas might prove more beneficial in the long
run than sending commercial galleries to expensive art fairs such as ARCO. The international
commercial market depends to a large extent on the trends of the high art world as defined by
major public exhibitions.691
The Niagara Galleries made the following statement in its submission:

There needs to be a complete new look at export and promotion of Australian art overseas.
The Australia Council clearly do not have the skills or expertise to handle this critical area of
development and neither do many of the people from within the commercial gallery world.
The presentation of Australian art at ARCO and the Venice Biennale cannot be developed from
within a framework of self-interest the industry would benefit from some expert and objective
professional advice to assist us to not only become export-ready, but export-active. DFAT could
perhaps be encouraged to set up a specialised art export area to provide specific and relevant
information and assistance to our industry.692
However, one submitter asserted that the international program has had demonstrable
success:
The support for commercial galleries participation at international art fairs (such as Berlin and
Basel) has contributed significantly to the profile of Australian art internationally. This has been a
successful initiative that should be encouraged through the Australia Council and DFAT.693
Australian Commercial Galleries Association (ACGA) submitted that commercial art fairs,
and specifically the Melbourne Art Fair, play an important role in testing and establishing
new domestic markets for emerging artistic media, such as installation work, multimedia and video art.694 Further, ACGA made the following comment regarding support for
international commercial art fairs:
It is only by familiarity in an international context, that Australian art and artists will establish
improved market strength. A lively international market for Indigenous art has shown what can
be achieved.695
These disparate views can be largely attributed to the different priorities, focuses and
perspectives of the organisations and individuals submitting views to the Inquiry. Some
individual artists oppose the commercial emphasis of international art fairs. Juan Davila has
been quoted in the media as objecting to fairs like ARCO for this reason:
I think it is a commercial venture that I dont want anything to do with. This is a celebration of the
commercial gallery culture, and what is on show is not an idea of what Australian culture is, but a
trade mission.696
690.
691.
692.
693.
694.
695.
696.
T. Ingram, Europeans Catch Knight Fever at Madrid Art Fair, Australian Financial Review, 21 February 2002, p. 45.
Submission: ArtsWA.
Submission: Niagara Galleries.
Submission: Brian Tucker.
ibid.
Juan Davila, quoted in M. Backhouse, Arts Council Repudiates Art-as-Trade Accusation, Age Review, 20 February 2002, p. 6.
page 273
Indigenous issues
There is a call for increased Indigenous content to be included in touring exhibitions and to
be made available in Australian representative sites abroad, such as foreign posts.697 DFAT
currently funds an Aboriginal and Torres Strait Islander Program (budget approximately $150
000 in 2001).698 The main function of this program is supporting touring exhibitions that
are lent to overseas posts, in line with DFATs goal to project a positive image of Australia.
Some examples of tours include Seasons of the Kunwinjku, Prints by Seven Aboriginal
Australian Artists and New DirectionsAboriginal Australia and Business (in conjunction
with Rio Tinto).
Despite this example, there is concern that not enough opportunities exist for Indigenous
artworks to be toured overseas.699 It has also been suggested that DFAT might create
more formalised relationships with galleries and arts organisations in order to facilitate
this process.
With regard to the exportation of Aboriginal art internationally, it has been suggested that
an Indigenous Arts Marketing Board be established to cater to interest in Indigenous art
expressed in America and Europe. Such an organisation could also ensure the authenticity
of the works involved, as authenticity marks and labels are desirable, as are licenses for
dealers in Indigenous visual arts. A formal, internationally recognisable Indigenous Arts
Marketing Board could be an effective way to cover the concerns of Indigenous artists over
how and where their artwork is sold, and to reassure collectors that artworks are authentic
and have been acquired for sale appropriately.700
FINDINGS
The contemporary visual arts and craft sector benefits from its promotion internationally
through international art fairs, exchanges, residencies and related touring activities.
There are many programs supporting international activities provided by both the
Commonwealth and the States and Territories. However, there is little inter-governmental
coordination of these activities and little knowledge in the sector of the breadth of
international opportunities offered by the Commonwealth departments and the States and
Territories.
The Inquiry believes the Australia Council, in consultation with the DFAT and the State
and Territory arts ministries, should undertake regular evaluation of the effectiveness
of international promotion and exchange programs to ensure efficiencies and synergies
between such programs.
697.
698.
699.
700.
D. Mundine, Paper commissioned by the Inquiry, page 3.

Department of Foreign Affairs and Trade, Information provided to the Inquiry Secretariat, December 2001.
Noted at CVACI Indigenous Reference Group meeting, 19/12/01.
Djon Mundine, op.cit. page 3.
page 274
PROMOTION THROUGH ARTBANK

Artbank was established in 1980, with the aim of making contemporary Australian art more
accessible to clients through an art rental program. Artbank is a part of DCITA, but has
been financially self-sufficient since 1992. Any surplus made by Artbank is reinvested in
the program. Artbanks aims include providing greater access to the arts for Australians,
encouraging emerging Australian artists (by purchasing their works for the collection),
providing greater opportunities for artists (by acquiring and displaying their works
worldwide) and to assisting the sector to market itself nationally and internationally.
In 200001, Artbanks acquisition budget was over $500 000. This has flow-on benefits
as commercial galleries, artist-run spaces and art and craft centres receive commissions
from sales. Other beneficiaries include framers, photographers, art transporters and other
industry groups.
Artbank currently has around 8 500 works in its collections, with over 3 500 Australian
artists represented. Over 6 000 (approximately 70 per cent of the collection) of these
works are on display (i.e. rented out to clients) at any one time. Works represented in the
collection include paintings, sculpture, works on paper, tapestries, ceramics, glass and
photography. Works from Artbanks collection are displayed prominently in 78 Australian
Embassies and High Commissions.
National promotion
When Artbank was reviewed by the government several years ago, it was demonstrated that
Artbanks contribution to the young and emerging artists engaged in the primary art market
was more than the state and national galleries combined on an annual basis. Artbanks
support usually benefits the artists at the beginning of their careers, which is when they are
most in need of financial support.
Artbank is often the first serious collection for their work and the acquisition is a boost to
their confidence and a means by which they can gain valuable exposure, both nationally and
internationally. Artbanks national focus ensures that many more artists works cross state
boundaries through the rental program and exhibition loans than through the commercial
gallery channels and touring exhibitions.
In its consultations with the Inquiry, Artbank submitted that it could also increase access to
its services and support more acquisitions of contemporary works by increasing its national
profile. Artbank believes that a more prominent national presence will increase client takeup of Artbanks services and stimulate a strong follow-on in acquisitions of artists work
through increased demand.
page 275
Expanding the national operations of Artbank would require an investment of funds by the
Commonwealth into what is a successful self-sufficient organisation. This might take the
form of a one-off injection of funds in the form of a loan. The Inquiry believes that, given the
organisations track record, there would be considerable benefits to the contemporary visual
arts and craft sector from such an investment. However, the Inquiry considers that the
appropriate form and level of investment, and the implications for Artbank and the market,
would need to be fully examined by the Commonwealth before such a decision was made.
International promotion
Artbank informed the Inquiry that international transportation costs are a deterrent to
providing dynamic and representative exhibitions of contemporary Australian visual arts
and craft at overseas posts. The high costs are a disincentive to changing works over on a
regular basis and this can result in rather stagnant displays that are not representative of
current art practice and the best of what Australia has to offer.
An example of the high art transport costs was highlighted with the Moscow Residence.
The quote to airfreight 17 suitable works to the Moscow Embassy was $10 000. Closer
to home, the cost of sending 37 works to Singapore Embassy was $4 810 and the cost of
returning 27 works from the Osaka Mission was $7 975.
Artbank suggested that the Commonwealth Government might consider introducing a
freight equalisation program through Artbank to encourage the Embassies and High
Commissions to display a dynamic and changing view of Australia through its contemporary
visual arts and craft. Such a program might involve Artbank being funded to meet some
part of the costs currently borne by DFAT where it would result in more frequent turnover of
leading Australian works.
The Inquiry recognises that the potential to reach larger audiences and to promote
Australian creativity and innovation through exposure to the Artbank collection would be
greatly enhanced by more frequent rotation of works at overseas posts. Posts might also
consider publicising new collections through a public opening or event.
Nevertheless, the Inquiry considers that further consideration should be given to whether
a program to address freight costs would be more appropriately funded through DFAT. The
AICC may be the appropriate body to investigate this issue.
FINDINGS
Artbank makes a significant contribution to the promotion of Australian contemporary
visual arts and craft at home and abroad.
Given the potential for Artbank to expand audiences and, potentially, demand for
the works of Australian artists, proposals that might allow Artbank to heighten its national
profile and presence consistent with its role in the market would deserve
serious consideration.
page 276
The ability to regularly rotate works held by Artbank through overseas posts, and thereby
achieve wider promotion of Australian contemporary visual arts and craft, is hindered by
transportation costs. DFAT and the AICC could seek to address this issue in consultation
with Artbank.
CONTEMPORARY ART AND CRAFT WRITING AND PUBLISHING

arts publishing, including the serial journals and magazines, and one-off monographs and
anthologies, provides a crucial platform for the development and dissemination of ideas within
and about the arts. Publication is vital to the professional development and recognition of
individual artists work, it underpins the viability of galleries and informs collectors701
Arts writing and criticism are a necessary part of arts and craft culture, providing a forum for
discussion which extends beyond the immediate place and time of any exhibition. Reviews
are also part of the research and development process.
Arts journals and books provide a means by which Australian visual artists and craft
practitioners can become recognised worldwide:
publications, including regularly published magazines, journals and newsletters, news-media
reports and reviews, and one-off books such as monographs, nourish the visibility and viability
of contemporary visual art and craft. They empower artists, designers, galleries and collectors.
They enable thoughts, ideas and information to be shared by colleagues around Australia and
the world. Importantly the Internet and virtual publishing has increased the latter dramatically.
However, the industry believes, through a deal of evidence, that the actual printed work and glossy
magazines are more important and valid than ever. Advertising, for example, in these publications
is extraordinarily buoyant at present, and magazines in general in Australia continue to experience
a growth audience.
Specialist contemporary Australian visual arts magazines and journalsincluding those that focus
on craft, design and cultural activities, and including those which have Federal or state government
support have been a vital force in presenting the best of Australian practice nationally and
internationally. Co-promotions, linking both with commercial galleries at major international
expos and art fairs, and at other major exhibitions and events over the last decade, both overseas
and in Australia, have been a significant factor for cultural and commercial success702
Documenting works
As contemporary art and craft practice becomes more ephemeral and site-specific, there
is a concern that the work will disappear from history. The need for publications, from
photocopied room sheets to hardback monographs is obvious to artistspublications not
only document an artists work, they also create a critical dialogue:
publications are critical for the cultural development of contemporary visual arts practice. This
is a fact that can no longer be ignored. The contemporary visual arts in Australia is constantly
embarrassed beyond belief whenever dealing with international artists, particularly from Europe,
who, even at an emerging level, have been provided with substantial and impressive published
catalogues. This issue is not just about promotion, but, and I insist, more about ensuring that
we document our critical developments in the contemporary visual arts so that we are able
to research them in the future rather than constantly consigning contemporary visual art to
invisibility in the methodical way that we do now703
701. Submission: Eyeline.

703. Submission: Artspace.
page 277
Audience development and education

in recent years art publications have been recognised by the full gamut of galleries and
museums, state, regional and national, as crucial ingredients in the understanding, appreciation
and marketing of arts704
Submissions have confirmed that printed catalogues for arts and craft exhibitions are widely
regarded as useful and important documents, not only during the course of the exhibition in
question, but that they also have a long-term shelf life:
the catalogue has a complex role. It can be used as a marketing tool for advocacy; as a research
tool hopefully giving access to contemporary ideas or information; or as an historical document
[] catalogues can also record artists and art works at a particular time. Without the catalogue the
exhibition is only a temporary event705
Catalogues and journals in particular are valued for their contribution to education,
especially in secondary and tertiary courses covering contemporary Australian art, areas of
which may not have been dealt with to any great degree in print elsewhere, particularly in
the case of very recent works.
Catalogues can be ahead of other publications in discussing the work and practices of
contemporary visual artists and craft practitioners:
in NSW the schools curriculum at Years 11 and 12 in high schools has been changed to include
the study of Contemporary Australian Art. There are very few text books available that are current
and relevant [] educational publishing is one of the areas in Australian publishing that makes
money. A number of art institutions in Sydney intend to prepare publications for these courses[]
this new market could make [] catalogues viable productions in their own right706
Writing about craft

Craft in Australia has benefited from a strong organisational infrastructure, which in turn has
continued to publish journals, newsletters and other publications:
Object magazine has grown in circulation from a membership-based magazine distributed to
500 members (with 1,200 printed) to a glossy magazine distributed across the globe to over 4,500
stockists, subscribers and members, or over 50,000 readers annually707
There is continued interest in craft-specific publications, as tools to extend the experience

of practitioners and to promote a standard of excellence in the craft sector, and also as
a means of sharing technical and practical information, and to make available to a wider
public reviews of craft exhibitions. While some of the crafts, ceramics for example, are
increasingly covered in visual arts publications, many others are not; another reason for
which craft-specific publications are necessary.
704. Submission: Artlink.

705. P. Cripps, A Review of the VACBs Funding of Exhibition Catalogues, and Research into Strategies for Future Support, Australia Council,
Sydney, 1990, page 2.
706. ibid., page 8.
page 278
Australian publications
There are currently about 20 contemporary visual arts and craft publications in Australia:
Artlink, Art Monthly, Broadsheet, Photofile, Object, and Eyeline receive recurrent support
from the Australia Council. These six magazines received $239,540 from the VACB in
2001.
Real Time, a free monthly magazine with a broad brief covering contemporary
performing, visual, film and digital art received $139,000 from the New Media Arts
Boards Triennial category in 2000.
Crafts, Craftsouth and Craftwest are published as part of the overall programs of the
Victorian, South Australian and Western Australian craft and design centres.
Art and Australia, Australian Art Collector, Art and Asia-Pacific, Art Almanac, Ceramics
Art and Perception, Pottery in Australia and Textile Fibre Forum are published on a
commercial basis.
Post West is published by the University of Western Sydney, Dialogue is an infrequent
publication from West Space, a Melbourne artist-run initiative, and Arts Nexus is
published by the Cairns-based artists agency.
Viability
Art publishing representatives consulted by the Inquiry submitted that contemporary art
and craft journals are financially viable. They exist on non-professional editing and writing
practices based on volunteer editors, academic and emerging writers who write for little
other than personal or academic reward:
we must also consider how related professions such as arts writers and curators are valued.
Often they are similarly impoverished despite their ability and dedication to support, profile and
generate critical dialogue on the cultural sector708
While the market for art journals in Australia is limited, most journals have reported
moderate increases in sales per annum. Unfortunately, rising costs negate any potential
advantages from increased sales. The journals have generally also found it difficult to
attract additional support from the Australia Council. This means it is very difficult to
increase design and production quality. The current trend is for the magazines to decrease
the number of pages per issue and decrease the number of issues per annum.
Trends in funding
While some State art ministries support writing and publishing, the main source of
government support for this sub-sector has been the Australia Council. Contemporary visual
arts writing has been supported by the Commonwealth Government continuously since
1962 when the Commonwealth Arts Advisory Board, the precursor to the VACB, agreed to
support the publication costs of the new publication, Art and Australia. At its establishment
in 1973, the (then) Visual Arts Board had a mandate to stimulate and support the market
for arts writing in Australia.709 The Visual Arts Board supported Art and Australia until 1979
when it was proving itself to be economically self-sustaining. At that point, the Visual Arts
Board transferred this allocation towards another new publication, Art and Text.
708. Submission: Kate McMillan.
709. M. Bonnin, Visual Arts/Craft Board Publications Review, Australia Council, Sydney, 1988, page 2.
page 279
The VACBs support for writing and publishing has decreased over the last ten years.
While support for journals has remained fair, with support just dropping slightly in real
terms overall financial support for writing and publishing in 2000 was less than half what
it was in 1990. While the journals that are still being supported have increased readership,
sales and advertising, they have decreased the issues per annum published, salaries have
remained stagnant or decreased and writers fees have decreased in real terms by 10 per
cent in the last five years.
In 1990, 36 separate grants were awarded for writing and publishing activities. Ten years
later the number of grants allocated for writing and publishing was less than a third of that.
Submitters pointed to grants being essential in order to sustain a reasonable level of arts
writing in Australia, a comparatively small market in which few arts publications would be
able to survive long-term without some form of assistance:
the journals necessarily operate between the commercial and funded environments. Their
distribution and sales have to compete in a mainstream marketgiven the size of the Australian
population it is unlikely that a journal like Eyeline can ever be sustained by this market alone710
Apart from the magazines receiving support from the Australia Council through the VACBs
Triennial (Key Organisations) publishing initiatives, individual writers also apply to the
VACB for support. Most government support for one-off publishing projects takes the form
of catalogues accompanying exhibitions. However, monographs, artists books, art theory,
history, memoirs and electronic journal publishing projects have all been supported by the
Australia Council in the last five years.
Nonetheless, even the funded journals are very commercially driven. Subsidies for art
journals average less than 20 per cent of annual income whereas an average 60 per cent of
annual income of contemporary art spaces is supplied by government subsidy.
Catalogue costs
Catalogue production and distribution is expensive and plagued by difficulties regarding
the sizes of print runs (frequently overestimated because of limited or inaccurate market
knowledge, and therefore costly) and effective distribution to those who do not attend the
actual exhibition (e.g. interstate or international residents), and to those who wish to source
copies of the catalogue after the exhibition has closed (a market which could make use of
copies left in storage, often previously regarded as having no further use).
To be of long-term value, catalogues must, like other publications, contain high quality
writing, essays, research or criticism on ideas raised by the exhibition, quality reproductions
and photographs. Ideally, it would be more worthwhile for institutions to consider spending
more time and money on smaller print runs of higher quality catalogues, rather than
cheaper, smaller (and less valuable long-term) catalogues in large print runs.711
Funding is often necessary for the production of catalogues. Catalogues have the
disadvantage that, unlike journals or newsletters, they are one-off publications, and are
less likely to attract advertisers.
A number of institutions, for instance Bendigo Art Gallery, are issuing art catalogues on
CD-ROM, a medium which allows high quality reproductions, a large amount of text, and is
also comparatively low cost to manufacture and distribute. A CD-ROM is smaller, lighter and
more robust than a printed publication, and is an attractive and modern form of packaging.
710.
711.
Submission: Eyeline.
P. Cripps, op.cit. page 2.
page 280
Books and monographs

The publication of books and monographs on arts and craft subjects is restricted mainly by
the reluctance of commercial publishers to enter into this market, which is viewed as one
where small sales will be made and publications must be of high quality in order to sell.
There is a strong interest in such books from the arts and craft sector, however attempts at
partnerships with publishing houses in the past have rarely been successful or run over a
long enough term for them to become successful.
Nonetheless, organisations such as the Institute of Modern Art in Brisbane, Fine Arts
Press and a few others continue to manage to produce a stream of publications, often
with project support from governments or with financial assistance from the artist. The
VACB has, through the Presentation and Promotion category, supported the publication of
many monographs and other contemporary art related publications. It should be noted,
however, that grants for the research and publication of such monographs have frequently
been high risk in the past, in as far as research may never lead to a finished manuscript, a
finished manuscript may not lead to publication, a publication may not achieve acceptable
distribution and so on.
Arts SA has put in place a program to provide $20 000 per annum towards the production
and publication of monographs on South Australian contemporary artists:
monographs are seen as a crucial tool in the career development of leading South Australian
visual artists, poised to make an impact in the national and international arena.712
Newspapers
Newspapers are probably the primary source of arts writing for many Australians, and as a
medium are low-cost publications with comparatively large circulations.
Articles and reviews published in newspapers are more ephemeral than those appearing
in journals, as readers are less likely to keep copies of items appearing in papers, whereas
they may well save issues of journals for future reference.
On the other hand, because of their immediacy, newspapers can comment on arts and
craft sector events much more quickly than journals, which have lead times of four weeks
or more, and often cannot publish reviews or editorials on exhibitions while they are still
showing (with the exception of long-running exhibitions, which may be of the blockbuster
type, and therefore of less interest to specialist publications).
Distribution
It has been widely noted that effective and reasonably priced distribution is essential for
publications to thrive:
the main challenges for this sector are: wider distribution development and ongoing
management to key stockists, national and international audience development (new audiences
and broader), subscription developmentin general, viability and business development 713
712.
713.
Submission: Arts SA.

Submission: Object.
page 281
One of the main problems for arts journals negotiating with distributors, is the fact that
distributors will generally require a minimum print run of a given publication which is much
higher than arts journals normally consider, making such ventures extremely costly and
likely to land journals with large numbers of unsold issues. In short, large distributors are
unaccustomed to dealing with small print runs of specialist journals, and are often unable
to meet their particular needs, although they do offer other advantages such as wide
distribution. This would also be the case regarding the distribution of catalogues, which is
increasingly rarely undertaken outside of the actual exhibition venue, but which would be
desirable for the arts and craft community, as well as the education sector.
Online
One option which can solve the dilemma of high printing and distribution costs, for journals
and newsletters especially, is that of publishing on the Internet. A number of e-zines are
already running successfully both in Australia and worldwide, such as Mesh, fineartforum,
Rhizome, geekgirl, Leonardo electronic almanac, and so on.
Online publications have the same immediacy of newspapers, without the space and
editorial restrictions. Internet-based publications are also more interactive, and can
respond much more quickly to their readers interests. There has been some suggestion
that funding may be more effectively spent on Internet-based journals, which could
circumvent some of the chronic difficulties hard copy journals face.
Copyright
An essential element of arts and craft-based writing is, of course, the reproduction of
colour prints of the artworks being discussed. This is, however, one of the factors that can
make publishing expensive, due not only to the technicalities of reproducing colour prints
accurately, but also because of copyright issues.
Copyright is a contentious issue, and many arts journals and newsletters want, out of
principle, to pay fees to artists when they reproduce their works. However, due to the
financial restrictions imposed upon them by tight budgets, many publications are simply
unable to do so:
the question of fees for reproducing works of art in magazines is one which must be addressed.
As an integral part of the visual arts infrastructure almost all of the magazines take a proactive
stance in relation to the equity issue of payment to artists, yet we do not have the wherewithal to
implement this fully714
This issue is particularly important regarding publishing on the Internet, which is not
monitored or restricted by its very nature. There have been many instances of artworks
being reproduced on the Internet and of reproductions being sold over the Internet without
the consent, or even the knowledge, of the artist. Because of the interactive nature of the
Internet, there is also an increased likelihood that artworks can be altered or otherwise
manipulated without the consent of the artist. Indigenous artists in particular have
expressed concern at these developments.
714.
Submission: Artlink.
page 282
Regional disadvantage
A lack of locally-based correspondents or reviewers/critics, especially in regional cities and
towns which are at significant distances from capital cities, can mean that exhibitions in that
area are not reviewed or commented on in national/regional publications, which represent
an unfair disadvantage for such artists.
However, the significant expense necessary for writers to travel the country are prohibitive
for most publications. It is fair to say, nonetheless, that it is largely funding issues that keep
Australian publications from covering more art, not a disinclination to do so.
Any acknowledged lack of regional arts writing is viewed as a disadvantage:
Eyeline magazine was established [] to redress the lack of critical writing and debate around
the contemporary visual arts in Queensland and to contextualise those arts nationally and
internationally. At that time there was no record of art activity in this region, and therefore no
sense of history or local identity around the arts 715
and:
currently the journals provide a range of geographic and intellectual coverage of the arts suitable
for a variety of audiences. But there is a critical need for more monographs, anthologies and
occasional papers which focus on and analyse specific areas of practice and individual artists
work at various stages of their careers. There is a vast amount of excellent work being produced in
Australia which is not covered at all at present716
Training
Another issue of concern for arts writers and others involved in the publication of journals in
particular, is the lack of training opportunities in their field:
while many arts writers come out of art history (Fine Arts) courses and art schools, there is
little formal training in this area. Publishers, and the journals in particular, provide the main
training ground for arts writers. In our case, the Eyeline editor and members of the editorial
committee work closely with emerging writers in mentor-like relationshipscurrently, there is no
training for editors in this field and little recognition of the specialist nature of their knowledge
and contribution. With the increasing demand for lucid arts writing and for arts publications of
all sorts, strong editorial skills and publishing knowledge are required for both hardcopy and
electronic publishing717
A suggested solution to this problem is the provision of professional development grants to

be accessed by arts writers and publishers:
writers should be given special professional development grants to explore opportunities
internationally with international art journals and magazines, in the capacity of contributors, guest
editors etc. This would enhance the quality of art writing through new opportunities and further
ensure the dissemination of Australian contemporary visual arts practice718
Initially, and still today, many contributors to arts and craft publications are professional
artists and academics, rather than professional journalists. However, this pattern seems set
to change as interest in arts writing as a career, rather than a sideline, increases:
715.
716.
717.
718.
ibid.
Submission: Artspace.
page 283
over the past five years there has been a change in attitude to the magazines which is part
and parcel of a noticeable maturing of the visual arts scene. There has been a recognition of
the value of art publishing in the larger arena of art practice, as both a support mechanism for
artists and as an activity in its own right. Writers, who ten years ago were thin on the ground and
often inexperienced, are now more plentiful, and producing material of a far higher standard than
before. The growth of departments of art theory in the arts schools and universities has been
partly responsible for this larger pool of aspiring writers. A small percentage of these writers
now fall into a new class that of professional writers, who are attempting to earn part of their
livelihood from their writing719
As noted above, it is not uncommon for arts writers to be able to concentrate solely on their
writing as a career and to make a living overseas. Australias comparatively low population
is perhaps bound to restrict the number of people who may be able to do this in Australia,
as circulation of publications has a ceiling which has so far precluded publications capacity
to offer viable salaries. However, it is important to note that the option of being a full-time
arts journalist/writer is becoming increasingly desirable and realistic.
FINDINGS
Art publishing and writing is an integral part of the contemporary visual arts and craft
sector providing an essential forum for documentation, discussion and criticism and for the
promotion of contemporary work nationally and internationally. It contributes to education
and audience development, marketing and advocacy. Craft publications also extend the
experience of practitioners and share technical information.
Australias small publishing market receives government subsidies that have not kept pace
with increasing costs. Fewer grants are being offered and writers fees have decreased.
Nevertheless subsidies account for an average of only 20 per cent of income.
The small size of the Australian market and high costs create difficulties associated with
publishing catalogues and monographs needed to document and promote artists and
their works. For similar reasons national and international distribution is problematic, as is
adequate coverage of regional artists.
Professional development is an issue for writers in the field. On line publishing may offer a
solution to current cost and distribution difficulties in the future.
The Inquiry believes the key issue to address in the area of arts writing and publishing
relates to funding difficulties. Funding increases are required to offset the high risk, high
cost, low volume nature of arts publishing, as the sustainability of these publications in the
long-term is unclear. The arts publications perform a particularly valuable national role, and
as such, government should provide adequate support to ensure these publications are
able to flourish.
719.
ibid.
page 284
RECOMMENDATION 17
To strengthen the sustainability of contemporary arts and craft publications to enable them
to better promote the sector, stimulate audience growth and demand and take advantage
of emerging opportunities, the Inquiry recommends the Commonwealth increase its funding
to the Australia Council for contemporary arts and craft publications and writing projects by
$200 000 per annum.
SPECIAL PROJECTS
The preceding pages have described the activities of a broad range of organisationsfrom
artist-run initiatives to commercial galleries to major art museumsand the many issues
facing them. The Inquiry has made a number of recommendations involving increased
recurrent support for specific sections of the infrastructure.
This Report has already outlined project funding for individual visual artists and craft
practitioners in Chapter 3. While annual funding provides support for basic administration
and programming costs, visual art and craft organisations also create and present a
number of special projects each year. One-off projects are characteristic of the sector,
are a necessary driver of change and development, and allow organisations to undertake
complex, innovative and developmental exhibitions, events and publications. Touring
exhibition projects brings contemporary art and craft to broader audiences, particularly in
regional areas.
Projects may allow in-depth examination of distinct areas of artistic practice (for example,
recent developments in fine wood work, art and bio-technology or public art) or important
sub-sector issues to be addressed (for example, emerging artists or artists of cultural
diversity). Artists today often work through the creation of installations or site-specific
sculpture or digital art. They will often utilise the opportunity presented by a funded special
project to work with more expensive materials, with new technology and in partnerships,
thereby creating artworks that would otherwise be unable to be created.
Special projects are also an effective way of generating additional publicity and audiences
(because the event is out of the ordinary it will often have more news value). When an
organisation develops a special project there is a benefit that also accrues to artists, writers
and curators involved in such projects in that they receive experience, greater exposure to
curatorial and commercial markets, even international exposure.
Special projects are also a valuable way of ensuring arts funding support reaches out and
supports a wider variety of organisations. Many organisationsAustralian or international,
profit making or not-for-profit, public or privatecome up with project based ideas that can
be of great benefit to visual artists and craft practitioners and the sector generally. Special
project funding allows commercial art galleries, university galleries, regional galleries, art
museums and artist-run initiatives amongst others to create and present exhibitions and
projects which they are unable to present without additional government support.
page 285
Issues
Project funding to visual arts and craft organisations is offered by all the States and
Territories arts funding agencies, by the Australia Council and, for interstate touring of
exhibitions, by DCITA through the Visions of Australia program. Types of projects supported
include the development and touring of exhibitions, publications, public art projects and
residencies.
The Inquiry received many submissions that stressed the difficulty of achieving the
extra support required for special projects, notwithstanding the fact that proposals are
generally high quality and largely well developed. The money requested is essential for the
successful development of the projects and failure in an assessment process means that
these projects will generally not go ahead, no matter how valuable they would be.
The primary reason visual arts and craft organisations develop so few developmental
special projects in Australia is financial. The second reason why projects are not considered
or funded by the VACB and sometimes by the States is restrictions the funding agencies
place on the number of applications they are willing to receive in a calendar year from any
one organisation. These restrictions are in place to ensure greater access to funding from a
wider range of applicants given a limited budget.
As recurrently funded organisations, CAOS members are precluded from applying for more than
one project per annum from the Australia Council and in some instances prohibited from applying
at all to state governments for project support.720
The following table indicates the spread of funding across the sector from the VACBs
Presentation and Promotion category over three years. It is presented as indicative data
and the Inquiry believes that similar funding patterns would be found in the support of
special projects by State and Territory arts funding agencies.
Table 5.4
Grants (to sub-sectors) from the VACB Presentation and Promotion Category over the three years 1999, 2000, 2001
Sub-sector
Total accumulated 19992001
CAOS
$141 600
NETS
$35 451
CDOs
$177 850
Other craft
$99 000
Major museums and events
$784 000
35
Publishing/magazines
$107 000
$134 647
Education institutes
$167 500
$10 000
Regional/metro galleries
$292 296
13
Overseas institutions
$200 900
$76 000
$2 226 244
100
Service organisations
Other
TOTAL combined 1999, 2000
and 2001
Source: VACB Presentation and Promotion Assessment Reports 1999, 2000, 2001
page 286
As Table 5.4 shows, the largest beneficiaries over three years were major art museums and
events (35 per cent). This category includes projects developed by major art museums as
well as support for the development and presentation of major recurrent art events. The
second largest group is the regional, suburban and metropolitan galleries (13 per cent). The
three groups of organisation that generally also receive key organisations fundingCAOS,
CDOs and NETSreceived 16 per cent of funding but of this NETS received only two per cent
or $35 451, of which $30 451 was to support NETS officer meetings and only $5 000 was for
the touring of an exhibition.
The demand for such funding is highly competitive and approximately two-thirds of the
applications in 2000 for project funding were unsuccessful.721 It is generally the case
that even those applications that are successful are only part-funded as the Board is
unable to allocate the amount requested and instead offers a smaller amount. In the
2001 assessment, 14 of the 18 successful applicants were offered smaller than requested
amounts (from 50 per cent to 90 per cent of the total requested). This will often create
a situation where an organisation will undertake a project which is not of the quality
desiredsimply because the funding was less than was necessary for the successful
creation of the project.
Nevertheless, special projects grants are both highly effective (given that often a project will
not even take place without the support of a funding agency) and often extremely efficient.
As an example, in 2000 successful VACB Presentation and Promotion grants accounted for
only ten per cent of the total expected income of the special projects supported.
A relatively small State or Commonwealth investment often attracts business and corporate
sponsorship and philanthropy and earned revenue into the sector. It is also the case that
the States and Territories and local government will almost always be the co-funder to larger
special projects.
States and Territories

The States and Territories already have mechanisms in place to assess and manage
project grants and currently their financial commitment to special projects exceeds that
of the Commonwealth. Through their project grants they are often able to ensure that arts
funding support is delivered to regional and remote areas and that partnerships are created
between organisations that may not as a rule work closely together. This might result in
new money from other sectors flowing into the contemporary visual arts and craft sector
(for example, as it does through the VACBs Partnership category) or it may result in more
efficient use of resources through the sharing of responsibilities for particular projects by
a number of visual arts and craft organisations (as it does when NETS and craft and design
organisations work together on a single one-off project).
721.
VACB 2000 Assessment Report.
page 287
If the States and Territories can also fund projects that have impact across State boundaries
then the project has the additional benefit of creating greater synergies and efficiencies
between State arts funding bodies. It is also the case that State and Territory assessment
committees are likely to have a greater knowledge of local issues and the sort of special
projects needed for their particular communities.
FINDINGS
Inadequate support for special projects is detrimental to the development and effectiveness
of the sector and the impact of Australian visual arts and craft on the whole of Australia and
the world stage.
The VACB necessarily sets restrictions on the numbers of applications it is able to accept
from any specific organisation.
State and Territory arts assessment committees already provide limited support for special
projects and are likely to have a greater knowledge of local issues and the sort of special
projects needed for their particular areas.
There is potential for limited Commonwealth outlays to encourage additional State and
Territory funding of the contemporary visual arts and craft sector through support for
special projects.
The Inquiry concludes that project funding is an efficient and effective form of funding to the
sector. It creates opportunities for the professional development of those working within
the sector, arts development opportunities for visual artists and craft practitioners that are
part of the special projects and audience development opportunities.
The Inquiry believes that any organisationAustralian or international, profit-making or

not-for-profit, public or privateshould be able to apply for support for projects which
involve practising artists, craft practitioners or artsworkers and have clearly defined
arts components.
The Inquiry feels that to maximise the benefits, the Commonwealth should allocate
additional funding to the Australia Council, and the Council should devolve that funding to
the States and Territories. The devolution would be conditional on the States and Territories
contributing further funding towards new programs for special projects. The programs
would be appropriately co-badged as joint Commonwealth/State initiatives. The relative
commitments of the Commonwealth and the States and Territories should be agreed with
reference to their current commitments to special project funding.
page 288
RECOMMENDATION 18
To ensure that a wider variety of organisations are supported to create special projects
of excellence and increase opportunities to develop audiences and demand, the Inquiry
recommends:
18.1
The Commonwealth provide $600 000 additional funding per annum to the
Australia Council to support special projects that support and develop the
18.2
The Australia Council devolve up to $75 000 per annum to each State and Territory
on condition they allocate up to $100 000 per annum to match this support within a
new co-badged program for the support of projects.
page 289
page 290
Chapter 6
resourcing the sector
Earlier chapters of this Report have considered the contemporary visual arts and craft sector
from the perspective of the role of individual artists, the infrastructure that supports them
and the sustainability of the sector. This examination has revealed the complexity of the
sector, and the extent to which it depends on the contributions and interactions of its many
stakeholders, including government and the private sphere.
This Chapter focuses initially on the role of governments, across the three tiers, in
supporting the contemporary visual arts and craft sector, and the effectiveness of this
support in achieving cultural objectives for both individual artists and arts organisations.
This is followed by a discussion of private sector support for the artsphilanthropy and
corporate sponsorship. The Inquiry has assessed the importance of the role played by
philanthropic organisations, individual donors and corporate sponsors in broadening the
financial support base for the contemporary visual arts and craft sector, and explored
options for facilitating a greater contribution from private sector sources.
ROLE OF GOVERNMENTS IN SUPPORTING THE CONTEMPORARY

VISUAL ARTS AND CRAFT SECTOR
Overview of government programs
The Commonwealth Government, all the States and Territories and many local governments
have programs that provide support for contemporary visual arts and craft. Government
interventions are many and varied, including support for artists, organisations and
infrastructure, as well as mechanisms to stimulate demand.
As previously discussed, the Inquiry estimates that support from the three tiers of
government for the contemporary visual arts and craft sector totalled some $58 million in
financial year 199900.
Commonwealth Government support through the Australia Council, ATSIC, DCITA and other
Departments in 199900 is estimated to be about $18.3 million. The combined value of
State and Territory funding for the contemporary visual arts and craft sector in 199900 is
estimated to have been almost $19.5 million. The total value of local government support
for the sector is estimated at some $20.4 million in 199900.
page 291
Funding trends
The Inquiry found there was very little data relating specifically to the contemporary visual
arts and craft sector, but that ABS collections of cultural data on the full visual arts and craft
sector could be used as the basis for estimates of the contemporary sector. The following
table shows total government support for the full visual arts and craft sector, for 199900.722
Table 6.1 Government funding of visual arts and craft, 19992000723
Art galleries
Visual arts
and craft
Total
$39 900 000
$14 300 000
$54 200 000
29
New South Wales
$33 400 000
$1 000 000
$34 400 000
18
Victoria
$24 200 000
$2 400 000
$26 600 000
14
Queensland
$10 600 000
$1 100 000
$11 700 000
South Australia
$5 500 000
$1 600 000
$7 100 000
Western Australia
$7 000 000
$3 000 000
$10 000 000
Tasmania
$2 400 000
$400 000
$2 800 000
Northern Territory
$2 800 000
$300 000
$3 100 000
$1 500 000
$900 000
$2 400 000
Local government
$30 900 000
$4 900 000
$35 800 000
19
Total government
$158 200 000
$29 900 000
$188 100 000
100
Commonwealth Government
State/Territory Government
The Inquiry estimates that only ten per cent of the funding provided by State and
Commonwealth Governments for the category of art galleries flows to contemporary
visual arts and craft. Funding for art galleries in this context is predominantly for major art
museums and the support of contemporary visual arts and craft is just one of a broad range
of functions undertaken by these intitutitions. Local government support is principally for
regional galleries, which are often more involved with contemporary workthe Inquiry
estimates that 50 per cent of support of art galleries by local government is direct support
for contemporary visual arts and craft. The Inquiry considers that 100 per cent of the
category, visual arts, craft and photography is support for the contemporary visual arts and
craft sector.
On this basis, the following Table 6.2 gives the Inquirys estimates of funding for
contemporary visual arts and craft, based on ABS survey data, from 199495 to
19992000.724
722. Source: National Centre for Culture and Recreation Statistic, ABS, Cultural Funding in AustraliaThree Tiers of Government, 1999
2000, Cultural Ministers Council Statistics Working Group, 2002; Note: these figures include amendment to the expenditure by Arts
Tasmania on art galleries.
723. Table 6.1 also indicates a significant contribution from the Commonwealth Government in 199900 towards art galleries, this needs to
be qualified by reference to the one-off nature of Federal Centenary of Federation expenditure on capital infrastructure, including arts
galleries, in that year. (ABS data for the last few years indicates that normal Federal contribution to the category of Art Galleries is
about $20 million, comprising its support of the National Gallery of Australia and the National Portrait Gallery.)
724. ibid., pp2123.
page 292
Resourcing the sector
Table 6.2 Government funding (actual dollars) of contemporary visual arts and craft 199495 to 199900
199495
$m
199596
$m
199697
$m
199798
$m
199899
$m
19992000
$m
Federal
16.27
21.97
17.80
17.34
17.90
18.29
States/Territories
17.07
16.07
16.27
17.13
18.03
19.44
Local
10.60
15.80
22.60
18.55
16.55
20.35
Total Govt
43.94
53.84
56.67
53.02
52.48
58.08
This data indicate that, while there was some increase over the six year period for the
Commonwealth and State and Territory expenditure, this was not large (some 12 per cent
for both Commonwealth and State) especially considering that the comparison is in non
CPI-adjusted dollars. Total government funding for the contemporary visual arts and craft
sector rose by some 31 per cent in the six year period 1994 to 2000, as a result largely of the
almost 100 per cent increase in local government funding.
FINDINGS
In 19992000, total support of the contemporary visual arts and craft sector was
$58.08 million, comprising the Commonwealth Governments contribution of $18.29 million
(31.5 per cent), total State and Territory governments $19.44 million (33.5 per cent), and total
local government $20.35 million (35 per cent).
State and Territory and Commonwealth Government support increased by about 12 per cent
(in non-adjusted dollars) over the period from 1994 to 2000.
POLICY OBJECTIVES AND TARGETING BY GOVERNMENTS

In general, policies of governments at all levels have focused on encouraging excellence,
innovation, access and participation. To achieve these aims, governments have developed
and maintained infrastructures to support the sector, while also providing direct assistance
to artists and craft practitioners, organisations and events.
page 293
National role
The Commonwealth Government has traditionally assumed responsibility for addressing
national cultural objectives. Its current arts policy objectives are summarised in the
Governments 2001 election statement, Arts for All:
Our aim is to encourage excellence in, and access to, all areas of the arts in Australia, and to
encourage all Australians to celebrate our culture and creativity. In order to realise this, we must
strive for excellence in training, excellence in artistic endeavour and excellence in promotion and
presentation of artists work.725
These objectives are underpinned by the Governments commitment to the Australia

Council as the main statutory agent to deliver arts funding. The Australia Council Act 1975
stipulates the policy basis of Commonwealth arts funding to be centred around excellence,
participation, access, audience development and promotion of national cultural identity.
State, Territory and local governments necessarily take a narrower perspective in their
funding policies, which are limited principally to their own jurisdictions. Nevertheless, they
also operate in and contribute to a broader national context, and collaborate through the
sharing of ideas in CommonwealthState consultative forums, such as the Cultural Ministers
Council. They also frequently operate as co-funders of visual arts and craft infrastructure
with the Australia Council and in partnership with other Federal programs of support.
The Australia Council

The roles and functions of the Australia Council are summarised in the Australia Councils
2001 Annual Report as follows:
The Australia Council is the Commonwealth Governments arts funding and advisory body. Its
vision is to enrich the life of the nation by supporting and promoting the arts [It] performs a
crucial role in supporting Australian artists and arts organisations to pursue artistic excellence,
to create and present their work, to take advantage of opportunities to improve and develop
their skills, and to tour and promote their work to wider audiences. [It] also plays a vital role in
developing new audiences for the arts both here and overseas and in promoting appreciation of
the value and role of the Arts in the Australian community.726
Arms length funding and peer assessment

Under the terms of its Act, the Australia Council operates on the principle of peer
assessment at arms length from Government. While almost all the State and Territory
arts funding agencies operate through a committee system, where arts peers assess
applications and make recommendations based on published selection criteria, decisions
are made at Ministerial level. In the case of the Australia Council, specific decisions on
funding are the decisions of Council without reference to the Minister for the Arts.
725. Coalition, Arts for All, Election Policy, 2001, at www.liberal.org.au

726. Australia Council, Annual Report 20002001, Sydney, 2001, p.7
page 294
Australia Council budget

The Australia Council allocates funding to artists and arts organisations through Boards and
Divisions that assess applications and manage grants on its behalf. The Commonwealths
total funding for the Council was $79.765 million in 199900, $95.933 million in 200001,
$131.222 million in 200102, and $135.928 million in 200203. The increase in the last three
years was largely due to the transfer from DCITA to the Council of funding responsibility for
the major performing arts companies following the Major Performing Arts Inquiry, as well as
increases associated with that Inquiry.
Visual Arts/Craft Board (VACB)
The VACB is the principal body for the support of contemporary visual arts and craft within
the Australia Council. The Boards primary roles are to:
expand opportunities nationally and internationally to create and present innovative new
Australian visual arts and craft;
provide opportunities for the professional development of Australian visual artists and
craftspeople; and
promote public understanding and enjoyment of contemporary arts and craft through
informed critical debate.727
Like all Boards of the Australia Council, the VACB offers grants in discrete categories, each
with different objectives. Three of the VACBs grants programs in 200001 were open only to
applications from individual visual artists, craftspeople, arts writers and curators.
These were the New Work, Skills and Arts Development, and Fellowships categories.
The following categories of funding were available only to organisations: Presentation and
Promotion, Key Organisations (Triennial), and Partnerships and Commissions.
In 200001 the Board allocated funds across the categories as follows:
Table 6.3 Funding by the VACB across grant categories, 200001
Visual Arts/Craft Board programs

New work (60 grants)
$895 882
% of total
14
Presentation and promotion (39 grants)
$834 931
13
Development (incl. Studio oheads) (58 grants)
$1 015 303
16
Triennial grants (35 grants)
$2 748 114
43
Fellowships (9 grants)
$360 000
Partnerships (5 grants)
$139 000
Commissions (1 grant)
$50 000
Awards (2 grants)
$50 000
Initiatives (16 grants)
$169 759
Advocacy/Assessment
$116 691
$6 379 680
100
Total VACB Funding

Source: Australia Council 20002001 Annual Report, pp.120-123
NB. Table 6.3 is based on actual expenditure rather than commitments.

727. Australia Council, Support for the Arts Handbook 2002, Sydney, 2001, p.118.
page 295
The Fellowships category paid for nine grants in 200001 because five grants offered
in the previous year (they are grants that are paid over two years) were still to be paid.
Analysis of the effectiveness of the VACB grant categories
Table 6.4 Total grants (actual dollars) paid by the VACB, 199697 to 200001
Year
VACB
Total #
of grants
VACB
Total $
granted
# to
indv.s
# to
org.s
Grants to
indv.s
Grants to
org.s
199697
266
$6 508 083
141
125
$1 956 956
$4 551 127
199798
272
$7 063 253
126
146
$2 157 357
$4 905 896
199899
241
$5 969 903
129
112
$1 902 850
$4 067 053
19992000
235
$6 069 188
129
106
$1 775 190
$4 293 998
200001
227
$6 379 680
123
104
$1 917 283
$4 462 397
Source: Australia Council Annual Reports
As can be seen from the data in Table 6.4, the funding allocation to the VACB has remained
relatively static for several years. This has affected its ability to support both individuals
and organisations.
Issues raised in submissions to the Inquiry
A number of issues were raised in submissions and in the Inquirys consultations with
the sector pertaining to the VACBs roles and performance. These included criticism of
the VACBs funding decisions (though in many cases it was readily acknowledged that
these reflected the constraints of a limited grant budget), and claims of disproportionate
representation by some States in funding outcomes of grant decisions. It was also
suggested the VACB should have a greater leadership role for the sector and achieve a
better balance between its grants administration function and other activities such as
research and advocacy in relation to such issues as funding, artists rights and taxation.
Some criticisms stemmed from measures taken by the VACB to deal with its static funding
levels and the consequent decline in the real value of the grants. These include reducing the
number of grants awarded, and limiting the number of applications that can be made by any
applicant. In addition, buffer periods have been imposed which limit new applications by
previously successful individual applicantsindividuals who have been successful VACB
grant recipients in 2002 may not apply for a further grant from the VACB until 2005.
In the Inquirys view, issues of this sort are symptomatic of a difficult and relatively static
funding situation and will diminish if this Reports recommendations for funding increases
are accepted.
page 296
In relation to other forms of support for the sector, the Inquiry believes that the VACB needs
to balance its grant-giving function with other advisory and research roles, and considers
that increases in grant budgets may take pressure off the VACB and its staff, allowing them
to be proactive in areas other than grant management. In relation to advocacy, it should be
stressed that the Australia Councils statutory role in relation to government is advisory,
and that an advocacy role is more properly the role of peak bodies in the sector.
Some submissions raised concerns about the lack of coordination between the VACB
and State and Territory funding agencies, and the lack of consultation with the sector
itself. While, again, some of these concerns may be alleviated by basic increases to the
funding base of the sector, the Inquiry agrees that there should be a cooperative working
relationship between the VACB and the other funding agencies, especially with regard to the
key infrastructure organisations.
The Inquiry received several submissions which raised the question of whether craft
was properly supported by the VACB and whether it would be better supported through
a separate Board as was the case prior to 1988. Since amalgamation of the two original
boards, considerable infrastructure has developed to support both areas in a joint way, both
nationally and also through international infrastructure such as the overseas studio program
and recurrent events. This melding also parallels the blurring of distinctions between visual
arts and craft which has occurred in recent years. The Inquiry considers that administrative
efficiencies and other policy benefits have resulted from the amalgamation of the two
boards, and there seems no case for returning to a two board model.
Australia Council support for contemporary visual arts and craft across boards
and divisions
While the VACB is the principal supplier of dedicated support from the Australia Council for
the contemporary visual arts and craft sector, in 200001 total VACB outlays equalled only
53 per cent of all funding for contemporary visual arts and craft from the Australia Council.
As Table 6.5 shows, support of visual art and craft across the Council is extensive, with
several other boards and divisions making an important funding contribution. The almost
$12 million in the table represents 15 per cent of all funding from the Australia Council
in 200001.
page 297
Table 6.5
Contemporary visual arts and craft funding by Australia Council Board and Division
Contemporary visual arts and craft funding by Australia

Council board and division
200001
% of total
Visual Arts/Craft Board
$6 379 680
53
Audience and Market Development Division
$1 550 294
13
Policy Communications and Planning Division
$224 330
New Media Arts Board
$645 587
Community Cultural Development Board
$1 090 262
Aboriginal and Torres Strait Islander Arts Board
$2 167 127
18
$11 961 394
100
Total Australia Council support
Source: Australia Council 20002001 Annual Report and information provided by Boards and Divisions
The contribution of areas of the Council other than the VACB is described briefly below:
The Aboriginal and Torres Strait Islander Arts Board assists Aboriginal and Torres Strait
Islander people to claim, control and enhance their cultural inheritance. The Board supports
this right through its grant categories and through the implementation of the National
Aboriginal and Torres Strait Islander Arts Policy.
The Audience and Market Development Division focuses on developing audiences and
markets nationally and internationally for Australias artists and arts companies. The
programs support for projects in the contemporary visual arts and craft area includes
participation in major recurrent international art fairs and craft fairs; development and
management of the visual arts components of major international showcase events,
including the Venice Biennale; and support towards the international marketing and
promotion of Australia based major events such as the Biennale of Sydney, the Asia-Pacific
Triennial, and the Melbourne Art Fair.
The Policy Communications and Planning Divisions support is mainly through the Young
and Emerging Artists Initiative which has accounted for some $1.1 million in grants for the
contemporary visual arts and craft sector in the last five years. This initiative supports
visual artists and craftspeople in the first five years of their practice. The program also
supports artist-run initiatives and emerging writers and curators in a period when many
artists find it very difficult to be supported through the market.
The New Media Arts Board supports the development and creation of artistic work that
displays a critical and innovative approach to art and its place in society. The particular
focus of the Board is to support experimentation with new forms of expression and
exploration of hybrid art practices.
The key aim of the Community Cultural Development Board is to enable communities to
advance their cultural aspirations by working closely with professional artists. Through
these collaborations, communities are assisted to maintain and develop their culture, to
address issues of concern to them and to create contemporary artistic works which reflect
the richness and diversity of Australian communities and their cultural life.
page 298
Other Commonwealth Government programs supporting contemporary

visual arts and craft
The second largest contributor to the contemporary visual arts and craft sector is the
Aboriginal and Torres Strait Islander Commission (ATSIC). While the total Australia Council
support for the sector in 19992000 was some $9.4 million, ATSIC contributed $4.2 million
through its National Art and Craft Industry Strategy, principally in support of the art and craft
centres which have been developed in each State and Territory and represent more than
5 000 Indigenous artists. ATSIC also estimated a further $2.8 million expenditure on visual
arts and craft through its more broadly based Regional Arts and Culture Program.
Artbank makes an important contribution to the sector, spending around $0.5 million
annually on purchase of contemporary visual arts and craft from the primary market for
renting to private and public sector clients.
The Commonwealth Government has a lead role in establishing national legislative
frameworks to support arts and craft workers, including copyright and taxation measures.
DCITA and the Australia Council both have roles in consulting with other Federal bodies
with principal carriage of policy in areas relevant to the cultural sector, such as Treasury
(tax policy); the Australian Taxation Office (tax administration and amendments); and
Attorney Generals Department (copyright). In developing or changing such frameworks, the
Australia Council is well-placed to advise the Commonwealth Government and to consult as
appropriate with the States and Territories, and with the sector through such key national
service organisations such as NAVA and Craft Australia.
The Commonwealth Government also has principal responsibility for art education at the
tertiary level. As discussed in Chapter 3 of this Report, it funds the 45 publicly funded
universities, 40 of which have courses of study in visual arts and craft. The core support
for these institutions, provided through the Federal Department of Education, Training and
Science, is supplemented by the Commonwealths Australian Research Council which has
funded a small number of university-based or university-linked research projects in the
visual arts and craft area (for instance, the recent Visual Arts Industry Guidelines Research
Project). The Commonwealth Government also provides considerable funding to the States
and Territories for Vocational Education and Training (VET).
There are also many other Commonwealth Government programs, many within the
Commonwealth portfolio of Communications, Information Technology and the Arts, which
provide considerable national assistance to contemporary visual arts and craft, as part of
their broader activities, such as:
National Gallery of Australia (non-collecting exhibitions programs, purchase and
management of collections, commissions).
National Portrait Gallery (contemporary exhibitions, purchases for the collection,
commissions).
Australian National Maritime Museum, National Library of Australia, National Museum of
Australia (some contemporary exhibitions, commissions).
page 299
DCITA Tax Incentive programs for donations (Cultural Gifts Program and Register of
Cultural Organisations which enable gifts of cash and artworks to art museums and
organisations).
Bundanon Trust (a Commonwealth Government owned company which manages Arthur
and Yvonne Boyds Shoalhaven properties and art collection gifted to the nation in 1993;
the Trust offers an artist-in-residence program).
Art Indemnity Australia (a DCITA program which indemnifies collections of cultural works,
mostly from overseas, which are touring Australia, thus increasing public access to such
material).
DCITA Regional Arts Fund (provides funding to Regional Arts Organisations in each State
and Territory to support community cultural activities in regional areas).
DCITA Visions of Australia program (supports interstate touring of exhibitions, with an
emphasis on touring to regional areas).
DCITA Festivals Australia program (grants program supporting the cultural components
of community-based festivalsincluding elements of visual arts and craft).
Australia Business Arts Foundation (works with the business sector to promote and
facilitate sponsorship and philanthropic support for the arts).
Protection of Movable Cultural Heritage Program (Environment Australia) (prevents
the export of significant cultural heritage, including especially some contemporary
Indigenous art and craft).
Culture and Recreation Portal (www.cultureandrecreation.gov.au), a DCITA website which
offers a number of valuable resources for art workers, including information on grants
and services, events and relevant national and international links).
Department of Foreign Affairs and Trade (through its support of international cultural
and trade initiatives).
Department of Education, Science and Training (through residency programs, University
Galleries, employment and education at tertiary education institutions).
Australian Broadcasting Corporation (through radio and television programs which
review and promote contemporary visual arts and craft).
Australian War Memorial (Department of Defence) (commissioning of work and
employment of official war artists).
Department of Prime Minister and Cabinet (official gifts purchased by the department
for presentation by the Governor-General, Prime Minister, Ministers or approved
parliamentary delegations; commissioning of official portraits).
Commonwealth Scientific and Industrial Research Organisation (partnership programs
between artists and CSIRO).
Australian Bureau of Statistics (as it collects, analyses and distributes information which
is used for the development of policies to support contemporary visual arts and craft
practice).
page 300
Department of Employment and Workplace Relations (through the provision of social

security measures)
Department of Industry, Tourism and Resources (through the provision of small business
assistance packages)
FINDINGS
The Commonwealth Government spends approximately $18 million per annum on the
contemporary visual arts and craft sector, principally through the Australia Council, ATSIC
and DCITA.
The Australia Council (and especially the VACB) is the main Commonwealth source of grants
in the contemporary visual arts and craft sector, although ATSIC also plays a significant role.
The quality of contemporary visual arts and craft in Australia is affected by funding levels
of the VACB, which have been relatively static for several years. Increased funding
recommended by the Inquiry will play an essential role in bolstering support both for
individuals and for the key national infrastructure network.
Other more broadly targeted programs of the Commonwealth Government also make an
important contribution to the contemporary visual arts and craft sector.
Roles of State and Territory governments

Policies and programs
The States and Territories have arts support programs that focus on cultural development,
sustainability, diversity, access and participation. These policies tend to be presented as
cultural sector wide, rather than art form specific. This reflects a general move in the second
half of the 1990s towards cultural industry models which focus on developing a sustainable
cultural sector, with support on both the supply sidee.g. support of infrastructure and
individualsand the demand sidee.g. audience development, marketing and distribution.
It also recognises the increasing difficulty of classifying contemporary work, particularly due
to use of new media technologies.
While data on funding of the contemporary visual arts and craft sector was reported in
submissions, the policy and funding framework set out in arts Ministries handbooks usually
does not take an art form specific approach to grouping, nor do annual reports of funding.
Rather the frameworks encompassed groupings such as professional development; cultural
infrastructure; regional arts development; sponsorship; market development and advocacy;
and partnerships.
page 301
This trend is also to be seen in the Australia Councils funding approach which, despite
maintaining art form specific arrangements, also has in place structures which focus on
audience and marketing development and other themes. The NSW Ministry for the Arts has
a similar structure to the Australia Councils, with specific art-form groupings, including a
Visual Arts and Crafts Program and associated committeebut also encompassing such
parameters as encouraging partnerships and raising the profile of the arts.728
Several arts ministries reported a move towards a whole-of-government approach, whereby
mutually beneficial links and partnerships are formed with other departmental agencies
within that States jurisdiction. This acknowledges the arts are relevant to other activities
of government, such as health, industry, trade, economic development, tourism and
environment. The policies of Arts SA, artsACT, Arts Victoria, Arts Tasmania and ArtsWA
indicate a move towards such a cross-government approach.
While there are similarities in the broad approaches to arts policy (including visual arts and
craft) in the States and Territories, it is also evident that they have different priorities which
reflect their different geographic and demographic situations. These lead to different types
of programs tailored to the specific needs of that State or Territory.
Per Cent for Art programs
Several states have Per Cent for Art and public art policies, which were described in their
submissions to the Inquiry. Such programs specify a proportion of expenditure on capital
works by governments to be spent on art incorporated in the building.
The Western Australian Governments Per cent for Art Scheme, managed by the Department
of Contract and Management Services in partnership with ArtsWA, has operated for more
than ten years.729 Under the program, all State Government buildings with a budget over
$2 million will consider one per cent of the project budget for an arts component.730
The Scheme has seen 120 public artwork projects completed or under way to date across
the State at schools, hospitals, law courts, police stations and prisons.731
Queensland has established a Public Art Agency to implement its Arts Built-in policy.732
The policy requires that two per cent of applicable capital works building project budgets in
excess of $250 000 be expended on commissioning public artworks. Since its inception in
1999, Arts Built-in has resulted in some 74 projects to a total value of $13 million, creating
over 317 jobs. More than half of these projects were in regional Queensland.
Tasmania also supports a vigorous Art for Public Buildings Scheme, established in 1979.
An estimated $600 000 in commissions is expected to have been spent in 200001,
resulting in putting 800 artworks in more than 300 locations. The current scheme is based
on two per cent of building costs to a maximum of $40 000 per project.733
728.
729.
730.
731.
732.
733.
NSW Ministry for the Arts, Annual Report 2000/2001, www.arts.nsw.gov.au/Pubs/Ann_Rep/annrep.htm.

Submission: Arts WA.
Western Australian Ministry for Culture and the Arts, Annual Report 19992000, at www.cultureandarts.wa.gov.au/, p51
Western Australian Ministry for Culture and the Arts website, www.cultureandarts.wa.gov.au/.
Arts Queensland website: www.arts.qld.gov.au/publicartagency/
Submission: Arts Tasmania.
page 302
Though not a per cent for art policy, the Australian Capital Territorys (ACT) arts development
strategy, Arts Capital, includes an Art in Public Places strategy. The aims of the strategy
are to increase the integration of arts activity into ACT places and spaces, and maximise
the benefits of the ACTs arts infrastructure and artistic environment. The emphasis of the
ACT policy is on the use of public spaces as a place to exhibit artists work, and to promote
cultural life in the ACT, its facilities and arts training opportunities.734
There is also a trend in State and Territory capital works programs towards integration of
art/design elements into the fabric of buildings and spaces and a greater emphasis on
environmental art in both urban and rural settings.
Current Commonwealth Government practice is to lease rather than own buildings used by
its agencies and therefore it is difficult for the Commonwealth itself to introduce such an
approach. Nevertheless, the Commonwealth does make considerable use of Artbank (on a
commercial basis) within its buildings, including in Australias overseas posts.
The Inquiry considers these types of programs have considerable potential to assist
contemporary visual artists and craftpersons and commends those governments that
have introduced them. Those government authorities that have not already adopted such
measures, should consider the benefits and draw on the many models which are
now available.
Funding by States and Territories

The Inquiry compiled data from annual reports of State and Territory arts funding agencies
which allowed an analysis by organisation or individual recipient, and this is set out in
Table 6.6.735
Table 6.6 Contemporary visual arts and craftfunding by State and Territory Governments, 19992000
Individuals/
organisations
Breakdown
NSW
VIC
QLD
SA
WA
TAS
NT
ACT
Total
120 295
227 296
261 674
174 052
140 497
123 113
18 039
74 449
1 139 415
12
30
43
34
59
40
10
21
249
Organisations
$
5 222 795
4 382 131
2 020 715
2 445 600
1 782 980
329 551
635 794
654 546
17 474 112
No of
organisations
146
127
25
36
58
20
37
17
466
5 343 090
4 609 427
2 282 389
2 619 652
1 923 477
452 664
653 833
728 995
18 613 527
Individuals $
No of
individuals
Total $
It is evident from this table that State and Territory spending on contemporary visual arts
and craft is weighted considerably towards support of organisations/infrastructure. Of total
State and Territory spending, only six per cent was for direct grant support of individuals,
and this pattern was in general reflected within each jurisdiction.
734. artsACT website, www.arts.act.gov.au/, February 2002.

735. It is acknowledged that there is some discrepancy between the data in Table 6.6 and that in Tables 6.1 and 6.2, with the annual report
data generally showing a lower figure than the ABS data. It is suggested that some of this difference may be due to the application of
the formula for art gallery support which has been applied by the Inquiry to the basic ABS data, and is at best an approximation, and
that the ABS may have had additional sources of data which did not appear in annual reports of the principal arts funding agencies in
each State and Territory.
page 303
Similar data compiled from Australia Council records (see Appendix L) shows that the
relative expenditure by the Council on individuals is considerably more31 per cent
of aggregated expenditure across all jurisdictions (excluding the Other category)as
compared with less than ten per cent on average by State and Territory governments.
Commonwealth and State and Territory cooperative funding arrangements

Chapter 4 has dealt extensively with the infrastructure funded by governments to support
a healthy and creative environment for the contemporary visual arts and craft sector. In
the case of the organisations which form a national infrastructure network (contemporary
arts organisations, craft and design organisations, and touring (NETS) agencies in each
State and Territory) the State and Territory arts funding agencies are the majority funders in
partnership with the VACBbut these arrangements are not currently formalised
or formulaic.
For instance, the 12 co-funded contemporary arts organisations receive a mixture of
recurrent (triennially based) and project funding from both funding sources. In 2000, the
Commonwealth Governments contribution on average was approximately one third of the
support for recurrent/core costs, and around 45 per cent of total project supportbut the
allocations to specific contemporary arts organisations from either funding source show no
clear pattern, even in the core triennial funding, and have developed over time in respect of
each organisation in accordance with a mixture of precedent and need.
Similarly, the craft and design organisations are supported with a mixture of core triennial
and project funding from both tiers of government. On average the Commonwealth
Governments contribution to core funding was around 19 per cent, but was about 42 per
cent for projects. Again there was no clear pattern for this distribution.
NETS agencies in each State and the northern Territory received the same amount in core
funding from the Australia Councilin 2000 approximately $61 000 each. Support from the
States varied and was in total almost twice that of the Australia Councils for core funding
and three times more for projects.
The Inquiry considers that the current arrangements for co-funding of key infrastructure
organisations by the VACB and State and Territory funding agencies are important for the
sector but that improvements through a greater degree of coordination and collaboration
can be achieved. The proposed increases in funding should allow an opportunity to put
these relationships on a surer footing. Tripartite agreements should be pursued to replace
the current bilateral arrangements between funders and the funded organisations. This
would result in efficiencies of delivery as well as greater certainty and simplicity for the
contemporary visual arts and craft organisations themselves.
page 304
FINDINGS
States and Territories have developed a variety of programs to support the cultural sector in
their jurisdictions. While these have certain similarities in approachfor instance offering
support for both organisations and individuals through grant programsthe targeting of
their resources for cultural support necessarily reflects their particular geographical and
demographic needs.
Within State and Territory programs there is a general move toward a holistic cultural
industry model that does not necessarily prioritise specific art forms.
Many government authorities have introduced per cent for art policies as an effective way to
support public art and artists. Wider use of per cent for art schemes by governments would
have valuable benefits for the contemporary visual arts and craft sector.
States and Territories are currently the principal funders of contemporary visual arts and craft
infrastructure, while the Commonwealth is the main funder of individuals in the sector.
Tripartite funding agreements should be achievable between the State and Territory and
Federal funding agencies for funding the group of key national infrastructure organisations
currently receiving triennial funding.
Role of local government

Many local governments support contemporary visual arts and craft practice.
Most often this comes throught their support of regional galleries, of which there
are over 100 in Australia.
However, local governments also provide support for contemporary arts and craft in other
ways, such as artist-in-residencies, public art projects, art training, specific artist projects
and community art and cultural development projects.
As there were few submissions from local government, the Inquiry sourced information on
local government cultural programs from websites to derive a picture of the scope of these
and their relevance to the contemporary visual arts and craft sector.
Metropolitan and suburban local government

Many metropolitan councils have developed programs which support cultural activities
of a more local nature, and would result in support of locally based contemporary artists,
crafts workers and associated organisations. The following examples indicate the breadth of
activities which are undertaken at the local government level within the capital cities.
Located in South Hobart, Tasmania, Glenorchy City Council established the Moonah Arts
Centre ten years ago.736 The Centre now presents around 60 cultural events each year,
with 79 being held in 2000, attended by 12 102 people. Events included 16 exhibitions,
37 workshops, eight forums and an artist-in-residency program. The Centre is currently
the third most used gallery space in southern Tasmania.
736. Glenorchy City Council website, www.gcc.tas.gov.au/.
page 305
The City of Port Phillip has an active cultural program encompassing local festivals and
events, an Indigenous arts unit, and two public galleries with a focus on contemporary
art.737 The Linden Arts Centre and Gallery, located in St Kilda, supports and develops
innovative art practices through its exhibition program, studios, talks by artists and
projects dealing with current social issues and aesthetic concerns. The GasWorks art
precinct in Albert Park includes 15 artist studios and an illustrators gallery. The City also
maintains a substantial collection of heritage items and contemporary artworks which
are displayed in its three town halls.
The Liverpool City Council operates the Casula Powerhouse Arts Centre, a major
contemporary arts centre offering a rich program of exhibitions, workshops and
other events.738
Adelaide City Council supports the Artists Open House event, a special project
where artists studios in central Adelaide are open to the public and marketed with a
coordinated promotion.
The City of Melbourne adopted in March 1999 a cultural policy which: will stimulate,
support and promote contemporary arts and cultural activities that: demonstrate artistic
excellence and innovation; reflect Melbournes diverse and distinctive culture; maximise
community involvement.739 The Council has a Cultural Development Branch, and offers
a grants program for artists, a public art program, and sponsors community development
activities. Four arts advisory bodies guide its activities. The City also has a Per Cent for
Art program, which dedicates one per cent of its capital works commitments towards
commissioning public art to be integrated into the constructions. Funding collected from
the Per Cent for Art program funded the first Melbourne International Biennial. The City
is also supporting the Art in the Laneways project, which will allow five artists to install
specifically commissioned artworks in laneways in the City over 2001 and 2002.
Regional local government

Many non-capital city councils have developed policies which encourage and support local
arts activities and thereby enrich local communities. In many cases this support has been
directed at contemporary visual arts and craft activities.
Cairns City Council administers the Regional Arts Development Fund (which has been
running for 11 years) in partnership with Arts Queensland.740 The Fund aims to provide work
opportunities for local artists and to increase professionalism. The Fund provides support
for artists across the sectors, however it has historically been most utilised by contemporary
visual arts and craft practitioners. In addition, the Council funds the Cairns Regional Gallery,
the second largest gallery in the State, which has been operational since 1995.
The City of Greater Bendigo has a Cultural Development and Events area which researches,
develops and implements cultural development initiatives in the area. Programs available
include annual cultural grants, the Raw View Youth Arts Festival (held biennially), an arts
register, arts seminars, and a monthly arts newsletter Artznewz. The Council also supports
the Bendigo Art Gallery.741
737.
738.
739.
740.
741.
City of Port Phillip website, www.portphillip.vic.gov.au.

Liverpool City Council website, www.liverpool.nsw.gov.au/council/.
City of Melbourne, Melbourne: a city for the arts (summary of the City of Melbournes cultural policy), Melbourne, 1999, page 3.
Submission: Cairns City Council.
City of Bendigo website: www.bendigo.vic.gov.au
page 306
The City of Mildura in Victorias far north-west supports the Mildura Gallery, which exhibits
the work of local artists as well as works from its permanent collection.742 The Gallery hosts
the Mildura Arts Festival, held in March every year and the innovative Sunrise 21 Artistsin-Industry project, involving five artists-in-residence collaborating on projects with local
businesses and government industries around the Mildura region. Council also supports the
Mildura Arts Centre, including the Sculpture Park which displays contemporary Australian
sculpture, and operates in association with special exhibitions and hosts Australias leading
arts/science exhibition and forumMildura Palimpsest. The Fourth Palimpsest, held in
2001, attracted over 90 national and international artists to Mildura.
The above examples give a good overview of the types of roles local government have
carved for themselves in supporting the contemporary visual arts and craft sector. It is
evident that interventions are essentially tailored to each communitys needs and priorities,
though the support of regional galleries and local arts-based festivals is a common thread
of these initiatives.
The Inquiry concludes that local government plays a very important role in grass-roots
support of community-based arts and craft activities, much of which is contemporary
in focus. It is evident that the local government agencies are used to building on other
programs such as tourism, environment and education and are highly flexible and adaptable
in this respect.
The Inquiry considers there may also be potential for authorities to supplement government
funding through partnerships with local and regional business groups, community groups or
other philanthropic bodies in supporting the contemporary visual arts and craft sector.
The arts and craft sector itself can encourage local government to take an interest in
and make financial and other commitments to arts and craft projects, development by
participating in local activities and by making their views and concerns known to local
government bodies.
Further discussion of regional programs of all levels of government, including local
government, is included in the next section of this Report.
FINDING
Local government authorities have undertaken many initiatives to support the contemporary
visual arts and craft sector. Their support of regional galleries is especially important.
742. City of Mildura website: www.mildura.vic.gov.au
page 307
Regional programs
Governments at all levels have placed considerable emphasis in their arts policies on the
need to ensure access by all Australians, including those in regional, rural and remote
areas, to cultural activities and product. Thus the programs of the arts funding agencies
are designed to be available to all potential applicants, whether in metropolitan or
regional areas, and efforts are made in Commonwealth and State and Territory programs to
encourage greater uptake from non-capital city based applicants. These programs are not
generally targeted at specific art forms, but would encompass support for the contemporary
visual arts and craft sector.
The Australia Councils main targeted assistance for contemporary visual arts and craft
in the regional areas of Australia is its co-funding, with the States and Territories, of the
National Exhibition Touring Support (NETS) in each State and the Northern Territory.
DCITA has three national programs with a specifically regional focus, which are known to be
of benefit to contemporary visual arts and craft, as well as other cultural sub-sectors:
The Regional Arts Fund (RAF) provides funding to each State and Territory to support
community cultural activities leading to sustained cultural development in regional
areas. The program was recently renewed with funding of $7.6 million in total for a
further three years, and is now devolved to Regional Arts Organisations (RAOs) in each
State, and to the two Territory arts ministries. Decisions on project support are made by
the RAOs themselves, in accordance with a set of national RAF guidelines.
Visions of Australia supports the touring costs (and some development costs) of
interstate exhibitions touring, of which some is contemporary visual art, craft and
design, with an emphasis on touring to regional areas. Funding from other sources
(usually State or local government), is a requirement.
Festivals Australia provides grants for community based festivals for the introduction of
a new cultural element or project; many of these have involved the visual arts and craft,
and most festivals supported are in regional Australia.
States have developed specific regional initiatives involving partnerships with RAOs.
Represented nationally by Regional Arts Australia, RAOs exist in each State and are
supported by State Governments and by the Commonwealths Regional Arts Fund. RAOs
service an area covering many shires and are well-placed to provide locally-specific visual
arts and craft services, in that they involve local government authorities and members of the
visual arts and craft community.
RAOs are also responsible for providing Regional Arts Development Officers (RADOs), who
manage the delivery of cultural programs in their areas. While acknowledging the valuable
work done by RADOs, there have been concerns raised in some submissions regarding the
availability and effectiveness of RADOs whose services are often stretched thinly across a
large geographical area.743
Regional galleries make an important contribution to the appreciation of visual arts and
craft in their communities, as well as providing a market for contemporary work.
743. Submission: Upper Clarence Community and Economic Development Organisation.
page 308
Though mainly a local government funding responsibility, regional galleries also get
financial support from the State and Territory arts funding agencies. They would
occasionally, on an application basis, receive funding for special projects from the Australia
Council and other Commonwealth Government programs such as the Regional Arts Fund or
Visions of Australia. Several also benefited from the Federation Fund program. In addition,
regional galleries benefit considerably from the Commonwealths Cultural Gifts Program
which provides tax incentives for donors making gifts of significant cultural items to
approved art museums.
While there are many avenues of support for regional cultural activities, including
contemporary visual arts and craft, many of these are not specific to the sector.
Nevertheless, there tends to be a good representation of the sector in the funding outcomes
of these programs. For instance, the two Commonwealth tax incentive programs, the
Register of Cultural Organisations and the Cultural Gifts Program, both have considerable
uptake from regional arts organisations and galleries wishing to seek donations.
Submitters who commented on the issue of regional access to programs were generally
anxious to increase funding, pointing to the high cost of regional and remote area
delivery,744 the static Australia Council contribution to NETS,745 the static funding for local
government to assist in the support of regional galleries and the confusion about which tier
of government is responsible principally.746
With the exception of NETS, regional programs of Federal and State agencies do not
tend to be art form specific, nor would it be administratively practicable or wise from a
policy perspective to single out in a quota sense contemporary visual arts and craft from
the broader cultural sector. However, in these circumstances there is a responsibility
for government funders to ensure that visual artists and craft practitioners are aware of
appropriate programs and that their participation is reflected in funding outcomes.
The additional funding for NETS proposed by the Inquiry will strengthen the Commonwealth
and State and Territory support for visual arts and craft practitioners in regional Australia, as
well as assisting regional galleries.
FINDINGS
Governments at all levels have developed comprehensive programs to support regional
initiatives. While many of these benefit art and craft practitioners and organisations, most are
not dedicated specifically to this sector.
It is important for the sector to avail itself of opportunities within broader-based regional
funding programs and for governments also to ensure there is a fair representation of the
sector in funding outcomes.
Increased funding for NETS, as recommended by the Inquiry, would assist the contemporary
visual arts and craft sector in regional Australia.
744. Submission: Nothern Territory Department of Arts and Museums.

746. Submission: Regional Galleries Association of NSW.
page 309
International programs
The VACB of the Australia Council offers considerable assistance towards overseas travel
or exchange, including several artist studios in overseas locations. A quarter of all money
outlaid in grants from the VACB is directly or indirectly for the support of artists developing
their careers internationally and benefiting from interaction with the overseas art scene.
In addition, some 80 per cent of the support of the Australia Councils Audience and Market
Development Division for contemporary visual arts and craft is aimed at the support of
international market development projects, including the funding of commercial galleries
and craft organisations to attend international art and craft fairs.
The other major source of Commonwealth support for international activities is the
Department of Foreign Affairs and Trade (DFAT). DFATs cultural activities are part of a
broader umbrella of international public diplomacy programs which are managed mainly
through its Images of Australia Branch. DFAT initiatives include international market
development through Austrade; the Australia International Cultural Council initiative; and its
Aboriginal and Torres Strait Islander Program and Asialink initiatives to assist in the touring
of exhibitions of visual arts. DFAT is also responsible for cultural exchanges under a series
of bilateral Councils, Foundations, Institutes and Agreementsfor instance, the Australia
Japan Councilwhich provide support for many Australians, including many artists.
In relation to direct support for visual arts and craft practitioners and organisations, some
discretionary funding assistance is available through DFAT and Australias overseas posts,
and these have successfully supported many Australian artists and exhibitions. DFAT is also
currently Artbanks largest single client and through that relationship promotes the work of
contemporary visual arts and craft in Australian High Commissions and Embassies across
the world simply by displaying it.
States and Territories offer funding for international projects or development opportunities
under their project and development categories of funding, and also often have links with
other State departments responsible for trade and economic development. Support for
festivals, biennials, and other events, is an alternative way for the States to create national
and international interest in its artistswith incidental but important tourism benefits for
Australia.747 The Australia Council also frequently supports these events.
The Inquiry noted while there were many avenues of support for international activities,
there was little coordination between them and the Australia Council and DFAT should
improve coordination of relevant programsincluding compiling appropriate information
for visual arts and craft practitioners and organisations. In addition, greater use could
be made of the network offered by DFATs overseas posts in promoting Australias
contemporary visual arts and craft, and providing information overseas to potential visitors
about major Australian events.
747. Submission: NT Department of Arts and Museums.
page 310
FINDINGS
Federal and State and Territory governments have programs to support international
cultural activities, which are often linked to trade, tourism and public diplomacy.
The Australian embassies are a useful network in the promotion of Australian art and
craft overseas.
There is scope for closer coordination between DFAT, the Australia Council, and the
States and Territories on international initiatives to assist contemporary visual arts and craft
practitioners, including making available information on relevant programs.
Programs for Indigenous artists

Indigenous Australian visual arts and craft practice is widely recognised by governments at
all levels as a major cultural and economic force in Indigenous communities, especially in
remote areas of Western Australia, the Northern Territory and North Queensland. It is also
an important component of urban Indigenous culture throughout Australia.
As has been discussed in Chapter 4 of this Report, the principal funding agencies of the
Indigenous contemporary visual arts and craft sector are:
ATSIC, through its National Art and Craft Industry Support Strategy (NACISS) and its
Regional Art and Culture (RACS) program (total of $12 million in 2000, of which
$7 million was for visual arts and craft); and
The Australia Council, through its Aboriginal and Torres Strait Islander Arts Board
(ATSIAB) ($2.16 million in 200001).
The majority of NACISS funding for visual arts and craft (about $4 million) was to support
administration costs of some 50 art and craft centres (about half of all such centres).
RACS funding and ATSIAB support is generally on a project basis. The State and Territory
governments do not generally contribute to the funding of the centres, but there are
programs in some State and Territory arts ministries which specifically target Indigenous
culture, including visual arts and craft.
The Northern Territory Department of Arts and Museums and other departments in the
Territory have many programs which benefit the Indigenous art and craft sector and an
Indigenous arts strategy is being developed. The Alice Springs Cultural Precinct is funded by
the Department and is important in exhibiting Aboriginal art and craft of the Central Desert
region. The Museum and Art Gallery of the Northern Territory hosts the nations leading
Indigenous art award Telstra presents the National Aboriginal and Torres Strait Islander Art
Award, now in its 20th year.748
South Australia has an Indigenous Arts Development Officer whose role is to provide advice
and information to Indigenous applicants seeking program assistance.749 Arts Queenslands
Indigenous Regional Arts Development Program supports many Indigenous communities
arts activities, including visual arts and craft. 750 Arts Queensland referred in its submission
to the important contribution of Queenslands Department of Aboriginal and Torres Strait
Islander Policy in undertaking key initiatives in Cape York.
748. Submission: NT Department of Arts and Museums.
749. Arts SA, Arts Industry Development Programs 2001, Adelaide, 2001, p. 35.
750. Arts Queensland, Annual Report 200001, www.arts.qld.gov.au/resources/AQAnnRep.pdf.
page 311
In Western Australia, Indigenous visual arts and craft initiatives have been supported
through Arts WAs Aboriginal Arts Development program, and Community and Regional
Arts Development program, and through research and exhibitions of the Art Gallery of
Western Australia.751 Arts WA raised in its submission to the Inquiry the need for improved
coordination and cooperation for the maintenance and development of Indigenous art
centres, and proposed convening a working party to include among others the Office of
Aboriginal Economic Development, the Australia Council (ATSIAB), Country Arts WA and
local government.752
While the Inquiry was aware that currently the principal programs of support for Indigenous
artists are through ATSIC and ATSIAB, it noted that many States and Territories are also
developing programs and that this is an area in which increased involvement by States and
Territories could be explored.
FINDINGS
ATSIC is the principal funder of Indigenous contemporary visual arts and craft programs with
the Australia Councils ATSIA Board also making a considerable contribution. Their combined
support for Indigenous arts and craft was just over $9 million in 200001.
Many of the States and Territories also have relevant programs of support.
INTERRELATIONSHIPS, COORDINATION, TARGETING AND

OPPORTUNITIES FOR NEW SYNERGIES
It can be seen from the above description of government policies and programs to support
the contemporary visual arts and craft sector that they are characterised by complex
interaction between funders and infrastructure providers, including vertical relationships
between two or more levels of government, and horizontal whole-of-government
arrangements. In such a complex environment the need for well sustained infrastructures
and very good coordination is essential, to ensure that scarce government funding is well
spent in support of contemporary visual arts and craft practitioners and their supporting
organisations.
The following seeks to summarise the Inquirys findings on the interventions by the three
tiers of government, including current and potential interrelationships. It also encompasses
a summary of the main recommendations of this Report and the potential new funding and
other interventions these entail for governments.
751. Western Australian Ministry for Culture and the Arts, Annual Report 19992000, at www.cultureandarts.wa.gov.au/., pp. 27, 4243.
752. Submission: Arts WA.
page 312
Intersections between the three tiers of government

Governments in Australia have developed a range of interventions which support the
contemporary visual arts and craft sector. While the Inquiry believes these interventions
can be more effectively targeted through enhanced coordination of funding agencies and
expansion of activity by all jurisdictions, it also believes that the existing structures and
modes of operation are broadly appropriate. Thus recommendations of the Inquiry have
focused on strengthening existing structures rather than establishing new ones.
While the following is a simplification, it represents broadly the current situation in relation
to separate and combined roles of the three tiers of government:
The Commonwealth Government focuses on a national perspective comprising key
infrastructure (including a national network of major contemporary art, craft and
touring organisations; national service organisations; key publications; and legislative
frameworks covering such issues as taxation and intellectual property) and nationallybased support of individuals.
The Commonwealth Government also has a lead role in relation to international and
Indigenous programs, and most tertiary education.
States and Territories focus on basic physical infrastructure within their jurisdiction
and recurrent support of organisations, with some support for individuals, and some
programs supporting international and Indigenous initiatives.
States/Territories have responsibility for primary, secondary and vocational visual art
and craft education.
Some shared middle ground provides opportunity for partnerships and co-funding by
Commonwealth and State and Territory arts agencies of the key national network of
organisations in each State and Territory, including assistance for exhibitions touring.
Local Government focuses on local events and support of regional galleries.
Some shared middle ground exists in the funding and delivery of regional programs by
all levels of government.
The Inquiry believes that the Commonwealth Government and the States and Territories
have developed and maintained an effective national framework for the contemporary visual
arts and craft sectorbut that this intervention needs further funding from both sources if it
is to remain effective.
From the Commonwealths perspective, its ongoing support of the VACB of the Australia
Council is vital in this equation. The VACB is the primary vehicle for the Commonwealth
Governments support of the contemporary visual arts and craft sector, through its funding
of both infrastructure and individuals, although the supplementary support from other
boards/divisions of the Council such as the Aboriginal and Torres Strait Islander Arts Board,
the Audience and Market Development Division, the Community Cultural Development
Board, and the New Media Arts Board is acknowledged.
page 313
In relation to infrastructure, it is the Inquirys view that the VACB is well-targeted in its
support of the contemporary visual arts and craft sector, with much of this assistance
already being co-funded by State and Territory arts funding agencies. This co-funded
national infrastructure provides a vital network of support for the sector and is a core
element in sustaining its viability. In the current environment of static funding levels,
however, this support has become less effective and needs bolstering.
For this reason, the Inquiry has recommended increased funding for the following key
organisations and initiatives, through the VACB, with the Commonwealths contribution
contingent to a considerable extent on additional funding from the States and Territories:
The national network of key contemporary arts organisations; the key craft and design
organisations; and the NETS touring agencies, all of which are currently co-funded by the
Australia Council and State and Territory arts funding agencies (Recommendations 6,
7 and 13).
Key visual art and craft publications (Recommendation 17).
A new fund for projectsto be co-funded by and devolved to States and Territories
A new integrated national program of artist service membership organisations
Commitment to developing a national technology loan facility for visual artists and
craftspeople (Recommendation 11).
Furthermore, the Inquiry is also aware that these new funding arrangements would offer
opportunities for closer partnerships and valuable new synergies between the Australia
Council and the State and Territory arts funding agencies.
In the case of the contemporary arts, craft and design organisations and NETS agencies,
it is recommended that funding negotations with the States and Territories lead to more
formalised tripartite arrangements that will clarify the responsibilities of all parties and
ensure agreed standards of financial reporting and accountability. It is considered that
these funding agreements should allow for greater security of future funding, including
consideration of a rolling triennial funding arrangement, in exchange for recipient
organisations providing detailed regular reporting against business plans and agreed
budgets (Recommendation 19).
The Inquiry recognises the key role played by the VACB and other Boards of the Australia
Council in supporting individual arts and craft practitioners on a national basis. However,
the Inquiry is concerned that the value and effectiveness of Commonwealth support for
individuals in the contemporary visual arts and craft sector has diminished in a highly
competitive environment and has thus recommended a new injection of Commonwealth
funding to ensure that excellence in artistic practice by individuals is nurtured for the
benefit of all Australians (Recommendation 1).
In addition, the question of whether the VACB and the other Boards of Council are
shouldering too much of the burden for supporting individuals is relevant. The value of the
Australia Councils support of individual contemporary visual and craft artists is more than
page 314
twice that of the combined States and Territories, which in 19992000 spent on average only
six per cent of their funding for the contemporary visual arts and craft sector on individuals.
It is the Inquirys view that while there is a special onus on the Australia Council to continue
its key national role of supporting individuals, it is a high priority to also augment the funds
available through the State and Territory funding agencies since their support for individuals
has been less of a focus. The proposed devolution by the Commonwealth of some funds for
individual art and craft practitioners to the States on condition that these be matched by
the States and Territories, should assist in increasing the States and Territories support for
individual art and craft practitioners.
There are several other initiatives recommended in this Report which are principally
a Commonwealth responsibility and have been high on the agenda of visual art and
craft membership organisations for many years. These will enhance considerably the
environment in which individual artists and craft practitioners operate:
Measures to improve the status of visual artists and craft practitioners in relation to
employment, taxation and occupational health and safety (Recommendation 2).
Measures relating to intellectual property rights and protection, including the special
needs of Indigenous artists (Recommendations 3 and 4).
The introduction of a resale royalty arrangement (Recommendation 5).
In relation to regional programs, there are many initiatives across all jurisdictions, with
some degree of interaction and coordination through such programs as the Regional
Arts Fund and the joint support of regional galleries. The proposed increase in NETS
funding, to be matched by the States and Territories (Recommendation 13), will be an
important element in strengthening joint Commonwealth-State approaches in this area.
The Commonwealths interstate touring program, Visions of Australia, has the potential
to make a greater contribution to supporting and promoting contemporary collections
in regional areas, and the Inquiry has recommended a review of its guidelines to ensure
contemporary visual art and craft are appropriately represented in these touring exhibitions
The Inquiry notes that international promotion of contemporary visual arts and craft is a
high priority for the sector and is important in establishing Australias place and cultural
identity in the international context. While there are many initiatives across different
jurisdictions, especially at Commonwealth and State and Territory levels, there is scope for
better coordination between the Australia Council, DFAT and relevant State and Territory
programs and for better communication with the contemporary visual arts and craft sector
on available avenues of support.
Also aimed at improving market and audience development opportunities for contemporary
visual arts and craft is the proposal to increase funding for long-term promotion of major
contemporary visual arts and craft events in cooperation with the States and Territories
(Recommendation 16). Similarly, the recommendation to support three new touring
exhibitions, in concert with relevant States and Territories, will boost audiences and markets
for the sector (Recommendation 15).
page 315
The Commonwealth currently has the principal funding role in support of the Indigenous
arts and craft sector, with the majority of funding being provided by ATSIC but a substantial
amount also coming from the Aboriginal and Torres Strait Island Arts Board of the Australia
Council. The Inquiry has identified a special need for additional training in business skills
for art and craft centre managers and recommended additional funding for this, through
the Australia Council (Recommendation 8). The Inquirys recommendation to fund three
new touring exhibitions of contemporary artists and craft practitioners, including the
requirement that at least one be an Indigenous exhibition is also an important initiative to
support contemporary Indigenous art and craft.
The recommendations of this Inquiry are largely government focused and aim to strengthen
the current structures which support the contemporary visual arts and craft sector.
An important element of the proposed strategies is the new funding relationship which
would result from increases in funding to the Australia Council and State and Territory
arts agencies. This closer and more coordinated relationship has the potential to result in
greater efficiencies of delivery as well as greater certainty for the visual arts and craft sector.
As such it should be pursued as a matter of priority by the relevant arts funding agencies.
RECOMMENDATION 19
To ensure that government support for the contemporary visual arts and craft sector
is well targeted and well coordinated where appropriate across jurisdictions, the
Inquiry recommends the Commonwealth and the State arts funding agencies take
the opportunity in pursuing the recommendations of this Report to enter into more
collaborative and coordinated arrangements, including tripartite funding arrangements
in respect of their joint support of the key infrastructure organisations currently receiving
triennial funding.
PRIVATE SECTOR SUPPORT

The Inquiry received a number of submissions addressing philanthropy and corporate
sponsorship. Furthermore, consultations with philanthropic organisations have suggested
that there is potential for a greater contribution from philanthropic and sponsorship sources
to broadening the financial support base for contemporary visual arts and craft.
Broadening the funding base for the contemporary visual arts and craft sector is important
for two reasons. Firstly, there are a number of private individuals and organisations with a
desire to contribute to the contemporary visual arts and crafts, but who are either unaware
of the avenues available, or are unaware of how their contribution would achieve the best
outcomes. Secondly, there is a high degree of competition for access to limited government
funding, and as a result, the need for more flexible and varied sources of support for the
contemporary visual arts and craft sector is clear.
page 316
Government can facilitate the broadening of the funding base by providing incentives to
leverage private sector support, to tap into the private sphere to increase the amount of
support available to the contemporary visual arts and craft sector. Private support of the
visual arts has the potential to provide much needed support for arts organisations. Further,
private support for individual artists would facilitate professional artistic practice and
development and would supplement other proposed initiatives, such as a resale
royalty scheme.
While some philanthropic and sponsorship support has been secured by the contemporary
visual arts and craft sector, the amount of support offered by private donors to the sector
tends to be limited, and is relatively small in comparison with the amount of support
secured from private donors overseas, particularly in the United States. While this is a
problem which spans the broader not-for-profit sector, philanthropy and sponsorship is
particularly scarce in the contemporary visual arts and craft sector. Of the total amount of
philanthropic donations and sponsorship funding provided to the not-for-profit sector, only
a small proportion is directed towards the arts. Further, of private support for the arts, only
a small proportion is directed towards the visual arts and craft. An even smaller percentage
of the funding for visual arts and craft is directed towards contemporary visual arts, and a
smaller percentage again is directed to supporting contemporary craft.
The contemporary visual arts and craft sector is a sector where a modest amount of
additional support would have a demonstrable and significant impact. Contemporary arts
organisations tend to be run on very limited budgets, and a small amount of additional
funding would allow these organisations to more comfortably achieve organisational
goals and extend their activities and programs in a way which benefits the broader arts
community. Private support for individual artists would also have a significant benefit, as
visual artists and crafts practitioners tend to have limited incomes, and additional income
will directly affect their ability to create work.
There are various mechanisms that could be adopted by government to broaden and
increase the amount of private support available to contemporary visual arts and craft.
Tax expenditures are one such mechanism. A tax expenditure is a tax concession that is
designed to benefit a specific activity or class of taxpayer.753 Indirect funding through the
taxation system has a number of advantages when compared with direct government
funding through grants and subsidies. Indirect taxation promotes pluralism. It is also
administratively simple compared with direct funding. However, indirect support through
the taxation system also has a number of disadvantages when compared with direct funding
measures. These include increasing the complexity of the tax system and increasing the
opportunities for its abuse.754
Tax expenditures which lever further support from the private sectorincluding the tax
deductibility of donations and giftsare described as treasury efficient if the government
revenue forgone is at least matched by the increase in charitable giving that the measures
promote.755 Tax expenditures are thus an appropriate way for government to invest in the
contemporary visual arts and craft sector, provided the philanthropic activities prompted by
the initiatives leverage private support which exceeds the cost of the measure,
thereby making the tax expenditure a more efficient way of supporting the sector than direct
funding.
753. Treasury, Tax Expenditures Statement 2000, Commonwealth of Australia, Canberra, 2001.
754. Treasury, Reform of the Australian Tax System: Draft White Paper, AGPS, Canberra, 1985.
755. IC, Charity Organisations in Australia, Industry Commission Inquiry report, Industry Commission, Melbourne, 1995.
page 317
In considering the various ways in which philanthropy and corporate sponsorship can
be encouraged in Australia, the Inquiry has analysed existing taxation incentives and
government programs. This analysis has been conducted with a view to enhancing these
existing programs and building upon their success, where appropriate. The international
experience has also been considered as possible sources for new approaches to the
promotion of charitable giving.
Definitions
Philanthropy can be defined in a number of different ways. The term philanthropy is used
here to refer to charitable aid and donations designed to increase the prosperity and well
being of people and communities. Philanthropy encompasses community investment
through both financial and in-kind support, and includes circumstances where a donor
contributes in a facilitative or networking capacity. This term is used interchangeably with
benefaction and patronage.
Philanthropy is one distinct part of the not-for-profit sector, which is also known as the
third sector. The third sector includes the activities of individual benefactors and patrons,
the activities of charitable foundations, and the activities of a great number of non-profit
organisations and voluntary associations working for a number of different causes,
including the arts and culture.
Australias third sector consists of organisations formed by groups of people acting voluntarily and
without seeking personal profit, to provide a service for themselves or others, or to advance
a cause or to provide opportunities for worship.756
Philanthropy, benefaction and patronage can assume a number of different forms. Grants
can be made by individual benefactors, patrons or philanthropic trusts for the purposes of
programs, including acquisitions, commissioning of new works, exhibitions and overseas
travel. Grants may also be made in the form of salaries for artists and for capital works, such
as building construction and equipment.
These types of grants can be made either by gift during the life of the donor, (also known
as inter vivos gifts), or by bequest. Bequests are also known as testamentary gifts, and are
donations made by a donor in his/her will. Bequests are an important source of private
support for many collecting institutions. For example, the National Gallery of Victoria has
benefited for nearly a century from distributions made by the Alfred Felton Estate.
Philanthropy is distinct from sponsorship which refers to financial or in-kind support
provided by an organisation or individual for community benefit in exchange for commercial
return. Sponsorship arrangements tend to be designed on a business-case approach, with
benefits to the community aligned productively with corporate and business goals.
756. Asia Pacific Philanthropy Information Network, Third Sector Overview: Definitions and Forms, 2000,
at www.asianphilanthropy.org/countries/overview_details.cfm?country=I&id=2.
page 318
Trends in Australian philanthropy

There is increasing interest in philanthropy in Australia. Philanthropy was once regarded
as the province of the wealthy. This perception has been changing, as the role of
philanthropy in social and cultural development is being critically examined. Today, many
charitable foundations, including community foundations, are funded by donations made
by individuals from small inheritances, salaries, or long-term savings; people of differing
backgrounds and socio-economic status are participating in charitable giving.757
Discussion is occurring of the benefits of philanthropic giving and corporate sponsorship,
both long-term and short-term, and in particular, the ability of philanthropic funds to take
risks in funding innovative projects in a way which government cannot.758 Philanthropy
Australia, the national umbrella body for foundations, trusts and corporations, actively
promotes the benefits of philanthropy and benefaction through education programs,
and the dissemination of information about domestic and international philanthropy.
Foundations and trusts now have a higher profile in Australian life.759
Public and private foundations contribute to Australian society in a number of different
fields, including education, health and welfare, science, rural and regional regeneration,
the environment, heritage protection, and the arts. However, in Australia there are few
philanthropic trusts specific to the visual arts and craft. The role of philanthropic trusts is
generally to promote projects and programs, rather than to fund capital works.
The principal foundations active in the contemporary visual arts and craft area are the
Gordon Darling Foundation and the Helen Lempriere Trust. Other foundations are able to
fund the visual arts alongside other causes, such as the Myer Foundation, the Ian Potter
Foundation, and the Harold Mitchell Foundation.760 However, many may be unable to
make donations to individuals due to their corporate constitution. Some philanthropic
foundations are also limited to distributions in certain geographic regions. For example,
some foundations created in Victoria may only make distributions within Victoria.
Systemic data on the number, assets, income, interests and geographical distribution
of Australian foundations is scarce. According to the Australia Business Arts Foundation
(AbaF), private support for the arts in Australia is growing. Estimates indicate that in 1999
2000, the arts received $118.5 million from non-government sources: $43.5 million was from
philanthropic donations and bequests, and $75m was from sponsorship. Museums and
galleries received $34 million from donations, bequests and fundraising, and $20m from
sponsorship. This compares with a total of $34.6 million in 199697.761
The limited data available indicates that there is a vast disparity between the level of
donations to projects in the fields of art and culture, in comparison with other fields
attracting philanthropic support. According to the Australian Non-profit Data Project, in 1997
$17 million was donated to arts and culture, or 0.6 per cent of the overall total of donations.
By way of contrast, $457 million was directed to education and research (16.4 per cent),
$478 million was directed to community and welfare projects (17.2 per cent), and $246
million went to sport and recreation (8.9 per cent).762 Thus, the arts receive a very small
share of philanthropic funds.
757. A. Crawford, Philanthropy The New Wave, The Age, 14 November 2001, p. 1.
758. J. Sandilands, Australia: A Community of Philanthropy 47 International Dateline, Winter 1998,
at www.cof.org/newsroom/newsletters/international/index.htm.
759. ibid.
760. For details of distributions, please see the Myer Foundation, Annual Report 19992000, Melbourne, at www.myerfoundation.org
.au/mfar9900.pdf; the Ian Potter Foundation and the Ian Potter Cultural Trust, Scope of Benefactions, at www.ianpotter.org.au/
interest.htm; and the Harold Mitchell Foundation, Supporting Health and the Arts, at www.haroldmitchellfoundation.com.au.
761. Australia Business Arts Foundation, More Business Support for the Arts, Newsletter, December 2001,
at www.abaf.org.au/public/0112/0112_01.html.
762. The Australian Non-Profit Data Project, cited at Philanthropy Australia, Gifts and Donations in Australia,
at www.philanthropy.org.au/factsheets/7-05-04-gifts.htm.
page 319
Trends in Australian sponsorship

There is a view often publicly expressed that corporations ought not be expected to make
gifts of substantial amounts of money without an accompanying commercial benefit.
This view is often supported by the argument that making gifts from shareholder funds
is inappropriate and that it is preferable for shareholders to do this individually.763
This view still appears to be the dominant one in Australia with respect to pure
corporate philanthropy.
Notwithstanding this, there are now many examples of increasingly sophisticated
sponsorship arrangements between corporations and community organisations. While
most of these carry the expectation of measurable outcomes, there is a great diversity
amongst corporates as to what ought to be measured. Sponsorship packages can offer
many direct benefits such as attendance at events and branding opportunities which are
more easily quantifiable. Measurement of outcomes for these examples can include visitor
numbers, press clippings and sophisticated linkages between sponsorship and commercial
outcomes. A limiting factor is that, for many contemporary visual arts and craft events,
audiences can be unpredictable and the content of events may not always be acceptable
to corporate sponsors.
The attitudes of customers, staff, prospective staff, regulators and the broader public
may be profoundly influenced by the manner in which a company interacts with its
community. Increasingly though, there is a heightened awareness that the commercial
benefits of corporate support may be less immediate and certainly less easily measured.
For the contemporary visual arts and craft sector, sponsorship often requires a desire to
be acknowledged as leading edge and experimental and a belief that, over time, this will
enhance brand positioning.
Both in Australia and internationally, corporations are recognising the need to balance
shareholder value with good corporate citizenship.764 Partnerships between business and
arts organisations can have numerous beneficial effects on business. These include:
corporate relations advantages, such as client relationship building and corporate
citizenship credentials;
market advantages, such as positioning and exposure, improving the image of the
company, penetrating niche markets and brand differentiation; and
staff development, in terms of attracting and retaining good staff, productivity, loyalty
and corporate pride.765
Many corporations are now seeing the value of community involvement for business, and
are finding ways of contributing to the community, whether through financial support
and cash grants; in-kind support through the supply of services, products and materials;
purchasing of art works; or advertising support.766 Sponsorship levels grew during the
199396 period: corporate support of the arts grew by 5.5 per cent during this time, and
expenditure on the acquisition of art works grew by 27.3 per cent.767 The primary source
of this gain can be traced to the section of the business community containing the largest
companies, companies with 250 or more employees. This trend has continued.
763.
764.
765.
766.
A. Patrick, Charity begins at home, not in the boardroom, Australian Financial Review, 4 April 2001, p. 3.
M. Mehra, op. cit., p. 13.
Australia Business Arts Foundation, More Business Support for the Arts, newsletter, December 2001.
J. Sandilands, op. cit., For statistical patterns in types of corporate support, see also Australia Council, Corporate Support for the Arts
1996, Redfern, 1996, p. 23.
767. Australia Council, Corporate Support for the Arts 1996, p. 5.
page 320
According to the AbaF, large companies have a high interest and engagement with the arts.
In 2000, 89 per cent of Australias Top 100 companies provided sponsorship to the arts
and culture.768
Nevertheless, as with philanthropy, the amount of sponsorship secured by the arts is small
when compared with other charitable areas, such as education, community welfare and
sport. Between 1986 and 1996, the share of sponsorship received by the arts sector dropped
from 13 per cent of all sponsorship outlays to just five per cent.769 Further, with respect to
the Indigenous arts and crafts sub-sector, corporate support is very limited.770
Arts organisations need to present professional proposals to business which demonstrate
an understanding of the needs of business, and the corporate and community benefits of
the sponsorship arrangement.771 It is particularly important for contemporary visual arts and
craft organisations and practitioners to demonstrate the benefits of corporate sponsorship.
As indicated above, corporations may be nervous about sponsoring contemporary art
events due to a lack of certainty regarding audience attendance, and content and style of
the exhibition. Contemporary art and craft is often considered a less attractive product to
endorse than other more conventional, less speculative forms of art, which also tend to
attract larger audiences.
Thus, the case for corporate support of contemporary visual arts and craft needs to be very
strong for sponsorship in the sector to be encouraged, and sponsorship proposals need to
target niche markets.
Sponsorship is generally only offered for high visibility, metropolitan-based, major galleries,
and is often linked to specific exhibitions. For example, Sony sponsored the National
Gallery of Australias Monet exhibition in 2001. Some institutions have established a
corporate sponsorship division, such as the Business Council of the National Gallery of
Victoria. A number of corporate sponsorship arrangements have also emerged which
link technology and innovation in business, with technology and innovation in the arts,
a characteristic of contemporary visual arts and craft. For example, Telstra.com has
established a strategic partnership with the Museum of Contemporary Art. Also, Siemens
has established a contemporary art purchasing fund. Siemens, in partnership with the
Royal Melbourne Institute of Technology (RMIT), conducts an annual fine arts awards
ceremony and exhibition. The winning artwork is selected for Siemens fine arts collection,
and the remaining entries are displayed in Siemens headquarters during the year following
the ceremony.772 Another example of a project which uses the innovative qualities of
contemporary visual arts and craft to the benefit of business is the Guinness contemporary
art project conducted at the Art Gallery of NSW.
There are support mechanisms such as ABAF available to assist organisations seeking to
make a business case for sponsorship.
768. Australia Business Arts Foundation, Large Companies More Likely to Support the Arts, Newsletter, December 2001, at
www.abaf.org.au/public/0112/0112_02.html.
769. Australia Council, Corporate Support for the Arts 1996, p. 6. More detail regarding the levels of corporate support for the various art
forms can be found at p. 24.
771. Australia Council, Corporate Support for the Arts 1996, p. 35. See also Australia Business Arts Foundation, The Strategic Direction in
Corporate Sponsorships: Practical Implications for the Arts, Cultural Ministers Council Statistics Working Group, Feb 2002, p. 3.
772. RMIT, 2002 Siemens Fine Arts Scholarship Awards Ceremony and Exhibition, 6 December 2001, at www.rmit.edu.au.
page 321
Object made the following observations about the role played by AbaF:
The Australia Business Arts Foundation has been working by facilitating business arts partnerships
around the country. By developing a new model and methodology for business/arts partnerships
and by producing guides for business and the arts, there has been a remarkable increase in new
and innovative support from business. Arts organisations like Object have benefited from the
direct training that AbaF has made available. The training and networking sessions facilitated
through AbaF are increasing awareness in the business community of the benefits to be gained
through partnering with a cultural organisation and are invaluable in hosting opportunities where
the two communities can come together.773
However, many contemporary art spaces and smaller arts organisations are either not aware
of the support mechanisms available, or are unable to make use of these mechanisms due
to resource and time constraints. The Jam Factory stated:
the sponsorship chase is a high risk activity for small arts organisations in terms of return for
effort. It is difficult to find and justify the dedication of resources to sourcing sponsorship with an
operational budget under daily pressure, and in a context where both artists and funding bodies
expect every funding dollar to produce direct and immediately quantifiable outcomes.774
Organisations that are able to secure sponsorship arrangements may also experience
difficulties due to the risk of relying on the sponsor. Ongoing sponsorship cannot generally
be guaranteed, and if one sponsorship arrangement falls through, it can be very difficult for
an alternate sponsor to be found.
Current policy environment: philanthropy and benefaction

It is noted that some changes have been introduced relating to the donation of works to
state and national collections, but a more pro-active and extensive program of sponsorship/
patronage should be encouraged, since voluntary philanthropy is not a strong characteristic
of Australian society.775
Cultural Gifts Program

Many collecting institutions are unable to purchase new works due to limitations associated
with their acquisitions funds. In recognition of the limited and often depleted acquisitions
funds of the collecting institutions, the Commonwealth Government has endeavoured to
promote private gifting of works to institutions.
The Cultural Gifts Program, administered by DCITA, encourages donations of significant
cultural items from private collections to public art galleries, museums and libraries by
offering donors an income tax deduction for the market value of the gift, and, from 1999,
exemption from capital gains tax on the item donated. Tax deductions may be spread over
a period of up to five years.

774. Submission: Jam Factory.
775. Submission: RMIT.
page 322
To be eligible for the tax incentives, the donation must be made to an eligible public
collecting institution, must be in accordance with that institutions collection policies, and
must be of significant ongoing value to the collection and the community. Contemporary
visual art and craft is one of a number of categories of works which may be gifted to public
institutions. However, contemporary art is not often gifted. The principal focus of the
program is on the transfer of cultural objects from the private to the public domain. Both
corporate bodies and private benefactors can gift works under the Cultural Gifts Program.
In 2000-01, an estimated $27 million worth of gifts was donated to public collections under
the program, up from $17 million in 19992000. The exemption of capital gains tax on items
donated seems to have influenced donationsin 199899, before donations were exempt,
approximately 15 per cent of donations were subject to capital gains tax, whereas in 1999
2000, after the exemption, approximately 30 per cent of donations would have been subject
to capital gains tax. In 2000-01, this figure rose to approximately 32 per cent.
The program benefits contemporary visual arts and craft practitioners only indirectly.
Because of its contemporary nature, the ongoing significance and value of contemporary
art is difficult to judge, and therefore is less likely to be included under the program. Also,
artists are unable to deduct the market value of donations of their own under the program,
unless it comes from their private collection and not from trading stock.
Nevertheless, art and craft practitioners do benefit from the program to the extent
that donations by third parties of their work to public collections potentially enhance
appreciation of, and demand for, their work. More broadly, art and craft practitioners benefit
from the program to the extent that the donation of art and craft items to public collections
increases the publics appreciation of art.
Register of Cultural Organisations

The Register of Cultural Organisations (ROCO), also administered by DCITA, was introduced
in 1991. It allows qualifying cultural bodies to offer donors a tax deduction as an incentive
for charitable giving.776 Under these arrangements it is possible for financial support to be
granted to cultural groups for a range of cultural activities, including visual arts, design,
crafts and Indigenous arts.777
To qualify for inclusion on the Register, the principal purpose of the organisation must be
cultural. The organisation needs to be constituted as a limited company, an incorporated
association, a trust established by will or deed, or a statutory body.778
The organisation will also need to maintain a public fund, into which donations are paid by
the public, and which is used exclusively for cultural purposes.779
For an organisation to be included on ROCO, the organisation must also be endorsed as a
Deductible Gift Recipient (DGR) by the ATO.
To be eligible for a tax deduction, donors must not put any conditions on the gift, and
must not receive any material benefit or advantage in return for the gift.780 Deductions are
only available for gifts of cash, in-kind support, and in some cases property; donations of
services are not tax deductible.781
776. DCITA, Register of Cultural Organisations Fact Sheet, at www.dcita.gov.au.

777. Income Tax Assessment Act 1997, subsection 30-300(2).
778. DCITA, Cultural Register: Guide, Canberra, 2001, p. 2, at www.dcita.gov.au/roco. See also the Income Tax Assessment Act 1997,
subsection 30300(1).
779. DCITA, Register of Cultural Organisations Fact Sheet. See also the Income Tax Assessment Act 1997, subsections 30300(3) and (4).
780. DCITA, Cultural Register: Guide.
781. DCITA, Register of Cultural Organisations Fact Sheet.
page 323
Private versus public foundations

In 1999 philanthropy law was amended to permit private benefactors to establish private
foundations.782 Prior to this change, it was necessary for all charitable organisations and
foundations to receive donations from the public. Under the new provisions, businesses,
families and individuals have greater freedom to set up trusts for philanthropic purposes.
The private funds are intended to encourage greater, long-term philanthropy, and to
contribute to the development of a cross-generational culture of philanthropy in Australia.
Applications may be made to government for recognition of a private charitable fund as a
prescribed private fund. Prescribed private funds are funds established by individuals or
corporate bodies, and donations to these funds are tax deductible. The main attraction of
prescribed private funds is that these funds are not required to seek public donations.783
Tax deductions may be claimed for donations to prescribed private funds. One important
limitation on prescribed private funds is that the funds can only make distributions to
DGRs.784 This limitation was introduced to provide a safeguard against abuse of the system.
One effect of this restriction is to preclude distributions to individual artists.
A further recent development has been the creation of new public galleries with private
financing. In general terms, a public gallery is an institution owned or controlled by
government or controlled by persons or an institution with a degree of public responsibility
which makes its collection available to the public.785 Some public galleries have recently
been constituted with private funding. For example, early in 2002 the Besen family
established a public gallery, and the familys art collection will be given to the gallery under
the Cultural Gifts Program. Named the Tarra Warra Museum of Art, the gallery will be open to
the public. While private initiatives in this area are to be encouraged, this must be balanced
with the needs of the existing public galleries.
Current policy environment: sponsorship

Australia Business Arts Foundation
AbaF is a Commonwealth company that facilitates sponsorship and partnership
arrangements between cultural organisations and businesses.786 The mission of AbaF is to
increase private sector support for the arts.787
AbaF aims to increase private support for the arts through three strategies:
facilitating partnerships by providing training, information and advice to business and
the arts;
advocating increased private support through a growing network of chapters; and
promoting the benefits of supporting the arts.
782. Philanthropy Australia, Tax Concessions for Arts Donations: Australia, US, UK, Canada, 2001, p. 1.
783. Prime Minister of Australia, Federal Government Tax Measures to Encourage Philanthropy, Media Release, 26 March 1999, at
www.pm.gov.au/news/media_releases/1999/philanthropy2603.htm. See also ATO, Guidelines for Prescribed Private Funds, at
www.ato.gov.au/download.asp?file=/content/professionals/downloads/PPF_guidelines_final.rtf.
784. DGR status is determined by the ATO. To be endorsed, the applicant must have an Australian Business Number (ABN), must maintain
a gift fund, must operate within Australia, and satisfy conditions set out in the tax law. An organisation can be endorsed as a whole,
or a particular fund, authority or institution can be endorsed. For more information see Australian Taxation Office, The endorsement
process for deductible gift recipients (DGRs) fact sheet, 2000, at www.ato.gov.au.
785. ATO, Taxation Ruling. Income tax: public libraries, public museums and public art galleries, TR 2000/10, at law.ato.gov.au.
786. Department of Foreign Affairs and Trade, Australia Now: Arts Support, Country, Economy and Regional Information, at
www.dfat.gov.au/facts/arts_support.html.
787. Australia Business Arts Foundation, Australia Business Arts Foundation: Enriching the Community by Investing in Australias Culture,
News, November 2001, p. 1.
page 324
AbaF receives funding from the Commonwealth government for operational costs; it has no
grant-making function or brokering involvement, rather it focuses on facilitation, education
and networking. The focus is on sponsorship arrangements with benefit to both the arts and
business; AbaF is not generally involved in philanthropy.
AbaF emphasises the business case approach, which involves a consideration of the needs
of both business and arts organisations, and of ways of achieving benefits for both parties
through trading assets.
To encourage business and the arts to adopt business case methodology, AbaF has
produced and continues to promote guides for business and the arts, and has also
established adviceBank, a program which matches volunteer advisers from business with
not-for-profit cultural organisations requiring short-term, project-specific advice to achieve
business outcomes.788 In the 18 months leading up to November 2001, AbaF assisted
participants to establish or extend 50 partnerships, valued at more than $4 million, the
majority of which was directed to performing arts and museums.
Prime Ministers Community Business Partnership

The Commonwealth Government actively encourages partnership building between
corporate bodies and the community through the Prime Ministers Community Business
Partnership. The partnership seeks to develop a culture of corporate social responsibility
in Australia by:
recognising and appreciating excellence in community business partnerships; and
providing advice on how to encourage greater partnership activity.
The Community Business Partnership is a 10 member consultative board appointed to
advise the Government and to conduct public programs.789 The partnership recognises
successes in this area through the Prime Ministers Community Business Partnership
Awards. Awards are presented to businesses and community partners who have worked
together to benefit the community.
The Prime Ministers Community Business Partnership has released information and
promotional material that highlights the benefits of partnerships to both the community and
to business. In particular, the publication PartnershipsMaking Them Work provides useful
information to business and the community on motivations for entering into partnership
arrangements, how to find a suitable partner, and the type of partnership arrangement
which is appropriate given the circumstances.790 Similarly, the Department of Family and
Community Services commissioned a study into corporate community involvement, and
the findings of this study were published by the Centre for Corporate Public Affairs.791 This
Report provides guidance on establishing a business case for a businesscommunity partnership.
788.
789.
790.
791.
Australia Business Arts Foundation, adviceBank: A Fund of Knowledge and Experience, Melbourne, 2001.
Prime Ministers Community Business Partnership, CBP The HistoryThe Challenge, www.partnership.zip.com.au/intro.html.
Prime Ministers Community Business Partnership, PartnershipsMaking Them Work, Sydney, 2000, at www.partnership.zip.com.au.
Centre for Corporate Public Affairs, Corporate Community Involvement: Establishing a Business Case, Melbourne, 2000, at
www.accpa.com.au.
page 325
Overseas experience
In Australia, philanthropy, charitable giving and fundraising in 1995 represented
approximately 0.32 per cent of the Gross Domestic Product (GDP). This figure is low when
compared with statistics from the United States (one per cent of GDP), Canada (0.63 per
cent), and the United Kingdom (0.62 per cent).792 Similar disparities are observed when a
comparison is made of average donations to charity. In Australia, the average donation
per annum to charity is $210. This figure is much lower than Canada ($320 per annum),
Great Britain ($375), and the United States ($1 000).793
Particularly for the United States, philanthropy and fundraising levels are very high.
Philanthropic foundations play a major role in the charitable sector, and many have been
active in the arts for a great number of years. Tax incentives are available as a stimulus for
individual and corporate giving. Estate planning, and other philanthropic arrangements
operating during the life of the donor, provide the impetus for individuals to make bequests.
Further detail regarding philanthropy in the United States, the United Kingdom and Canada
is provided in Appendix M.
Overseas experience suggests there is scope for governments to adopt a wide range of tax
incentives and other measures to encourage a greater contribution from philanthropic and
sponsorship sources to broaden the financial support base for contemporary visual arts
and craft.
Volunteers
It is important to recognise that significant support for the contemporary visual arts
and craft sector is found at the grass-roots level through volunteers. According to the
submission made by Museums Australia (WA):
The arts industry would not be where it is today without the support of the army of volunteers
working in art institutions. We are still relying on peoples goodwill to motivate their work for
visual art and craft organisations, when in some cases they should really be paid for the work that
they have done.794
There are two types of volunteering prevalent in the contemporary visual arts and craft
sector. The first is the volunteering by arts administrators who receive a wage, but work
much longer hours and undertake many duties which they are not remunerated for.795
This type of volunteerism is by subsidy, and is endemic across both the contemporary
visual arts and craft sector, and the not-for-profit sector more generally. With respect to
contemporary visual arts and craft, artists are also an important group of volunteers, as
artists often work for negligible or no payment.
The second type of volunteers is the great number of individual volunteers who dedicate
their time and effort to supporting the visual arts and craft and who receive no payment.
Many individuals interested in finding a career in the arts, or who simply have a passion
for crafts and the visual arts, volunteer their time to support the sector in a number of
different ways. These include acting as tour guides in public galleries, writing for cultural
publications, promoting contemporary visual arts and craft organisations and services at
cultural events, and conducting fundraising activities, such as raffles.
792. D. Fishel, Australian Philanthropy and the Arts: How Does it Compare?, 4(2) International Journal of Arts Management, Winter 2002, p.
11.
793. Philanthropy Australia, The Non-profit Sector in Australia. Donations to Charity International Comparison, Factsheets, at
www.philanthropy.org.au/factsheets/7-05-03-nonprof.htm.
794. Submission: Museums Australia (WA).
795. Submission: Canberra Contemporary Art Space.
page 326
Both these arrangements involve volunteering, and both make a vital contribution to the
health of the sector. However, it should be noted that volunteering is generally not reflected
in statistics documenting generosity in the arts.796
The contribution made by volunteers should be recognised as a significant form of grassroots support for the contemporary visual arts and craft sector. Volunteers sacrifice both
their time and the personal expenses and costs associated with their duties as a volunteer,
for the benefit of contemporary visual arts and crafts.
FINDINGS
In an environment where there is strong competition for limited government funding,
incentives for increasing the contribution of philanthropic giving and corporate sponsorship
are important if the sector is to find more varied and flexible sources of support. The
philanthropic sector could play a greater role in supporting contemporary visual arts and craft.
There is potential to leverage substantial private support by the government making modest
amendments to the relevant legislative framework.
There is increasing interest in philanthropy in Australia and people of differing backgrounds
and socio-economic status are participating in charitable giving. Foundations and trusts now
have a higher profile in Australian life.
There is a large disparity between the level of donations to projects in the fields of art and
culture, in comparison with other fields attracting philanthropic support.
There is a clear distinction between philanthropy and corporate sponsorship. There are
substantially different motivations and drivers for corporate sponsorship than for private
benefaction.
As with philanthropy, the amount of sponsorship secured by the arts is small when compared
with other charitable areas, such as education, community welfare and sport. Further, with
respect to the Indigenous arts and crafts sub-sector, corporate support is very limited.
There is an understandable level of doubt regarding the availability of sponsorship in the
contemporary visual arts and craft sector. Nevertheless, there are support mechanisms
available to assist organisations seeking to make a business case for sponsorship. Many
contemporary arts organisations are either not aware of this support, or are unable to make
use of these mechanisms due to resource and time constraints. The Inquiry found that there is
enormous scope for the development of further corporate sponsorship arrangements to the
benefit of both contemporary visual arts and craft organisations and corporations.
Overseas experience suggests there is scope for governments to adopt a wide range
of tax incentives and other measures to encourage a greater contribution from philanthropic
and sponsorship sources to broaden the financial support base for contemporary visual arts
and craft.
Volunteers play a significant role in supporting the contemporary visual arts and craft sector.
796. D. Fishel, Australian Philanthropy and the Arts: How Does it Compare?, p. 11.
page 327
BROADENING THE FUNDING BASE

The Inquiry believes there is considerable scope to encourage more financial support
for Australian contemporary visual arts and craft from the philanthropic sector and from
corporate sponsorship. It has developed a number of strategies that it believes should be
seriously considered by government.
Better promotion of existing programs

The Inquiry believes the existing tax incentive programs would be more readily utilised
if there was a greater awareness in the community of the nature of the programs and
the benefits offered. As a result, it is important to raise the public profile of existing tax
incentive programs and related programs by promoting these programs more widely.
It is also important for the benefits of community-business partnerships to be continually
promoted. Cultural organisations, both individually and collectively, need to promote the
value of their activities by articulating and demonstrating the social benefits of the arts, and
the benefits for business.797 Governments at all levels and businesses supporting the arts
also need to raise awareness in the community of the contribution made by the arts. This
may occur through campaigns launched by industry associations, local business groups and
Chambers of Commerce. Further, public recognition of the contribution of sponsors to the
arts is also important.798
Philanthropic organisations should also promote their activities to the arts community to
raise awareness in the contemporary visual arts and craft sector of the support provided by
these organisations, and mechanisms for accessing this support.
The Inquiry notes DCITA has produced promotional material detailing the Cultural Gifts
Program and ROCO.799 This information has been distributed to accountants and business
advisers, with a view to raising the awareness of individuals and business of the benefits of
the taxation incentives for donations to the arts.
Improving incentives for philanthropy

The Inquiry believes a stimulus to philanthropy in the contemporary visual arts and craft
sector is needed and it should take the form of higher tax concessions for targeted purposes
for a fixed period of time. The purpose of philanthropy incentives is the generation of
incremental funding for a range of organisations operating in the sector, and for individual
practitioners of contemporary visual arts and craft.
The Inquiry is aware that proposals to increase tax incentives for contemporary visual
arts and craft would raise equity concerns, given that donations for community welfare,
medical research and education, also serve a very valuable social purposes. However, it is
clear there is currently a disparity between levels of philanthropic support received by the
contemporary visual arts and craft sector, and the support received elsewhere.
These incentives are intended to encourage philanthropic giving in the contemporary visual
arts and craft sector to raise levels of giving to levels comparable with other valued
social activities.
797. Australia Business Arts Foundation, The Strategic Direction in Corporate Sponsorships: Practical Implications for the Arts, Draft Paper,
Feb 2002, pp. 56.
798. ibid., p. 6.
799. Department of Communications, Information Technology and the Arts, Tax Incentives: Taxation Incentives for Cultural Donations,
Information Pack, September 2001.
page 328
Cultural Gifts Program

The Inquiry believes an appropriate incentive would be to amend the existing Cultural Gifts
Program to permit donors to claim a 125 per cent tax deduction for gifts of contemporary
art to public collecting institutions under the Cultural Gifts Program. For the 125 per cent
income tax deduction to be claimed, the work would need to be identified by the collecting
institution as a work to be included in the contemporary art collection.
This amendment would increase the cost to government of the program in terms of revenue
forgone. However, placing limitations upon the deduction can reduce these costs.
The deduction could be limited to gifts of work acquired in the last five years. Further, the
deduction could be available only for a limited period of timethe device would be used to
stimulate philanthropic activity, the effects of which would be expected to endure after the
incentive is removed. A five-year trial period would be appropriate.
The following example is a hypothetical posed to demonstrate the manner in which the
proposed program would operate in practice.
Example 1
Olga would like to donate a painting to the Art Gallery of New South Wales under the
Cultural Gifts Program. The work was purchased from a living artist in 1999, and Olga has
held the work in her personal collection since that time. Olga approaches the Art Gallery of
New South Wales. The gallery indicates that it will accept the gift, and that the gifted painting
is intended to form part of the gallerys contemporary art collection.
Under the current law, Olga would be able to claim a 100 per cent income tax deduction
for the gift of the work. In contrast, under the proposed program, Olga would be able to
claim a 125 per cent deduction for the gift, as the work is identified as a work to form part
of the contemporary art collection of the Art Gallery of New South Wales, and the work was
acquired during the previous five years.
The proposed program clearly provides a greater incentive for donors to gift works of
contemporary art to public institutions. This incentive has the potential to lead donors to
move valuable and significant works from the private sphere into the public domain where
the community at large is able to enjoy the benefit. The program would also have the effect
of drawing collecting institutions close to private collectors of contemporary visual arts and
craft. Acquisitions budgets for collecting institutions are uniformly low across the country.
Galleries have become increasingly reliant upon gifts in this area. The proposed
amendment would enable other pathways for collecting galleries to increase their
contemporary collections.
page 329
Donations fund focusing on research and development

It has been suggested that much of the process of creating contemporary visual arts
and craft is a process of research and development. Contemporary visual arts and craft
practice is premised on innovation, technical risk and the acquisition of new knowledge.
Contemporary visual artists consistently use new technologies or reinvigorate old
technologies by using them differnetly to create new ways of making, and new ways of
visualising the contemporary world.
The Inquiry believes there is a need to target philanthropy more at emerging art forms, and
facilitate the development of visual arts and craft practice by supporting activities that focus
on research and development (R&D).
An enhanced incentive could be made available to donors wishing to support organisations
for their specific R&D projects, or where a gift is made to establish a scholarship, internship,
fellowship or award which aims to support practitioners engaged in R&D activities. For
example, the Mark Howlett Foundation provides an individual artist practising in Western
Australia with a 12-month developmental scholarship. These types of programs need to
be actively encouraged.800 In acknowledgment of the R&D nature of the activity being
supported, it is suggested it would be appropriate for this activity to be encouraged through
an enhanced incentive of a 125 per cent income tax deduction, to be available for a limited
period of five years only. Such an incentive would be a way of kick-starting philanthropic
support of this developmental/research area.
An option would be for the Australia Council, or another appropriate institution, to maintain
a fund specifically designated for R&D activities, which would attract a 125 per cent income
tax deduction for the first five years of the program. The implementation working group,
suggested in Chapter 1, should determine an appropriate body to manage and distribute the
fund. Charitable funds management is increasingly becoming a specialist field, and it will be
necessary for the body managing the fund to have this expertise. The body managing the
fund should make use of the resources and expertise of the Australia Council when making
distributions. It should be noted that the body will need to be a deductible gift recipient.
The Australia Council is a deductible gift recipient and is listed on the Register of Cultural
Organisations.
Under the proposed arrangements, grants would be distributed from the special R&D
fund, and donors would be permitted to nominate a preference for the type of activity to
be supported, or even a specific activity. Donors would benefit from the additional tax
incentive, and would be satisfied that the body managing the fund would ensure their
donation was appropriately targeted. To prevent abuse, there would be a requirement that
only organisations listed on ROCO and undertaking relevant R&D activities would be eligible
recipients of distributions from the fund.
800. Submission: Artists Foundation of WA.
page 330
Example 2
Ben is interested in making a donation of $2000 to support the Canberra Contemporary
Arts Space (CCAS). The CCAS conducts a number of different programs targeted towards
innovation, development and creativity in visual arts practice. The CCAS is listed on the
Register of Cultural Organisations.
Under the current arrangements, Ben could donate his $2 000 directly to the CCAS. As the
CCAS is included on the Register of Cultural Organisations, Ben would receive a 100 per cent
income tax deduction for the gift.
Under the proposed program, rather than directly donating to the CCAS, Ben could decide
to donate the $2 000 to the R&D fund. In exchange for this donation, Ben would receive a
125 per cent income tax deduction ($2 500). Ben would need to make the donation to the
Australia Council unconditionally, but could nominate on the donation form that the CCAS is
his preferred beneficiary.
The $2000 received by the body managing the R&D fund would then be pooled with other
donations. The CCAS could apply for a grant from the Australia Council. Provided the
Australia Council considers that the CCAS is conducting eligible R&D activities, the CCAS will
be the recipient of the $2 000 donated by Ben.
Costs
Two tax expenditure scenarios relating to these proposals are modelled below. The first
assumes that a sum of $5 million is donated in the first year of operation of the program,
and the second assumes that $1 million per year for five years is donated. In each case,
20 per cent of funds is assumed to be donated by corporations (subject to a 30 per cent
company tax rate), and 80 per cent by individuals (subject to the 48.5 per cent marginal
income tax rate).
page 331
Scenario 1: $5 million of donations in first year
Tax concession
Tax expenditure
Deviation from base (a)
$m
$m
100
$2.24
125
$2.80
$0.56
150
$3.36
$1.12
a. Compares cost to tax revenue to existing 100 per cent deduction.
Scenario 2: $5 million of donations over five years (a)
Tax concession
Tax expenditure (b)
Deviation from base (c)
$m
$m
100
$1.92
125
$2.40
$0.48
150
$2.88
$0.96
(a) Assumes a $1 million donation each year; (b) Assumes a discount rate of 5.32 per cent; (c) Compares cost to tax
revenue to existing 100 per cent deduction.
Under scenario 1, the cost to tax revenue is $2.8 million, although the deviation from what
would be allowed under current arrangements is $0.56 million. In scenario 2, when the
donations are spread over a five year period, the discounted cost to tax revenue is
$2.4 million, and the deviation from what would be allowed under current arrangements
is $0.48 million.
The Inquiry also believes that a range of other mechanisms should be introduced or
modified in order to facilitate philanthropic giving in Australia.
Distributions by foundations to individual artists

Charitable trusts and foundations are an increasingly important potential source of
donations for the full span of community assistance and welfare activity, including support
of the cultural sector and of contemporary visual arts and craft activities. Such foundations
want to focus on areas where their involvement will support valuable community activities
which need more support than may be available from government.
But if foundations serve only as passive middlemen, as mere conduits for giving, then they
fall far short of their potential and of societys high expectations. Foundations can and should
lead social progress. They have the potential to make more effective use of scarce resources
than either individual donors or the government. Free from political pressure, foundations can
explore new solutions to social problems with the independence that government can never
have. And compared with individual donors, foundations have the scale, the time horizon and the
professional management to create benefits for society more effectively.801
801.
Michael E. Porter and Mark A. Kramer, Harvard Business Review, NovemberDecember 1999
page 332
While such foundations are motivated to support areas where they believe they can make
a difference, there are currently some barriers to their support, especially in relation
to financial assistance for individuals. Anecdotal evidence suggests that a number of
philanthropic organisations would like to make grants to individual artists, and do not do
so due to real or perceived legal impediments on the foundation making individual grants.
Prescribed private funds, and some public foundations, are unable to make grants to
individual artists under taxation law. Those philanthropic trusts with the legal capacity to
make distributions to individuals are often hesitant to do so due to a lack of experience in
making distributions to individual artists. Discussions with various philanthropic trusts led
the Inquiry to believe that a number of foundations are interested in supporting individual
artists. However, the foundations often do not have adequate resources and expertise to
evaluate applications and determine which artists to support.802
A public foundation may elect to create an associated trust through which donations may be
made to individual artists in the form of grants. The associated trust employs a transparent
application driven process to avoid the difficulties associated with patronage. The Ian Potter
Foundation has avoided the patronage problem by adopting this type of corporate structure.
However, this approach can be costly, and as a result may not be viable for smaller
foundations. Also, as prescribed private funds may only make grants to DGRs, an associated
trust would need to be endorsed as a DGR for the prescribed private fund to make grants to
it. To be so endorsed, an application must be lodged, and the associated trust must adhere
to a number of requirements, including maintaining a public fund and holding an ABN.803 As
a result, this approach may be too cumbersome, costly and administratively onerous to be a
viable option for most philanthropic organisations.
An alternative approach is for an independent DGR to act as a receiving body. The Australia
Council could adopt this role: the Australia Council is a DGR, and could receive donations
from philanthropic foundations, including prescribed private funds, which could then be
distributed to individual artists. Under its enabling legislation, the Australia Council has
the power to receive gifts, devises and bequests, and has established a Donations Fund
which could be used for this purpose.804 The implementation working group should consider
whether the most appropriate receiving body is a not-for-profit provider, a commercial
enterprise or a government body. If the organisation selected is not the Australia Council,
the body managing the program should make use of the Australia Councils expertise in
grant making.
The benefit of this approach would be that prescribed private funds and public funds
without the capacity to make distributions to individual artists could make grants to this
donations fund, and grants could then be made to individual artists. The body administering
the program would have expertise in charitable funds management and grant distribution.
This program is likely to be attractive to those philanthropic trusts with a desire to directly
support individual artists, but without the confidence to internally process and evaluate
applications for support.
proposed program would operate in practice, assuming that the Australia Council will
manage the fund.
802. Discussions with Philanthropy Australia, including the Ian Potter Foundation, the Hugh Williamson Foundation, the Myer Foundation,
and Arnold Bloch Leibler, Melbourne, 5 December 2001.
803. Legal advice kindly provided by Arnold Bloch Leibler to the Secretariat, 22 January 2002.
804. Australia Council Act 1975, subsection 6(1). The Donations Fund was established in 1991, and donations were made to this fund
between 1991 and 1994. No donations have been made to this fund since November 1994.
page 333
Example 3
The Beneficent Arts Foundation (BAF) is a prescribed private fund. While the BAF would like
to distribute grants to individual visual artists and crafts practitioners, the prescribed private
fund requirements restrict distributions to Deductible Gift Recipients. Also, as the BAF was
only established three months ago, the trustees do not have a great deal of experience in
supporting the contemporary visual arts and craft sector.
Under the proposed program, the BAF could make a distribution to the Australia Councils
Donations Fund. This money would then be pooled with other donations made by
philanthropic trusts and benefactors seeking to receive tax deductions for their support of
individuals. In accordance with transparent application and assessment processes, the Australia
Council would then use this money to make grants for the benefit of individual artists.
It is important to clarify that the proposed arrangement would not allow donor foundations
to nominate specific recipients. Rather, it would be an additional source of revenue for
the Council to distribute specifically to contemporary visual artists and craftspeople using
its existing structures. Distributions would be made to individual artists according to
transparent, application-driven processes based upon merit. The resulting increase to the
Australia Councils funds available for individual visual and craft artists would assist in
addressing the high unmet demand for grants in this area.
Donations by individual artists to public collections

An option considered by the Inquiry to potentially increase the direct benefits to arts and
craft practitioners was to allow artists to claim an income tax deduction for the market value
of donations of their own work to eligible institutions. Currently, if a donation is made by
an artist under the Cultural Gifts Program out of trading stock, then the deduction is limited
to the cost of producing or acquiring the item. If the donation is made of a work held in the
personal collection of the artist, the deduction is for the value of the work as assessed.
If the distinction between gifts from trading stock and personal collections was removed,
there would be an incentive for artists to gift their works, which is currently a rare practice.
This measure would also facilitate contributions by artists to the public domain.
Two factors limit this option. Firstly, in theory, such a policy would have no financial benefit
to the artists; if the valuations upon which the market values are determined are realistic,
then the artist would be better off selling into that market (and incurring extra income
tax) than donating the item (and claiming a tax deduction). When marketing costs (such
as gallery commissions) are taken into account, however, some small advantage may be
possible.
Secondly, such a policy may diminish the integrity of the program. The success of the
Cultural Gifts Program depends on it being seen as an effective and desirable means of
making philanthropic donations to public collections, rather than as a way for artists to
minimise their tax.
page 334
Nevertheless, there are arguments in favour of removing the distinction between gifts from
trading stock and gifts from artists personal collections. One submission stated that artists
do not tend to be motivated by the tax consequences of their actions:
Artists, generally, are not predominantly financially motivated. This does not mean that they dont
want to make money. It means that their priorities lie in attempting to create great works of art and
they are not prepared to compromise their art in order to maximise their profits.
Tax considerations rarely influence their decisions, or their expenditure. Artists have not chosen
their profession on the basis of the tax benefits available, nor do they carry on their business with
a view to minimise tax.805
Given that artists are not motivated by taxation benefits, removing the current distinction
between gifts from private collections and gifts from trading stock would not act as an
incentive to increase the number of works gifted into the public sphere. The removal of this
distinction is not likely to lead to a rush of gifts of works, with the intention of abusing the
provision. However, removing this distinction would eliminate a current disincentive that
comes into play when established artists are approached by collecting institutions for gifts.
Provided the artist is approached by the gallery, the potential for the provision to be abused
(however remote) is further minimised.
proposed amendment would operate in practice.
Example 4
Li is an established sculptor. The Museum of Contemporary Art (MCA) is interested in
acquiring a sculpture Li is offering for sale in his home-based studio. The MCA approaches Li,
and inquires whether Li would consider gifting the work to the MCA. While Li acknowledges
the benefits associated with his work being exhibited by the MCA, to gift the work may
impact significantly on Lis income, and he would be unable to claim an income tax deduction
for the gift under the current law. Li cannot be convinced to gift the work under these
circumstances.
In addition to the works displayed for sale in his studio, Li also keeps several of his works
in a room attached to the studio. These works form Lis personal collection. If Li held the
particular sculpture of interest to the MCA in his personal collection, Li would be able to claim
a tax deduction for the value of the gift under the Cultural Gifts Program.
Under the proposed amendment, there would be no taxation disadvantage for Li if he gifted
the sculpture to the MCA while it constituted part of his trading stock. While it is unclear
whether or not Li will be convinced to gift the work if the taxation arrangements are altered,
the chances of the gift being made are increased by the removal of the disincentive. The
MCA would be able to receive the gift, and the important work would move from the private
sphere into the public domain.
FINDING
Removing the requirement that gifts made by artists under the Cultural Gifts Program must
be from their personal collection, not trading stock, would assist collecting institutions to
seek gifts directly from individual artists on the same terms and conditions applying to gifts
made by other donors.
805. Submission: The Painters and Sculptors Association.
page 335
Bequests
The Inquiry believes that bequests should also be tax deductible. This amendment would
remove anomalies between the tax deductibility of inter vivos gifts, and the treatment of
testamentary bequests under the current law. In 1998, the Prime Minister established a
working group to consider proposed amendments to income tax legislation in order to
facilitate philanthropy. The Taxation Working Group reported in 1999, and a number of the
recommended amendments were implemented. One of the conclusions of the Taxation
Taskforce was that there is little rationale for the denial of tax deductibility for bequests.
Firstly, gifts made by beneficiaries under a will are tax deductible. Secondly, charitable gifts
made by the deceased immediately prior to death are also tax deductible.806
It is desirable to simplify the law by removing the artificial distinction made between
inter vivos gifts and testamentary gifts for the purposes of income tax deductibility. As
the tax deductibility of bequests has an impact which extends beyond the contemporary
visual arts and craft sector, the Inquiry has not made a recommendation in this regard.
Notwithstanding current arrangements which encourage life-time giving, the Inquiry
believes that in any future review of the taxation arrangements for bequests the government
ought to consider the removal of the distinction between inter vivos gifts and bequests.
Personal benefits for donors

The Taxation Taskforce also considered the difficulties associated with the requirement that
a donor not receive an advantage of a material character as a result of a gift. There have
been difficulties for donors and recipient institutions in determining what constitutes a
benefit of a material character. For example, it is an issue whether naming rights in relation
to a gift are a material advantage. The Taskforce concluded that donors should be permitted
to receive some small acknowledgment for the gift, and that the law should be amended to
permit benefits of a limited nature, including naming rights.807
There are some clear benefits associated with this approach. Currently, collecting
institutions tend to be uncertain as to the extent to which donors, patrons and benefactors
can be recognised for their gifts, before this recognition will be construed as a material
advantage. Allowing donors to receive limited direct personal benefits would facilitate
relations between collecting institutions and philanthropists by eliminating this uncertainty.
Recognition for gifts, such as naming rights, may provide some small additional incentive to
make a gift. However, limiting the direct personal benefit to a certain level would minimise
the risk of this provision being abused, as the personal benefit received is unlikely to
outweigh the value of the original gift. The Taskforce suggested that a threshold limit be
introduced, and that any benefit within that threshold would not disallow a tax deduction.
The threshold suggested, a benefit of up to 2.5 per cent of the value of the donation, with a
maximum of $500, appears an appropriate limitation.
806. Taxation Taskforce, Memorandum Business and Community Partnerships, 1999, p. 2.

807. ibid., p. 4.
page 336
Acquisitions fund
Currently, the acquisitions funds of the major state art galleries, museums, and regional
galleries, are limited. While the Inquiry is aware that galleries and museums in Tasmania and
Queensland utilise their government funds for the aquisition of new works, this is unusual.
Funding for acquisitions is generally derived from private donations and bequests. It is thus
desirable to improve incentives for private benefactors and corporates to make donations or
bequests of cash to collecting institutions with a view to facilitating the acquisition of new
works of contemporary visual arts and craft.
One option with the potential to increase the amount of private donations and bequests
received by collecting institutions is the establishment of an acquisitions fund. This
acquisitions fund would be allocated a distribution from the Commonwealth government.
When State and Territory museums, art galleries and regional galleries receive private
donations or bequests, and these funds are used for the acquisition of works of
contemporary visual arts or craft, the collecting institution could apply to the acquisitions
fund for a grant. The acquisitions fund would make a grant to the institution of equal value
to the private donations. The State or Territory where the collecting institution is based
would also provide matching funding. The institution would thus receive the benefit of the
original donation times three.
The program would have the following characteristics and limitations:
Grants would be made on application. Grants will only be given where the donation or
bequest, and the grants made under the program, are to be used to acquire works of
contemporary visual art or craft.
Works will be deemed to be works of contemporary visual arts and craft if the work is
purchased directly from the artist or the artists agent, a sale in the primary market,
and if at the time of the acquisition, the artist is a living artist either born in Australia or
resident in Australia for at least the previous two years. Art acquired from the secondary
market would be excluded.
Eligible institutions would include State and Territory galleries and museums, regional
galleries and galleries operated by educational institutions. The institution must not be
operated for commercial purposes or financial gain.
Only gifts or bequests made after the program has commenced operation would
attract grants.
The following example is a hypothetical designed to demonstrate the manner in which the
page 337
Example 5
Mark would like to donate a sum of $1 000 to the Cairns Regional Gallery, conditional upon
the use of the donation being for the acquisition of works of contemporary visual arts and
craft. Under the current arrangements, Mark could donate this sum of money to the Cairns
Regional Gallery, and he would receive an income tax deduction. The Cairns Regional
Gallery would receive $1000 towards the acquisition of new works. Under the proposed
arrangements, the Cairns Regional Gallery could apply for a grant from the acquisitions fund
at the end of the financial year. If deemed eligible, and conditional upon the Queensland
government granting the Cairns Regional Gallery $1 000 for the acquisition of contemporary
art, the Commonwealth would grant $1 000 from the acquisitions fund. The Cairns Regional
Gallery would thus receive the benefit of $3 000 worth of contemporary works of art
and craft.
Aliya is an emerging visual artist. The Cairns Regional Gallery has shown interest in her
works in the past, but has not been able to purchase any of those works due to its limited
acquisitions fund. With the $3 000 arising from Marks donation, the Cairns Regional Gallery
is able to acquire one of Aliyas works, and also a work by another established crafts
practitioner. These works are sold to the Cairns Regional Gallery by the Central Gallery, a
small commercial gallery. Thus, in addition to the public benefit of the Cairns Regional Gallery
acquiring works of contemporary art and craft it would not otherwise be able to purchase,
Aliya and the other artist are benefited by the program as they receive income from the
sales of the works. Further, both artists benefit from the public exposure associated with
the exhibition of their works in the Cairns Regional Gallery. The Central Gallery receives the
benefit of the commission charged on the sale of their works.
This program would encourage the gifting of cash to collecting institutions, and would
provide support to the contemporary visual arts and craft sector more generally by
increasing the acquisitions budgets of the public galleries. Increasing the overall purchasing
power of the collecting institutions will indirectly stimulate the production of new works of
contemporary visual arts and craft by providing artists with additional income associated
with sales of their works, and by supporting the commercial galleries (which, in turn,
facilitate the production of new works).
A possible criticism of the proposal is that there is a lack of certainty. As there would be
a limited amount of funding to be distributed through grants each year, if donations and
bequests exceed the total budget allocated for that year, the institution may only receive
a portion of the donation or bequest as matching funding under the program. While this
is a drawback, if the institutions do not receive the full matched funds, the position of the
collecting institutions will be improved under the program as they will still have the benefit
of the donation or bequest. Further, in the event that the amount of donations exceeds the
budget allocated to the fund, the program will clearly be a success, and the government
could choose to review the program at that point.
page 338
A further possible problem relates to attracting new private funding. Where governments
provide challenge grants, as is the case where the Commonwealth funding is only available
if both the State or Territory government and the recipient institution have each raised
matching funding, it can be difficult to identify whether the private gifts and bequests
received are new and are associated with the additional government funding, or whether
the private support would have been received by the institution without the additional
government funding. While this is a valid point, it is clear the proposed program will provide
a net benefit to the recipient institution. Further, this is a matter which can be assessed
during the review at the completion of the four-year trial.
Liaison between the Australia Council and the philanthropic sector

Currently, there is no formal dialogue between the Australia Council and the philanthropic
sector. Philanthropic organisations do not have access to information regarding the viability
of grant applications, which makes the evaluation of applications difficult.
A possible measure to improve this situation would be to appoint a liaison officer to
facilitate communications between the Australia Council and the philanthropic sector.
The role of the liaison officer would be to ensure appropriate resources and information
is shared with philanthropic organisations, and this would facilitate a more effective
contribution by the philanthropic sector to the contemporary visual arts and craft sector.
This measure would also be relatively low-cost for the Australia Council.
There is an issue in relation to privacy, as data collected can only be shared by organisations
if the applicant gives express permission for this to occur.808 This requirement would need to
be reflected in grant application processes.
Philanthropic organisations may also benefit from greater communication between the
various foundations active in the contemporary visual arts and craft sector. Philanthropic
trusts making grants in the arts in Australia may benefit from meeting regularly to discuss
their activities and issues affecting grantmaking. Philanthropy Australia organises meetings,
conferences and seminars for grantmakers seeking information, and members forums
on items of interest to members. The Inquiry encourages philanthropic trusts to utilise
available opportunities for peer learning and dissemination of information regarding making
grants in the contemporary visual arts and craft sector. Where appropriate, the Inquiry also
encourages philanthropic trusts to create additional opportunities for this type of discourse.
The Inquiry is aware of current moves to establish an affinity group of philanthropic
organisations supporting the arts. A liaison officer sourced from within the Australia
Council could be appointed to service this affinity groupthe officer could be seconded
to either Philanthropy Australia or AbaF in order to base operations in Melbourne (where
most major philanthropic foundations are based). The role of the liaison officer would be
to build stronger partnerships between the philanthropic sector and the arts by improving
communication channels and creating opportunities for sharing Australia Council resources
and expertise. The officer would also assist State, Territory and local governments seeking
to support artists in a similar way.
808. Privacy Act 1988 (Cth).
page 339
Data collection
An additional measure, which would facilitate philanthropy, would be to improve data
collection practices. Currently, there is little consolidated data in relation to corporate
sponsorship and philanthropy. In particular, the collection of data on private bequests and
foundations is currently inadequate. Given the increased emphasis on using government
funds to lever private sector support for the arts, it is becoming increasingly important to
collect data on the amount of private contributions. This data is necessary in order to assess
the impact of government policy on philanthropy. Research into the role of the philanthropic
sector, and its contribution to the arts in particular, would also encourage investor
confidence, facilitate improved levels of support and allow for limited resources
to be allocated in the most effective manner. Similarly, detailed research into the role
of corporate sponsorship and patronage would have a beneficial impact on levels of
support. The value of philanthropy, benefaction and patronage, and corporate
sponsorship need to be considered in terms of creative, cultural and social impact,
as well as by economic measures.809
Government, in consultation with the contemporary visual arts and craft and philanthropic
sectors, should play a role in the data collection process. This matter should either be
referred to the Cultural Ministers Council as an issue to be addressed wither through the
Statistics Working Group or a special working party, or the matter should be taken up by the
Australia Council as a special project. An audit of the currently available research should be
undertaken and a database synthesising this information created for use by philanthropic
organisations and the visual arts and craft sector.
Arts organisations and philanthropic bodies should also undertake their own systematic
analysis of the role of philanthropy, benefaction and patronage, and sponsorship. The
Philanthropy Australia affinity group should, in conjunction with AbaF, ensure that this
analysis is undertaken.
Sponsorship and community partnership incentives

Submissions to the Inquiry indicate that there is a need for the contemporary visual arts and
craft sector to take a more active role in promoting the business case of sponsorship in the
arts. RMIT stated in its submission:
...visual artists and crafts people are not accustomed to (self ) promotionsometimes it seems
alien to their purposein comparison, for example, with Performing Arts. This means they have
been less forward in aligning themselves in partnerships with industry and business, though the
potential for sponsorship may be larger than imagined.810
Similarly with respect to Indigenous arts, it is essential that the profile of Indigenous arts is
raised and the benefits of sponsorship more effectively marketed by the sector:
Critical to generating greater support for Indigenous arts from the corporate and private sector is
a greatly increased profile for Indigenous arts in the public galleries Greater activity in this area
would stimulate more interest and support from the private and corporate sectors.811
809. Mark Lyons from the University of Sydney has published work which values the economic and social contribution of the third sector.
This work could be used as a model for research into the philanthropic sector and corporate sponsorship more specifically. See M.
Lyons, Australias Nonprofit Sector, Australian Bureau of Statistics, Yearbook Australia, 1999,
at www.abs.gov.au/ausstats/[email protected]/94713ad445ff1425ca25682000192af2/5ebe1496169c5d31ca2569de002842b6!OpenDocument.
810. Submission: RMIT.
page 340
As discussed above, AbaF and the Prime Ministers Community Business Partnership have
been actively promoting the benefits of partnership arrangements between the business
and community. It would be desirable to conduct a similar exercise tailored specifically for
the contemporary visual arts and craft sector. A promotional package could be developed
which would highlight the specific needs of the contemporary visual arts and craft sector,
and the potential benefits for business of investing in this particular sector.
It would also be beneficial for corporate investment in the visual arts and crafts, by
purchasing art and developing corporate art collections, to be encouraged. Craft Australia
noted that a key trend in the sector is:
The lack of a strong culture of collecting and philanthropy in Australia, creating the imperative
to develop a literate, supportive and economically strong collector base, to ensure that new,
challenging, exploratory and high end craft work continues to receive support and be recognised
as the research and development engine of the sector.812
As indicated by Museums Australia (WA) in its submission:

In the same way that Australia Business Arts Foundation works to encourage arts sponsorship,
there is considerable potential for business at all levels to be encouraged to acquire contemporary
artboth for its investment potential, as a way of supporting the cultural life of the community,
and as a way to improve a companys general image for sophistication and innovation.813
Both Wesfarmers and Siemens have developed corporate acquisitions policies. The benefits
of corporate collecting should be included as part of any package promoting the benefits of
investment in visual arts and craft.
Further, it is important for the contemporary visual arts and craft sector to access existing
programs providing them with relevant skills in obtaining and managing sponsorship
arrangements. A closer role needs to be fostered between the contemporary visual arts and
craft sector and AbaF. To date, the emphasis of AbaF has tended to be the performing arts.
However, the Inquiry understands that AbaF is interested in becoming more involved in the
visual arts and crafts. There is a need for AbaF to make marketing the visual arts and craft
a priority.
AbaF currently recognises outstanding partnerships between business and the arts through
the AbaF Awards. Awards are granted annually, and in addition to an award for the Business
Arts Partnership of the Year, there are awards in a number of different categories. These
include small business, government enterprise, regional and large business.814
The contemporary visual arts and craft sector would benefit from an award recognising
valuable partnerships between the sector and business. Recognising achievements in this
area would make both the contemporary visual arts and craft sector and business more
aware of the potential for mutually beneficial arrangements to be forged in this area.
AbaF should establish an award specifically recognising partnerships in the contemporary
visual arts and craft sector as part of its strategy to improve sponsorship levels for
this sector.
812.
813.
814.
Submission: Craft Australia

Submission: Museums Australia (WA).
AbaF, AbaF Awards, at www.abaf.org.au/awards.html.
page 341
RECOMMENDATION 20
To ensure the funding base for the contemporary visual arts and craft sector is
significantly expanded by strategic interventions that build on current arrangements
to encourage philanthropy, the Inquiry recommends the Commonwealth develops and
implements the following initiatives:
20.1
Raise the public profile of existing tax incentive and related programs through
better promotion.
20.2 Amend the Cultural Gifts Program provisions to permit donors to claim a 125 per
cent tax deduction for gifts of new works by contemporary Australian artists to
public collecting institutions for a trial period of five years.
20.3 Establish a donations program directed at research and development activities,
attracting a 125 per cent tax deduction for the first five years.
20.4 Establish a program whereby foundations are encouraged to make donations to an
Australia Council or other appropriate public fund, which may make distributions
to individual artists.
20.5 Amend the Cultural Gifts Program provisions to enable individual artists to claim
a market value deduction for gifts of their own work under the program, whether
these be from their trading stock or personal collection.
20.6 Amend the philanthropy provisions to clearly state that an advantage or benefit
received by donors does not prevent their ability to receive a tax deduction,
provided the benefit does not exceed a specified limit.
20.7 Establish an acquisitions fund to provide grants to collecting institutions matching
private donations used for the acquisition of works of contemporary visual arts
and craft. This fund should have an initial budgetary allocation of
$250 000 per annum for four years. The Commonwealth grants would be
contingent upon matching funding being provided by the State or Territory
in which the collecting institution is located.
page 342
Appendix a
biography of rupert myer
Rupert lives in Melbourne with his wife and five children. He completed an honours
commerce degree at Melbourne University before continuing to Cambridge University to
complete an MA in social and political sciences.
He is Deputy Chairman of The Myer Family Company Pty Ltd and serves on the boards of
several companies, including MCS Properties Ltd and the publicly listed AMCIL Ltd.
Rupert was appointed as a Trustee of the National Gallery of Victoria in 1997 and has served
as Chairman of the NGV Foundation from 1997 until 2001. He served on the board of the
Museum of Contemporary Art in Sydney from 1996 until 2000.
As a Vice-President of the Myer Foundation, Rupert has served as Convenor of the Arts,
Culture and Humanities Committee and as coordinator of The Sidney Myer Centenary
Programme. The Myer Foundation continues to fund a number of visual arts projects around
Australia including programmes in regional areas and in professional development.
He is currently serving as Chairman of Mission Australias Youth Strategy and
Advisory Group.
He has been a collector of contemporary art for 26 years.
page 343
Appendix b
consultations and conferences
The Inquiry consulted with many individuals and organisations in the contemporary visual
arts and craft sector to inform itself about the issues and to encourage sector participation
in the Inquiry. The following list includes not only those who were involved in formal
consultation meetings, but also those who participated by providing assistance, information
and advice to the Inquiry in other ways.
Organisation
Name
200 Gertrude Street
Max Delaney
24hr Art
Cath Bowdler
Jackie Wurm
Alcaston Gallery
Beverly Knight
ANKAAA
Djambawa Marawili
Steph Hawkins
Susan Congreve
Araluen Centre
Caroline Lieber
Suzette Watkins
Arnold, Bloch, Liebler

Art Gallery of NSW
Edmund Capon
Tony Bond
Hetti Perkins
Wayne Tunnicliffe
Art Gallery of SA
Ron Radford
Art Gallery of WA
Gary Dufour
Alan Dodge
Brenda Croft
Trevor Smith
Art Monthly
Phillipa Kelly
ArtBack
Denise Officer
Vanessa McCrae
Artbank
Antonia Syme
Jackie Dunn
Jasmin Stephens
Artists Foundation
Jenny Wright
Artlink Magazine
Stephanie Britton
Arts at Work
Simon Alcorn
page 344
Appendices
Arts Nexus
Eve Stafford
Erik Oates
Arts NT
Sylvia Langford
Chris Capper
Arts NT (Alice Springs)
Lucy Stewart
Arts Qld
Ivan Catlin
Donna McDonald
Suzanne Oberhardt
Arts SA
Kathie Massey
Caroline Treloar
Carolyn Rankin
Claire Witham
Gail Fairlamb
Arts Tasmania
Lynne Uptin
Arts Victoria
Penny Hutchinson
Andrew Abbott
Maria Katsonis
Michael Nation
Arts WA
Allanah Lucas
Keith Sinclair
Nikki Miller
artsACT
Lyn Allen
ArtSource
Jude van der Merwe
Artspace Gallery
Nick Tsoutas
ATSIC
Tamelyn Hall
Australia Council
Dr Terry Cutler
David Gonski
Cathy Craigie
Carol Innes
Karilyn Brown
Geoffrey Taylor
Andrew Donovan
Bernice Gerrand
Australia Council - Visual Arts/Craft Board

Australia Council - Youth Arts Panel
The Australian
Dr Benjamin Genocchio
Australian Business Arts Foundation
Winsome McCaughey
Australian Bureau of Statistics
Theo Neumann
page 345
Australian Centre for Contemporary Art
Stuart Koop
Jenepher Duncan
Australian Centre for Photography
Alisdair Foster
Australian Commercial Galleries Association
Rose Lang
Stuart Purves
Australian National University
David Williams
Nigel Lendon
Australian Network of Art and Technology
Julianne Pierce
Australian War Memorial
Barbara Reeve
Biennale of Sydney
Richard Grayson
Luca Belgiorno-Nettis
Euan Upston
Paula Latos Valier
Boomalli Aboriginal Artists Co-operative
Jeffrey Samuels
Cairns City Council
Peter Tabulo
Cairns Regional Gallery
Michael Narzik
Cairns TAFE
Deanna Grant
Elaine Compton
Canberra Contemporary Art Space
Jane Barney
Kim Chapman
Canberra School of Art
David Williams
Centre for Contemporary Photography
Tessa Dwyer
Contemporary Art Centre of South Australia
Alan Cruikshank
Michael Newell
Contemporary Arts Services Tasmania
Sean Kelly
Michael Edwards
Geoff Parr
Council of Australian Art Museum Directors

Craft Australia
John Odgers
Robert Bell
Craft Queensland
Julie Foster-Burley
CraftACT
Catrina Vignando
Anne Brennan
CraftSouth
Jane Andrew
page 346
Appendices
Craftwest
Lynda Dorrington
Kate McMillan
Craft Victoria
Kevin Murray
Margaret Harkness
Create Australia
Marie Manidis
Curtin University
Ted Snell
Barbara Cotter
Gallery 4A
Gia Nghi Phung
Penny Amberg
Department of Treasury
Roger Brake
David Tune
DESART
Rose Wallace
Anne-Marie May
Experimental Art Foundation
Julie Lawton
Chris Chapman
Michael Grimm
Ken Bolton
Eyeline magazine
Sarah Follent
Fire-Works Gallery
John Armstrong
Michael Eather
First Draft
Jay Rives
George Dann
Vicki Clare
Hazlehurst Gallery
Michael Rolfe
Ian Potter Gallery
Chris McAuliffe
Bala Star
Institute of Modern Art
Michael Snelling
Ivan Dougherty Gallery
Nick Waterlow
Jam Factory
Mark Ferguson
Kick Arts
Anne Harris
Sharon Pacey
Russell Milledge
Melissa Waters
Julie Chisholm
Sonya Olsen
Janet Parfenovics
Terry Enger
page 347
Laetitia Street Studios
Neil Hadden
Lowenstein Sharp
Tom Lowenstein
Macquarie University
Professor David Throsby
Manly Art Gallery
Therese Kenyon
Melbourne Art Fair
Bronwyn Johnson
Guy Abrahams
Ministry for Culture and the Arts (WA)
Ellis Griffiths
Museum of Contemporary Art (MCA)
Elizabeth Ann Macgregor
Museums and Art Gallery of the Northern

Territory
Anna Malgorzewicz
National Association of the Visual Arts

(NAVA)
Tamara Winikoff
Michael Keighery
National Visual Arts and Craft Network

National Gallery of Australia
Dr Brian Kennedy
Robert Bell
National Gallery of Victoria
Gerard Vaughan
Frances Lindsay
Tony Ellwood
NETS Victoria
Naomi Cass
NSW Ministry for the Arts
Roger Wilkins
Jennifer Lindsay
Deborah Ely
Niagara Galleries
William Nuttall
Office of the Premier (Tasmania)
Katherine Hough
Object Centre for Contemporary Craft
Steve Pozel
Alex Bowen
Object Jewellery Studios
Grainne Brunsdon
Papunya Tula Artists

Performance Space
Fiona Winning
Perth Institute of Contemporary Art
Sarah Miller
Philanthropy Australia
Ruth Jones
Philip Bacon Gallery
Philip Bacon
Power Institute of Art History and Theory
Julian Pefanis
Catriona Moore
Blair French
Public Art Agency
John Stafford
Public Galleries Association of Victoria
Giacomina Pradolin
page 348
Appendices
Queensland Artworkers Alliance
Renai Stoneley
Queensland Art Gallery
Doug Hall
Suhanya Raffel
Rhana Devenport
Anna Marsden
Queensland University of Technology
Stuart Cunningham
RAFT Artspace
Dallas Gold
Regional Galleries Association of Qld
Robert Heather
RMIT Gallery
Suzanne Davies
Salamanca Arts Centre
Rosemary Miller
Sherman Galleries
Dr Gene Sherman
Sydney College of the Arts
Margaret Harris
Brad Buckley
Tasmanian Museum and Gallery
David Hansen
Territory Craft
Leonie McNally
University of SA School of Art
Noel Frankham
Victorian College of the Arts
Sue Baker
Andrea Hull
VISCOPY
Anna Ward
Mark Fitz-Gerald
Mark Williams
WA Lotteries
Jan Stewart
Jacquie Thomson
Watch this Space Gallery
Harriet Gaffney
Pip McManus
Witt Design
Alan Witt
Individuals
Julian Burnside
Professor Jan Carter
Bob Edwards
Sandra Ferman
Bernice Murphy
Susan Norrie
Mike Nicholls
Wayne Eager
Marina Strocchi
David Harley
Simone Slee
Robert McKay
Tom Harley
John Kaldor
Carrillo Gantner
page 349
CONFERENCES
National Association of Visual Artists (NAVA): A Fairer Deal: The Way Forward for the
Visual Arts and Craft Sector, Australian National Gallery, August 2001
Queensland University of Technology: Innovationa national arts/media/design
symposium, 27-29 October 2001
Australian Copyright Council: Copyright Symposium: Moral Rights Session, Sydney,
23 November 2001
Australia Council: Promoting the Value of the ArtsNational Seminar on Education and
the Arts, Sydney Opera House, 14 February 2002
National Aboriginal & Torres Strait Islander Visual Art and Craft Conference, Adelaide
5 March 2002
page 350
Appendices
Appendix c
indigenous reference group
The Inquiry established a Reference Group to assist it in identifying key issues for
Indigenous visual artists and craft practitioners. The members of the Group were as follows:
Djon Mundine
Indigenous Curator and Writer
Doreen Mellor
Manager, Bringing Them Home Project, National Library of Australia
Cathy Craigie
Director, Aboriginal and Torres Strait Islander Board Australia Council
Hetti Perkins
Curator, Aboriginal & Torres Strait Islander Art Art Gallery of NSW
page 351
Appendix d
key references
Australia Council, Contemporary Art and
Craft Audience Development Study, Draft
research report commissioned by the
Australia Council and prepared by Woolcott
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OVERVIEW
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ABS, Australian Culture and Leisure
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ABS, Business of music, Australia, cat. no.
4142.0, ABS, Canberra, 1997.
ABS, Commercial Art Galleries, cat. no.
8651.0, ABS, Canberra, 2001.
ABS, Multipliers for Culture-Related
Industries, report prepared by the National
Centre for Culture and Recreation Statistics,
ABS, Adelaide, 2001.
Australia Council, Planning for the Future

Issues, Trends and Opportunities for
the Arts in Australia, Discussion Paper,
Australia Council, Sydney, February 2001.
Caves, R.E., Creative industries: Contracts
between art and commerce, Harvard
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Department for Culture Media and
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ABS, Performing arts industries, Australia,

cat. no. 8697.0, ABS, Canberra, 1998.
Department of Communications and the

Arts, Cultural Trends in Australia No 7: Art
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ABS, Work in selected culture and leisure

activities, Australia, cat. no. 6281.0, ABS,
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Furphy, J., The Australian Art Sales Digest,

Acorn Media, Victoria, 2000.
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contribution of Australias copyright
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Australian Copyright Council and the Centre
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A Report to the Australia Council from
Saatchi & Saatchi Australia, Australia
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Gibson, L., The Uses of Art, University of

Queensland Press, Brisbane, 2001
Guldberg, H.H., The arts economy 1968
1998: Three decades of growth in Australia,
Australia Council Research Report, Australia
Howard, J. Transcript of the Prime Minister
the Hon John Howard MP Launch of
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Madden, C., The Economic Benefits of Art,
Discussion paper commissioned by Creative
New Zealand, 1998.
Appendices
Mercer, C. Creative Country: Review of the

ATSIC Arts and Crafts Industry Support
Strategy (ACISS), report prepared for the
Culture Section, Culture, Legal and Family
Policy Branch, ATSIC, AGPS, Canberra, 1997.
Mercer, C., Creative Country: Review of

the ATSIC Arts and Crafts Industry Support
Rimmer, J., Australian Content: New

Imperatives and Opportunities in the
Global Electronic Marketplace, Speech to
OZeCulture conference, Melbourne,
14 June 2001.
Throsby, C.D. and Thompson, B., But What

do you do for a Living?: A New Economic
Study of Australian Artists, Australia
Rimmer, J., Clash of Cultures >>New

Partnerships >> Innovation, Presentation
to the 3rd meeting of the Prime Ministers
Science, Engineering and Innovation
Council, 25 June 1999.
Stevenson, D., Art and Organisation,
University of Queenland Press,
Brisbane, 2000.
Throsby, C.D. and Thompson, B. But What
Throsby, C.D., Economics and Culture,
Cambridge University Press,
Cambridge, 2001.
Throsby, C. D. Economics and Culture,

Cambridge University Press, Cambridge,
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Wright, F. and Morphy, F. (eds), The art and
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in remote Australia, Volume 1 Report, ATSIC,
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Education, training, graduates

and emerging artists
ABS, Supply and Demand for Arts
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Art and Design Education Resource Guide
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Arts Training Australia, Mapping the Visual

Arts and Crafts, Arts Training Australia,
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Australia Council, Australians and the Arts,

Australia Council, Sydney, 1998.

8651.0, ABS, Canberra, 2001.
Australia Council, Planning for the future:

statistical profile, Australia Council, Sydney,
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ABS, Museums, cat. no. 8560.0, ABS,

Canberra, 2001.
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page 353
Cunningham, S. and Hartley, J., Creative

Industries: from Blue Poles to fat pipes,
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de Williams, D. How I got my first solo

exhibition, from Artists Talk, West Space,
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Brown, K. Review of the Visual Arts Boards

Program of Assistance for Contemporary
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Department of Education, Science and

Training (DEST), Students 2001: Selected
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CARFAC, Minimum Copyright Fee Schedule

2002, at www.carfac.ca.
Department of Education, Training and

Youth Affairs, Students 2000: Selected
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VAIGRP, Code of Practice for the Australian

Visual Arts and Craft Sector, NAVA, Sydney,
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Simpson, S. The Loan of Work for Public
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Senate Environment, Recreation,

Communications and the Arts References
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New technology
Strand, D., Research in the Creative Arts,

Evaluations and Investigations Program
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Britton, S. State of the Art Paper, 1997, at

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Catts, O. and Zurr, I. The Pig Wing
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Relationship between the

artist and the Commercial
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Cleland, K. Australias New Media Arts:

Going the Distance, 2001.
Jordan, C. Artist and dealer getting a fair

deal: The artist/gallery relationship 132
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Munster, A. Collaboration, Intersection or

Hybridisation? Interfacing Art, Science and
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VAIGRP (Visual Artist Industry Guidelines

Research Project), The Code of Practice for
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NAVA, Sydney, 2001.
Murray, K. Craft is dead, long live craft! site

(www.lexicon.net/cid/slow.htm) April 2002.
Artists fees, loan fees and

exhibition fees
Australia Council, Visual Arts/Craft: 199496
Programs of Assistance, Australia Council,
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Australia Council, Support for the Arts
Handbook 2002, Australia Council,
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page 354
Rimmer, J., Clash of Cultures >>New

Partnerships >> Innovation, Presentation
to the 3rd meeting of the Prime Ministers
Science, Engineering and Innovation
Council, 25 June 1999.
Funding for artists

Bardez, C. and Throsby, D. Similarity and
Difference: Craftspeople and Visual Artists
in Australia, Australia Council, 1997.
Appendices
Status of the artist

Canadian Alliance of Dance Artists,
Self-employed or not self-employed: A
cautionary tale, at www.mcsquared.com/
cada/contract.htm.
Canadian Artists and Producers
Professional Relations Tribunal, Federal
Status of the Artist Act 2000 (16)
Information Bulletin.
CARfac@Collective, Collective News, Issue
3, November 1999, at www.carfac.ca/
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Caupova, R. The Legal Aspects of the
Status of the Artist, Tallinan, 2000.
Cliche, D. Status of the Artist or of Arts
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Canadian Status of the Artist Act, 21(2)
Canadian Journal of Communications, 1996.
Department of Canadian Heritage,
Connecting to the Canadian Experience:
Diversity, Creativity and Choice, at
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Jackson, J. and Lemieux, R. The Arts and
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UNESCO, Recommendation Concerning

the Status of the Artist, 1980, Belgrade
Convention, at www.unesco.org/human_
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Paris 1620 June 1997, Paris, 1997,
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Incomes, taxation and social

security
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TR 97/11: Income tax: am I carrying on
a business of primary production?, ATO,
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Commonwealth of Australia, New
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European Industrial Relations Observatory
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Three Decades of Growth in Australia,
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Competition Principles Agreement, 2000,
at http://law.gov.au/ipcr/finalreport1dec/
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IP Australia, What is Intellectual Property?,
2001, at www.ipaustralia.gov.au/ip/W_
type1.htm.
Loren, L. P. The Purpose of Copyright,
2(1) Open Spaces Quarterly, Oct 2001,
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Maslen, G. Agreement Reached on
Copyright Cost, The Age, 7 March 2002, at
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Maslen, G. Copyrights and Wrongs,
The Age, 24 April 2001.
Appendices
McDonald, I. Copyright and Moral Rights

Industry Guidelines Research Project, 2001.
McDonald, I. When is an Exception not an
Exception? Two-dimensional Reproductions
of Public Art, 20 (1) Copyright Reporter 24,
February 2002.
Morrison, V. The New Moral Rights
Legislation, 18(4) Copyright Reporter, 2000.
Rothnie, W. Consents and Waivers, Paper
Delivered at the Copyright Law and Practice
Symposium, Sydney, November 23 2001.
Simpson, S. Moral Rights in Practice: Visual
Arts, Paper Delivered at the Copyright
Law and Practice Symposium, Sydney,
November 23 2001.
Towse, R. Copyright and the Cultural
Industries: Incentives and Earnings, Paper
for Presentation to the Korea Infomedia
Lawyers Association, Seoul,
30 October 2000.
Wyburn, M. Recent Developments in
Australian Copyright Law 18(3) Copyright
Reporter, 2000.
Indigenous intellectual
property
Aboriginal and Torres Strait Islander
Commission, Intellectual Property, at
www.atsic.gov.au/indigenous_Rights/
intellectual_property/Default.asp.
Altman, J. The Indigenous Visual Arts
Industry: Issues and Prospects for the
Next Decade 20 (1) Artlink Australian
Contemporary Art Quarterly, 2000, pp. 8692.
Balmain, A. Artists Olympian Struggle to
get Justice for Brushstrokes, The Age, 19
June 2001.
page 359
Davis, M. Indigenous Peoples and

Intellectual Property Rights, Australian
Parliamentary Library Research Paper 20
19961997, at www.aph.gov.au/library.
Githaiga, J. W. Intellectual Property Law
and the Protection of Indigenous Folklore
and Knowledge, 5 (2) E Law Murdoch
University Electronic Journal of Law, June
1998, at www.murdoch.edu.au/elaw/issues/
v5n2/githaiga52nf.html.
Heiss, A. Australian Copyright vs
Indigenous Intellectual and Property
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Society of Authors, at www.asauthors.org/
Indigenous_papers/iicpr.html.
House of Aboriginality Project, House
of Aboriginality: Copyright and Cultural
Integrity Issues in the Merchandising of
Aboriginal Imagery, Macquarie University,
Sydney, 1999, at www.mq.edu.au/house_
of_aboriginality.
Janke, T. A Moral Issue: Moral Rights
and Indigenous Peoples Cultural Rights,
NIAAA Newsletter, Sydney, Autumn 2001, at
Janke, T. Our Culture: Our Future. Report
on Australian Indigenous Cultural and
Intellectual Property Rights. Prepared for
ATSIC by Michael Frankel & Co, Canberra,
1998, at www.icip.lawnet.com.au/
index.html.
Janke, T. Protecting Australian Indigenous
Arts and Cultural Expression: A Matter of
Legislative Reform or Cultural Policy?,
17 (3) Culture and Policy, 1996.
McDonald, I. Copyright and Moral Rights
dustry Guidelines Research Project, 2001.
Mellor, D. and Janke, T. Valuing Art,

Respecting Culture: Protocols for Working
with the Australian Indigenous Visual Arts
and Crafts Sector, National Association for
the Visual Arts (NAVA), Sydney, 2001.
Moses, A. Winning Artist Despairs Tea
Towel Images, Sydney Morning Herald,
12 December 2001, p. 5.
National Indigenous Arts Advocacy
Association, Label of Authenticity Project,
NIAAA Newsletter, Sydney, Autumn 2001, at
Australia Council and the Department of the

Arts, Sport, the Environment, Tourism and
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Backhouse, M. Not all say droit de sweet,
The Age, 28 November 2000.
Berger, F. B. Should Visual Artists
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Association, NIAAA and the Label
of Authenticity, Sydney, 2000, at
Berne Convention for the Protection of

Literary and Artistic Works, Paris Act of
24 July 1971, Droit de suite in works of
art and manuscripts, as amended on
28 September 1979, World Intellectual
Property Organisation (WIPO), Geneva,
Article 14ter.
Parliament of Australia, Senate Official

Hansard, No 18, 7 December 2000.
Burrell, R. Recent Developments in

European Copyright Law, 2002.
Protection of Movable Cultural Heritage

Amendment Act 1999 (Cth).
Carleton, W. A. Copyright Royalties for

Visual Artists: A Display-based Alternative
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Transcript of Proceedings, Talking

Protecting Keeping: Our Aboriginal Arts
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Resale royalty
Alderman, E. C. Resale Royalties in the
United States for Fine Visual Artists: An
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Artists Against Droit de Suite, cited
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03/artists.royalties/
Australian Copyright Council, Droit de Suite:
The Art Resale Royalty and its Implications
for Australia, A report commissioned by the
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EC (Commission of the European
Communities) 2000, Communication from
the Commission to the European Parliament
pursuant to the second paragraph of
Article 251(2) of the EC Treaty concerning
the common position of the Council on the
adoption of a proposal for a Directive on
the resale right for the benefit of the author
of an original work of art, 15 September
2000, Brussels.
Davis, A. Artist Resale Royalties,
The Arts Law Centre of Australia, 2000,
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Appendices
Duffield, R. The Artists Resale Right at

the International Level, Paper delivered at
the European Commissions International
Conference on Management and Legitimate
Use of Intellectual Property, Strasbourg 9-11
July 2000, at www.europeanvisualartists.org
Kirstein, R. and Schmidtchen, D. Do

Artists Benefit from Resale Royalties? An
Economic Analysis of a New EU Direction,
Centre for Law and Economics, at www.unisaarland.de/fak1/fr12/csle/publications/
2000-07_dds4.pdf.
European Parliament and the Council of the

European Union, Directive 2000/EC of the
European Parliament and of the Council of
the European Union on the resale right for
the benefit of the author of an original work
of art (1996/0085), Brussels, 19 July 2001.
Labi, A. The Art of the Deal, 155(13) Time

Europe, April 3 2000, at www.time.com/
time/europe/magazine/2000/0403/
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European Visual Artists (EVA),

Statements on the proposed
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Filer, R. 1984, A Theoretical Analysis of the
Economic Impact of Artists Resale Royalties
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Furphy, J. 2000, The Australian Art Sales
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Hansmann, H. and Santilli, M. Authors and
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Janke, T. and Quiggin, R. Getting from
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by Terri Janke and Company for the
Aboriginal and Torres Strait Islander Board
of the Australia Council, Sydney, 2001.
Janke, T. Our Culture: Our Future. Report
on Australian Indigenous Cultural and
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1998, at www.icip.lawnet.com.au/
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page 361
Lords Hansard, Art Market: VAT

and Droit de Suite, 18 May 1998, at
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McCain, R. 1989, Artists Resale Dividends:
Some Economic-Theoretic Considerations,
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Merryman, J. H. and Elsen, A. E. Law,
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International, London, 1998.
Metaxas-Maranghidis, G. (ed.), Intellectual
Property Laws of Europe, J. Wiley, New York,
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MTIC Limited, Droit de Suite in the UK,
report for the British Patent Office, United
Kingdom, 1999.
Murphy, C. How the French killed their art
market 140(12) Fortune, New York, Dec
1999, p. 63.
Pfennig, G. Practical aspects of the
exercise of the droit de suite, including
in the digital environment, and its effects
on developments in the international
art market and on the improvement
of the protection of visual artists,
Intergovernmental Copyright Committee,
Paris, 2001, at
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Santagata, W. Rights Allocation in the

Contemporary Art Market: Copyright, Droit
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Scadplus, Proprit Intellectuelle. Droit
dauteur et droits voisins: droit de suite
de lauteur dune uvre dart originale
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of the Droit de Suite, Working Paper,
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Van Haeften, J. Briefing Document: Droit
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VISCOPY, Aboriginal and Torres Strait
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Estate planning
Bamberger, A. Plan Your Estate Before its
Too Late, 2000, at www.artibusiness.com.
Moore, P., Trasobares, C., Silberman, J., and
Racanelli, J., Future Safe: Visual Arts, The
Estate Project for Artists with AIDS, 1997,
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STRENGTHENING THE
INFRASTRUCTURE
Australia Council, Annual Report 2000
2001, Sydney, 2001.
Handbook, Sydney, 2001.
Australia Council, VAB Assistance for
Contemporary Art Spaces Policy Guideline,
Sydney, March 1987.
Australia Council, Visual Arts/Craft Board:
National Infrastructure Review - Summary
and Recommendations, Australia Council,
Sydney, July 1993.
Brown, K. Artist Run Spaces, Report to
the Visual Arts Board, Australia Council,
Sydney, 1987.
Cochrane, G. The Crafts Movement in
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Freeland, J. Report on a National Craft
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Ioannou, N., The Culture Brokers: Towards
a Redefinition of Australian Craft, Statae
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Distance papers from the 2nd National
Regional Galleries Summit 2001, 2001.
Appendices
Mercer, C., Creative Country: Review of

the ATSIC Arts and Crafts Industry Support
Australia Council, To Sell Art, Know Your

MarketSurvey of Visual Art and Fine Craft
Buyers, Research Report commissioned
by the Australia Council and prepared by
Quadrant Research Services, Australia
Power Institute of Fine Art and the National

Association of Visual Arts, A Planning
Matrix for the Visual Arts, 2002.
Australia Council, Australians and the Arts,

Research report commissioned by the
Snelling, M, Discussion Paper for a review

of the National Infrastructure Program,
Australia Council, Sydney 1992
Australia Council and prepared by Saatchi

and Saatchi Australia, Australia Council,
Sydney, 2000.
Wright, F. and Morphy, F. (eds), The art and

craft centre story: a survey of thirty -nine
Canberra, 1999.
Australia Council, Contemporary Art and

Craft Audience Development Study, Draft
research report commissioned by the
Australia Council and prepared by Woolcott
Research and Positive Solutions,
December, 2001.
EXPANDING THE MARKET
The commercial market
Audiences
ABS, Attendance at selected cultural
venues, cat. no. 4114.0, ABS, Adelaide,
1999.
Antiques and Art Australia, Virtual Gallery,

2000, at www.antique-art.com.au/gallery/
index.cfm.
Australian Art Collector 2000, no. 12, p. 39.
ABS, Cultural Funding, cat. no. 4183.0, ABS,

Adelaide, 2001.

8651.0, ABS, Melbourne, 2001.
ABS, Input-output tables product details,

cat. no. 5215.0, ABS, Canberra, 2001.
Department of Communications and the

Arts, Cultural Trends in Australia No 7: Art
and Craft Purchases 1997, Canberra, 1998.
ABS, Museums, cat. no. 8560.0, ABS,

Melbourne, 2001.
Canberra, 2001.
Australia Council, Corporate support for the
arts 1996, Research Report commissioned
by the Australia Council and prepared by
Yann Campbell Hoare Wheeler, Australia
page 363
ebay, Art, at http://pages.ebay.com/

catindex/art.html.
Furphy, J. The Australian Art Sales Digest,
Acorn Media, Victoria, 2000.
Guldberg, H. The arts economy 1968-98:
Three decades of growth in Australia,
The Australia Council, Sydney, 2000.
Maslen, G. Cyber Art Sales, The Age, 31
October 2001, at www.theage.com.au
Melbourne Art Fair 2002,

www.artfair.com.au/2002/index.htm.
artsACT website, www.arts.act.gov.au/,

February 2002.
National Association for the Visual Arts,

Money for Visual Artists, Fifth Edition,
Sydney, 2000.
arts NT website, www.nt.gov.au/cdsca/dam/

artsnt_intro.htm, February 2002.
VAIGRP, The Code of Practice for the

Australian Visual Arts and Craft Sector,
NAVA, Sydney, 2001.
Artspace website, www.artspace.org.au/,

February 2002.
Arts Queensland website,
www.arts.qld.gov.au/, February 2002.
Throsby, D., and Thompson, B., But What Do

You Do For a Living? A New Economic Study
of Australian Artists, Australia Council for
the Arts, Sydney, 1994.
Turner, B., Sold! The Art Boom, Australian
Financial Review, 29 October, 1999, p. 62.
Wright, F., and Morphy, F., (eds), The art and
craft centre story: a survey of thirty nine
Canberra, 1999.
Promotion and access

through touring
Arts SA, Arts Industry Development

Programs 2001, Arts SA.
Arts SA website, www.arts.sa.gov.au/,
February 2002.
Arts Tasmania website,
www.arts.tas.gov.au/, February 2002.
Arts WA website, http://
hosted.at.imago.com.au/artswa/, February
2002.
Asialink website, www.asialink.unimelb.edu
.au/arts/, February 2002.
Backhouse, M. Arts Council Repudiates Artas-Trade Accusation, Age Review,
20 February 2002, p. 6.
DCITA, Visions of Australia Guidelines,

available on at the DCITA website,
www.dcita.gov.au.
Major events
Department of Foreign Affairs and Trade,

Promoting Australias Culture Abroad
Aims, Australia International Cultural
Council, www.dfat.gov.au/aicc/paca/
aims.html.
Hutak, M. Viva Pitch, The Bulletin,
5 March 2002, p. 72.
Hutak, M., The Bulletin, April 16 2002.
International promotion and

exchange
AFWA website, www.afwa.com.au/,
February 2002.
page 364
Ingram, T. Europeans Catch Knight Fever

at Madrid Art Fair, Australian Financial
Review, 21 February 2002, p. 45.
NSW Ministry for the Arts website,
www.arts.nsw.gov.au/, February 2002.
Appendices
Writing and publishing
Coalition, Arts For All, Election 2001.
Bonnin, M., Visual Arts/Craft Board

Publications Review, Australia Council,
Sydney, 1988, page 2.
Cripps, P., A Review of the VACBs Funding
of Exhibition Catalogues, and Research into
Strategies for Future Support, Australia
Special projects
Glenorchy City Council website,

www.gcc.tas.gov.au/.
Government of South Australia, Arts
Statement 2000-01, www.arts.sa.gov.au/
arts-statement/statement2000-01.pdf.
Liverpool City Council website,
www.liverpool.nsw.gov.au/council/.
City of Melbourne, Melbourne: a city for the
arts (summary of the City of Melbournes
cultural policy), Melbourne, 1999.
National Centre for Culture and Recreation
Statistics, ABS, Cultural Funding in Australia
Three Tiers of Government, 19992000,
Cultural Ministers Council Statistics
Working Group, 2002

Handbook 2002, Australia Council,
Sydney, 2001.
RESOURCING THE SECTOR

Effective government
intervention
artsACT website, www.arts.act.gov.au/,
February 2002.
artsACT, Arts Capital The Arts
Development Strategy for the ACT,
Canberra, 1999.
Arts Queensland, Annual Report
200001, www.arts.qld.gov.au/resources/
AQAnnRep.pdf.
Arts SA, Arts Industry Development
Programs 2001, Adelaide, 2001.
Australia Council, Annual Report 2000
2001, Sydney, 2001.
Handbook 2002, Sydney, 2001.
City of Port Phillip website,
www.portphillip.vic.gov.au.
page 365
Newcastle City Council, Towards

a Sustainable Cultural Industry: a
cultural policy for Newcastle, 2002,
www.ncc.nsw.gov.au/council/strategies/
cultrlindustry/cultrlind.pdf.
NSW Ministry for the Arts, Annual Report
20002001, www.arts.nsw.gov.au/Pubs/
Ann_Rep/annrep.htm.
Thiele, M., (ed), Dissolving Distance
Papers from the 2nd National Regional
Galleries Summit 2001,
Global Art Projects, 2001.
Western Australian Ministry for Culture and
the Arts, Annual Report 19992000,
www.cultureandarts.wa.gov.au/.
Western Australian Ministry for
Culture and the Arts website,
www.cultureandarts.wa.gov.au/.
Philanthropy and sponsorship

Asia-Pacific Philanthropy Information
Network, Third Sector Overview:
Definitions and Forms, 2000, at www.asian
philanthropy.org/countries/overview_detail
s.cfm?country=I&id=2
Australia Council, Corporate Support for the
Arts 1996, Redfern, 1996.
Australia Business Arts Foundation,
adviceBank: A Fund of Knowledge and
Experience, Melbourne, 2001.
Australia Business Arts Foundation, AbaF
Awards, at www.abaf.org.au/awards.html.
Australia Business Arts Foundation:
Enriching the Community by Investing in
Australias Culture, News, November 2001.
Business Arts Partnerships: A Guide to the
Business Case Approach for the Cultural
Sector, Melbourne, 2001.
Australia Business Arts Foundation, Large
Companies More Likely to Support the
Arts, Newsletter, December 2001, at
www.abaf.org.au/public/0112/0112_02.html.
Australia Business Arts Foundation, More
Business Support for the Arts, Newsletter,
December 2001, at www.abaf.org.au/public/
0112/0112_01.html.
The Strategic Direction in Corporate
Sponsorships: Practical Implications for the
Arts, Cultural Ministers Council Statistics
Working Group, Feb 2002.
Australia Council Act 1975 (Cth).
Australia Foundation for Culture and the
Humanities, The Business Case for Cultural
Investment, Melbourne, 1999.
page 366
Australian Sports Foundation Ltd, A

Guide to Tax Deductable Donations,
at www.asf.org.au/whatwedo/
makingdonation.htm.
Australian Taxation Office, Guidelines
for Prescribed Private Funds, 2001, p. 1,
at www.ato.gov.au/download.asp?file=/
content/professionals/downloads/PPF_
guidelines_final.rtf.
Australian Taxation Office, Taxation
Ruling. Income tax: public libraries, public
museums and public art galleries, TR
2000/10, at http://law.ato.gov.au.
Australian Taxation Office, The
endorsement process for deductible gift
recipients (DGRs) fact sheet, 2000, at
www.ato.gov.au.
Business in the Community, Corporate
Community Involvement, at
www.business-impact.org.uk.
Centre for Corporate Public Affairs,
Corporate Community Involvement:
Establishing a Business Case, Melbourne,
2000, at www.accpa.com.au.
Council on Foundations, Foundation Facts,
at www.cof.org/whatis/types/content.htm.
Crawford, A. Philanthropy The New Wave,
The Age, 14 November 2001, p. 1.
David and Lucile Packard Foundation,
Program Overview 2001, at
www.packfound.org/pdf/2001progover.pdf.
Cultural Register: Guide, Canberra, 2001, at
www.dcita.gov.au/roco.
Register of Cultural Organisations Fact
Sheet, at www.dcita.gov.au.
Appendices
Tax Incentives: Taxation Incentives for
Cultural Donations, Information Pack,
September 2001.
IC (Industry Commission), Charity

Organisations in Australia, Industry
Commission Inquiry report, Industry
Commission, Melbourne, 1995.
Income Tax Assessment Act 1997 (Cth).
Department of Foreign Affairs and Trade,

Australia Now: Arts Support, Country,
Economy and Regional Information, at
www.dfat.gov.au/facts/arts_support.html.
Fishel, D. Australian Philanthropy and
the Arts: How Does it Compare?, 4(2)
International Journal of Arts Management,
Winter 2002, p. 11.
Ford Foundation, Mission Statement, 2001,
at www.fordfound.org/about/mission.cfm.
Foundation for Rural and Regional Renewal,
Background, at www.frrr.netconnect.com.a
u/what_is/intro.htm.
Gardiner-Garden, J. Arts Policy in Australia:
A History of Commonwealth Involvement
in the Arts, Background Paper No 5,
Parliamentary Research Service, 1994.
Givewell, Statistics: Important Statistics on
the State of Australian Philanthropy, 1995,
at www.givewell.com.au/statistics.asp.
Gordon Darling Foundation, Foundation
Profile, at http://pandora.nla.gov.au/
nph-arch/1999/Z1999-Jul-14/http://
www.arts.monash.edu.au/visarts/globe/
issue4/gdf1.html.
Grantmakers in the Arts, Who We Are, at
www.giarts.org.
Harold Mitchell Foundation, Supporting
Health and the Arts, at
www.haroldmitchellfoundation.com.au.
Ian Potter Foundation and the Ian Potter
Cultural Trust, Scope of Benefactions, at
www.ianpotter.org.au/interest.htm
page 367
Innovation Through Partnerships,

Why Bother with Innovation through
Partnerships?, at www.innovationpartnership.org/theSite/dsp_chart.cfm.
Internal Revenue Service, Types
of Tax-Exempt Organisations, at
www.irs.ustreas.gov/prod/bus_info/eo/eotypes.html.
Jones, L., and Warshawski, M. Creative
Family Giving in the Arts, Grantmakers in
the Arts Field Resource Book, Vol 2, Seattle,
2000.
Lyons, M., Australias Nonprofit Sector,
Australian Bureau of Statistics, Yearbook
Australia, 1999, at www.abs.gov.au/
ausstats/[email protected]/94713ad445ff1425ca256
82000192af2/5ebe1496169c5d31ca2569de
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Lyons, M., and Hocking, S., The Dimensions
of Australias Third Sector: Report of the
Australian Nonprofit Data Project, Centre
for Australian Community Organisations
and Management (CACOM), University of
Technology, Sydney, 2000.
Mehra, M., New Frontiers of Corporate
Responsibility and Accountability:
Response and Remaining Challenges,
Second Global Forum on Human
Development, United National Development
Program, 2000.
Myer Foundation, Annual Report 19992000, Melbourne, at www.myerfoundation.
org.au/mfar9900.pdf.
National Endowment for the Arts, Cultural
Funding: Federal Programs.
Patrick, A., Charity begins at home, not

in the boardroom, Australian Financial
Review, 4 April 2001, p. 3.
Royal Melbourne Institute of Technology,

2002 Siemens Fine Arts Scholarship
Awards Ceremony and Exhibition,
6 December 2001, at www.rmit.edu.au.
Philanthropy Australia, Submission to the

Inquiry into the Definition of Charities and
Related Organisations, January 2001, at
www.philanthropy.org.au/pdfs/submissionto-inquiry.pdf.
Sandilands, J., Australia: A Community of

Philanthropy 47 International Dateline,
Winter 1998, at www.cof.org/newsroom/
newsletters/international/index.htm.
Philanthropy Australia, Gifts and Donations

in Australia, at www.philanthropy.org.au/
factsheets/7-05-04-gifts.htm.
Simpson, S., Sponsorship,

Simpsons Solicitors, Sydney, at
Philanthropy Australia, Tax Concessions

for Arts Donations: Australia, US, UK,
Canada, 2001.
Spiller Gibbins Swan, The Business

Environment for Contemporary Art in
Victoria A Forum, Melbourne, 1999.
Philanthropy Australia, The Non-profit

Sector in Australia. Donations to Charity
International Comparison, Factsheets, at
www.philanthropy.org.au/factsheets/
7-05-03-nonprof.htm.
Taxation Taskforce, Memorandum

Business and Community Partnerships,
1999.
Prime Minister of Australia, Commonwealth

Government Tax Measures to Encourage
Philanthropy, Media Release, 26 March
1999, at www.pm.gov.au/news/media_
releases/1999/philanthropy2603.htm.
Timmons, G. Philanthropy and

Partnerships: Communities Leading
Change, Lance Reichstein Charitable
Foundation, Regional Australia Summit
1999, at www.dotrs.gov.au/regional/
summit/program/background/pdf/timmons_
paper.pdf.
Treasury, Reform of the Australian Tax
System: Draft White Paper, AGPS,
Canberra, 1985.
Prime Ministers Community Business

Partnership, CBP The History
The Challenge,
www.partnership.zip.com.au
Treasury, Tax Expenditures Statement 2000,

Commonwealth of Australia,
Canberra, 2001.
Prime Ministers Community Business

Partnership, Partnerships
Making Them Work, Sydney, 2000,
at www.partnership.zip.com.au
Rockerfeller Foundation, The Programs
Creativity & Culture, 2001, at
www.rockfound.org/display.asp?context=3
&SectionTypeID=16&Preview=0&ARCurre
nt=1.
page 368
Appendices
Appendix e
submissions
Artists Union
Government agencies
Artlink

Commission
Arts Industry Council (Victoria)

The Arts Law Centre of Australia Centre
of Australia
Arts Queensland
Arts SA
Arts Training NSW
Arts Tasmania
Artspace
Arts WA
Department of Arts and Museums Northern
Territory
Department of Education, Science and
Training
Department of Employment, Workplace
Relations and Small Business
NSW Ministry for the Arts
Artworkers Allliance
Asialink
Association of Sculptors of Victoria
Association of Western Australian
Art Galleries
Australia Council Multicultural
Advisory Committee
Australia Council Youth Arts Panel
Organisations
Australian Art Collector Magazine
200 Gertrude Street
Australian Centre for Contemporary Art
24hr Art The NT Centre for

Contemporary Art
Australian Centre for Photography
Association of Northern, Kimberley and

Arnhem Aboriginal Artists (ANKAAA)
Australian Copyright Council
Art Gallery of NSW

Art Gallery of SA
Australian Institute of Professional

Photography
Art Gallery of WA
Australian Network for Art and Technology

(ANAT)
Art Gallery of WA, Indigenous Art
Australian Research Council
Art on the Move
Australian Watercolour Institute
Artback NT Arts Touring
Australian Wearable Art Association
Artists Foundation of WA
Awesome Arts Australia
page 369
Batchelor Institute of Indigenous

Tertiary Education
Gallery 4A
Global Arts Link
Biennale of Sydney
Institute of Modern Art
Block Gallery
International Works On Paper Fair
Briefcase
Cairns City Council
Jam Factory Contemporary Craft & Design
Lismore Regional Art Gallery
Canberra Potters Association
Mackay Artspace
Marion Marshall Studios
Centre for Contemporary Photography
Museum of Contemporary Art (MCA)
Christies Australia
Museum Victoria
City of Sydney
Museums and Galleries Foundation of NSW
Community Cultural Development Network

Contemporary Art Centre of SA
Museums Australia - Visual Arts, Crafts and

Design Special Interest Group
Contemporary Art Services Tasmania
Museums Australia (WA)
Contemporary Arts Organisations of

Australia (CAOS)
National Association for the Visual Arts

(NAVA)
Copyright Agency Ltd
National Gallery of Australia

Association
Country Arts SA
National Potrait Gallery
Country Arts WA
National Regional Galleries Association

Co-ordinating Committee
Craft Australia
Craft Organisations Australia
Craft Queensland
National Exhibitions Touring Support

(NETS) Australia
CraftSouth
Nexus Multicultural Arts Centre
CREATE Australia
Niagara Galleries
Designer Makers Tasmania
ObjectAustralian Centre for Craft and

Design
Experimental Art Foundation
Performance Space
Eyeline Publishing
Perth Institute of Contemporary Art
Firstdraft Gallery
Furniture Design Department, Tasmanian
School of Art
page 370
Print Council of Australia
Appendices
Printmakers of WA
Design Schools (ACUADS)
Promoting Electoral Awareness of the

Artists Status in Society (PEAASS)
The Bakehouse Gallery

The Hand Weavers and Spinners of NSW
Public Galleries Association of Victoria

Quadrivium
The Knitters Guild Inc (NSW)

The Painters and Sculptors Association
The Print Council of Australia
Queensland Arts Council
Upper Clarence Community & Economic

Development Organisation
Queensland College of Art, Griffith

University
Victorian College of the Arts, School of Art
Queensland Potters Association
Victorian Tapestry Workshop
Queensland University of Technology (QUT)

Cultural Precinct
VISCOPY
Watters Gallery
Redback Gallery
Regional Galleries Association of NSW
West Space
Regional Galleries Association of

Queensland
Individuals
Ricochet Productions
Willow Aliento
Royal Melbourne Institute of Technology

(RMIT)
Barrie Brennan
Roar Studios
Jane Burns
John Collis
Roma Mitchell Arts Education Centre
Sandra Cook
Sculpture by the Sea
Gordon Darling AO CMG
Sherman Galleries
Arthur Davies
Society of Arts and Crafts of NSW
Richard Dunn
Sothebys Australia
Anne Ferran
South Australia School of Art
Kevin Free
South Australian Youth Arts Board
Lisanne Gibson
Stills Gallery
Sandra Hall
Sturt Contemporary Craft
Patrick Hall
Tasmanian School of Art
Julienne Home
Territory Craft
Noris Ioannou
The Australian Council of University Art and
page 371
John Irving
Beth Jackson
Lara Travis
Isobel Johnston
Brian Tucker
Sue Kalab
Ken Wach
Lisa Kelly
Keith Ward
Marie Klement
Peter Wilde
Helen Lancaster
Norman Wilson
Darani Lewers
Anne Lord
James Lynch
Andrew MacDonald
Irene Manion
Pip McManus
Kate McMillan
Lyn Merrington
Kevin Murray
Jill Noble
Nick Oughton
Daniel Palmer
Alan Peascod
Carole Pemberton
Hetti Perkins
Christine Polowyj
Debra Porch
Damien Prokop
Margaret Roberts
Gene Sherman
Anneke Silver
Doug Spowart
Marina Strocchi
Marc Sutton
page 372
Introduction
Appendix f
glossary of
acronyms
AbaF
Australia Business Arts Foundation
DEWR
Department of Employment and
Workplace Relations
ABS
Australian Bureau of Statistics
DFAT
ARC
IPCRC
Intellectual Property and Competition
Review Committee
Australian Research Council

ARI
Artist-run initiative
NAVA
ATO
Australian Taxation Office
ATSIAB
Aboriginal and Torres Strait Islander Board
(Australia Council)
ATSIC
Commission
NIAAA
Association
NMAB
New Media Arts Board (Australia Council)
OH&S
Occupational Health and Safety
CMC
Cultural Ministers Council
ROCO
Register of Cultural Organisations
DCITA
Information Technology and the Arts
VACB
Visual Arts and Craft Board
(Australia Council)
DEST
Department of Education, Science
and Training
VAIGRP
Visual Arts Industry Guidelines
Research Project
page 373
Appendix g
derivation of value added estimates
for the contemporary visual arts
and craft sector
The value added of an industry is commonly put forward as the most appropriate measure
of an industrys contribution to the national economy.815 The value added of an industry is
its contribution to GDP after deducting the cost of raw materials, fuel, power, services and
other purchases from the industrys turnover. Thus, value added largely consists of the
wages, salaries and operating surplus (profit) of an industry.816
Historically, there have been inconsistencies in the way industries contributions have been
calculated. Prior to 1997, the contribution of some industries was calculated using industry
gross producta related conceptrather than industry value added.817 The earlier Service
Industry Surveys of the ABS, which are used in this analysis, are examples of this. Allen
Consulting Group estimates that, on average, estimates of industry contribution measured
by gross product are 94 per cent of the estimates using value added.818 While recognising
the difference between the two measures, given the relatively close concordance between
gross product and value added, no distinction will be made for the purpose of this analysis.
Derivation of estimates
Unfortunately, there are no data on the value added by the contemporary visual arts and
craft sector as defined in this reportindeed most value added data are aggregated to the
industry subdivision level. Subsequently, value added data for the contemporary visual arts
and craft sector are hidden in the value added estimates for several industry subdivisions
contained in the Australian National Accounts (ANA), namely:
Libraries, museums and the arts (Subdivision 92);
Education (Subdivision 84);
Printing, publishing and recorded media (Subdivision 24);
Personal and household goods retailing (Subdivision 52);
Business services (Subdivision 78); and
Other services (Subdivision 96).
As a result, data from a number of sources have been used to estimate the value added for
the contemporary visual arts and craft sector (Table A1). Additionally, the most recent ANA
product detail publication819 contains data for 199697; as the estimate for the value added
of visual arts and craft creation is derived from this figure, the total sector value added is
also measured at 199697. The methodology is detailed below.
815.
816.
817.
818.
819.
See, among others, Allen Consulting Group 2001; Guldberg 2000.

Allen Consulting Group 2001.
ABS 2001.
page 374
Appendices
Table A1: Value added of contemporary visual arts and craft sector, 199697
Activities
Value added
$m
1. The creation of visual arts and crafts
129.5
2. The collection and display of visual art and craft items
9.3
3. Writing about contemporary visual arts and craft in magazines,

journals and newspapers
1.5
4. Printing and publishing art and craft journals, magazines, and

articles in newspapers
5. Retailing contemporary visual arts and craft objects
16.8
6. Contemporary visual arts and craft education
na
7. Provision of support services to the sector
3.0
8. Contemporary visual arts and craft interest groups and
na
9. Contemporary visual arts and craft copyright services.
0.1
Total value added
160.2
na: Not available.
Activity 1: The creation of visual arts and craft

This activity is wholly contained within the Australian New Zealand Standard Industrial
Classification (ANZSIC) industry class creative arts. In 199697, the Australian production
of creative arts was $463 million.820 As the creation of visual arts and craft is only a subset of
this estimate, data from a survey of individual artists by Throsby and Thompson821 was used
to disaggregate it. The survey found that total arts-related income of visual arts and craft
practitioners (visual artists, craftspeople and community artists) was 59 per cent of the total
arts-related income of creative artists (visual arts and craft practitioners plus composers
and writers). Thus, the derived Australian production of visual arts and craft creation for
199697 is $273.5 million.
To determine the value added proportion of this output, the individual artists survey was
again used. The net income (total arts-related income minus expenses) was found to be
47 per cent of total arts-related income; this measure was used as an estimate of the value
added proportion of total income. This figure is very similar to the estimate obtained
by different methodsby both Guldberg822 and ABS/ DoCA823 (48 per cent and 50 per cent,
respectively). Applying this proportion to the estimate of Australian production gives an
estimate of value added for visual arts and craft creation of $129.5 million.
820.
821.
822.
823.
ABS 2001.
Throsby and Thompson 1994.
Guldberg 2000.
ABS/ DoCA 1997.
page 375
Activity 2: Collecting and displaying contemporary visual arts and craft

These activities are primarily carried out by state and local galleries and museums.
The gross product estimates for this sector derived from a 1997 ABS Service Industry Survey
form the basis for this analysis.824 As discussed earlier in this Report, the contemporary
visual arts and craft related activities of the major state and national galleries comprise
about ten per cent of their total activitiesthis proportion was used to scale down the ABS
estimate of the gross product of state and national art galleries to $5 million.
The exception to the ten per cent rule among state and national galleries is the Museum
of Contemporary Art, whose activities are entirely related to contemporary visual arts and
craft. Its expenditure on wages and salaries was used as a proxy for value added (profit was
assumed to be zero); the figures from the 2000 annual report825 were deflated to 199697
dollars and added to the estimate of state and national gallery value added.826
For local galleries, the ABS publication827 reports the gross product of regional galleries
together with regional museums. To split out the art gallery component, the value added
of art galleries at the state and national level relative to museums at the state and national
level was used as an estimate. As discussed elsewhere in the Report, about 50 per cent of
regional galleries activities are related to contemporary visual arts and craft, when this
is applied to the estimate of total regional gallery value added, an estimate of $1.4 million
is obtained.
The total of national, state and regional gallery value added for 199697 is estimated to be
$9.3 million.
Activities 3 and 4: The writing, printing and publishing of contemporary visual arts and
craft articles in magazines, journals and newspapers
Financial data obtained during the course of the Inquiry relating to the writing and
publishing of art and craft periodicals forms the basis of this estimate. Total staff expenses
are used as a proxy for value added (profit is assumed to be zero), and are deflated to
199697 dollars. For the writing of newspaper articles, the estimated number of words
published in major Australian newspapers on contemporary visual arts and craft are
multiplied by the Australian Journalists Association rate for journalists.
No data is available on the value added by the printing of contemporary visual arts and craft
periodicals, and the data for the publishing and printing of newspaper articles cannot be
separated from total newspaper costs. The value added for these activities is not estimated.
824.
825.
826.
827.
ABS 1998b.
MCA 2001.
This method results in some double countingpresumably the MCA was included in the ABS Service Industry Survey.
ABS 1998b.
page 376
Appendices
Activity 5: Retailing contemporary visual arts and craft objects

The estimate of gross product obtained from an ABS survey of commercial art galleries
in 1997828$16.8 millionis used as a proxy for this activity. This is likely to be an
underestimate of the true value for several reasons. Firstly, the ABS survey likely
underestimates the number of Aboriginal art and craft centres.829 Secondly, the survey
only included businesses whose primary business was the sale of visual art, and as such
it excluded businesses selling craft, as well as businesses such as tourist shops that sell
a variety of goods, including visual arts and craft. In the absence of any other value added
data, however, and recognising its shortcomings, this value is used as an estimate of value
added for this activity.
Activity 6: Contemporary visual arts and craft education
Unfortunately, no value added data is available for art schools and art-related vocational
education and training. Indeed, the estimates of value added are aggregated to the
education division in the ANA.830 As a result of this lack of data, an estimate of this
important component of the contemporary visual arts and craft sector was not possible.
Activity 7: Provision of support services to the sector
This activity includes contemporary art and craft spaces, organisation of arts festivals,
and government contemporary visual arts and craft administration and support activities.
Estimates of value added for contemporary visual art and craft spaces were derived
from financial data obtained during the course of the Inquiry from contemporary arts
organisations and the various craft councils. Due to lack of data, the contribution of art
festival organisations and government support has not been included in the value added
estimate for this activity.
Activity 8: Contemporary visual arts and craft interest groups
Due to a lack of data, the economic contribution has not been estimated for this activity.
Activity 9: Contemporary visual arts and craft copyright services
The estimate of value added for this activity was derived from the annual report of
VISCOPY,831 the copyright collection and distribution agency for the visual arts. Total staff
expenses are used as a proxy for value added (profit is assumed to be zero), and the value
for 200001 (in 199697 dollars) is used as an estimate for the 199697 figure.
828.
829.
830.
831.
ABS 1998c.
Submission, ANKAAA; and Submission, Mr Norman Wilson.
ABS 2001d.
ViSCOPY 2001.
page 377
Appendix h
tertiary institutions offering
courses in visual arts and craft
Northern Territory
Australian Catholic University
Northern Territory University
University of Canberra
This list includes general Arts degrees

where visual arts, art history or theory, or
art administration is offered as a major.
Graphic design is included, but not
fashion design.
New South Wales
Queensland
Australian Graphic Design and

Computer School
Brisbane Institute of Art
Avondale College
James Cook University
Charles Sturt University Wagga Wagga
KVB College of Visual Communication
University of Queensland
Macquarie University
University of Southern Queensland

Griffith University
National Art School

National Photo Training College
South Australia
Southern Cross University
Adelaide Central School of Art
University of Newcastle
Flinders University
University of New South Wales

College of Fine Arts
University of South Australia
University of Sydney
Tasmania
University of Technology Sydney
University of Tasmania
University of Western Sydney Macarthur

University of Western Sydney Nepean
University of Wollongong
page 378
Appendices
Victoria
Queensland
Australian Academy of Design
Bremer Institute of Queensland TAFE
Deakin University
Central Queensland Institute of TAFE
La Trobe University
Moreton Institute of TAFE
Melbourne School of Art
Southbank Institute of TAFE
Monash University
Royal Melbourne Institute of Technology
South Australia
Douglas Mawson Institute of Technology
University of Ballarat
North Adelaide School of Art (TAFE SA)
University of Melbourne
Onkaparinga Institute of TAFE
Victorian College of the Arts

Victoria University of Technology
Tasmania
Institute of TAFE Tasmania
Western Australia
Curtin University of Technology
Victoria
Edith Cowan University
Box Hill Institute of TAFE
University of Western Australia

Western Australian School of Art, Design
and Media
Chisholm Institute of TAFE (Dandenong)

Chisholm Institute of TAFE (Frankston)
Chisholm Institute of TAFE (Moorabbin)
Vocational Education and

Training institutions
Gordon Institute of TAFE

Holmesglen Institute of TAFE
Northern Melbourne Institute of TAFE
Australian Capital Territory/

New South Wales
RMIT University TAFE Division
Canberra Institute of Technology
South West Institute of TAFE
North Coast Institute of TAFE
Swinburne University
TAFE Division (contd)
Northern Sydney Institute of TAFE
University of Ballarat TAFE Division
Southern Sydney Institute of TAFE
Victoria University
Sydney Institute
TAFE NSW Illawarra Institute
Western Australia
Western Sydney Institute of TAFE
WA School of Art, Design and Media

Sources:
www.can.gov.au
www.detya.gov.ay/tenfields/
page 379
Appendix i
types of insurance cover for visual
artists and craft practitioners,
and arts organisations
Public liability
Public liability insurance covers any legal liabilities arising from personal injury and property
damage sustained by members of the public arising from the artwork and activities of the
artist. Freelance and self-employed artists and arts organisations should seek public liability
cover to protect themselves from legal suit. Individuals may make claims for damages where
loss or harm has been suffered, including bodily injury or property damage resulting from
the artwork or the artists activities outside the place of work. Artists and organisations are
generally obliged to ensure that their works are structurally sound, that their workplace is
a safe environment for others, and that occupational health and safety guidelines are
adhered to.832 The extent of an artists liabilities with respect to a commissioned work
should be enumerated specifically in a contract.833
Workers compensation
If the artist or arts organisation employs others, the artist or arts organisation will be
obliged to obtain workers compensation insurance to compensate employees injured
at work.
Income protection and disability

Self-employed or freelance artists may take out their own disability insurance or workrelated injury insurance and income protection insurance. In the event of illness or injury,
this insurance generally provides the artist with fortnightly income payments, private
hospital costs, journey cover, reasonable medical expenses, and rehabilitation services.
In addition, insurance cover may include a lump sum payment for permanent partial
disability and a lump sum payment for work-related death, which is paid to dependents.834
Life
Life insurance compensates named beneficiaries under the policy who have been
detrimentally affected by the death of the artist.835
832. Artworkers Alliance, FAQ #1 Insurance, 2002.

833. O. Watts, Public (Art) Liability, 00 (3) Art + Law, September 2000, at www.artslaw.com.au/reference/003caveat_public_art_liability/.
834. N. Oughton, A Hard Hat to Follow: A Health and Safety Guide for Artsworkers, Queensland Community Arts Network, New Farm, 2000,
pp. 7475.
835. Arts Law Centre of Queensland, Liabilities: Risk and the Art of Insurance, 2002, at www.artslawqld.org.au/liabilities/insurance.htm.
page 380
Appendices
Professional indemnity
Professional indemnity insurance covers artists for any costs associated with losses
suffered by an employer or client as a result of the negligent acts or omissions of the
artist in the conduct of their professional activities.836
Artworks
Artists may insure their artworks and materials against loss, destruction and damage.837
Some galleries have insurance policies which cover works on consignment or loan. However,
it may be advantageous for artists to independently insure their works, as even if the gallery
is insured, the artist has no legal entitlement to make a claim under that policy.838
Directors and officers

Arts organisations may consider obtaining cover for directors and officers of the company
from claims made by persons or entities detrimentally affected by the decisions of the
director or officer.839
Warranty
Where an artist produces work under a commission, a limited warranty period may be
sought by the commissioner. Artists may seek an insurance policy to cover the warranty in
these circumstances. However, it should be noted that it can be difficult for artists to obtain
a policy to cover warranties.840
Volunteers
Generally, volunteers are not covered by workers compensation or public liability insurance.
Where an artist or arts organisation is provided with the services of volunteers, volunteer
insurance cover may be obtained, or a specific endorsement covering volunteers could be
added to an existing policy. In the alternative, volunteers could be asked to sign a release
form providing that they are responsible for their own insurance.841 However, volunteers
may be unable to absorb the cost of insurance, and the cost of insurance may lead some
individuals to hesitate to volunteer.842
Subcontractors
Where an artist or organisation engages a subcontractor to assist with a project, the artist
or organisation may require that the subcontractor has their own insurance cover.843
836.
837.
838.
839.
840.
841.
842.
843.
Artworkers Alliance, op. cit.

O. Watts, op. cit.
S. Simpson, Insurance, Simpsons Solicitors, Sydney, at www.simpsons.com.au/library/documents/visarts/visarts89/19Insura.pdf.
Arts Law Centre of Queensland, op. cit.
O. Watts, op. cit.
S. McCausland, Volunteers in Arts Organisations, 99 (3) Art + Law, September 1999, at www.artslaw.com.au/reference/cavvolun993/.
L. Glendinning, Insurance rises putting volunteers out of action, Sydney Morning Herald, 5 April 2002, p. 10.
O. Watts, op. cit.
page 381
Appendix j
resale royalty
Resale royalty schemes vary greatly between jurisdictions. If a resale royalty was to be
introduced in Australia, there are a number of models which could be adopted. These
models vary greatly, and when formulating a policy in relation to this issue, the following
matters should be addressed.
1. Coverage
Australia would need to define which artworks attract a resale royalty. Would the right
extend to all artistic works as currently defined within copyright law, or would it only apply
to selected works within this definition?844 In overseas models, the traditional forms of
artistic works, such as paintings, drawings and sculpture are invariably included. Original
photos, lithographs and engravings are also included in many jurisdictions, and in some
jurisdictions, original literary and musical manuscripts are included. Where an artwork is
produced in limited multiples, these may also be included.845 Contemporary visual arts and
craft are generally included in resale royalty schemes.
Further, upon which transactions would a resale royalty apply?846 A resale royalty may
be applied to public auctions and sales, private sales or both. It may be appropriate to
only include sales with a public element, exempting resales between private individuals
from the application of resale royalties due to privacy considerations.847 Sales between
private persons tend to be conducted discreetly, making information and remuneration
rights difficult to enforce.848 The high costs and difficulty of monitoring private transactions
mitigate against the inclusion of these transactions. It would be impossible to administer a
resale royalty scheme that included private sales without a formal registration system for
all transactions involving works of art. A registration system would be costly to introduce.849
Further, it is likely that personal privacy rights would be infringed if the financial affairs of
individuals were open to public scrutiny.850 As a result, it appears appropriate for resales
between private persons, without the intervention of an art market professional, to remain
free of resale royalty obligations.
Where a work of art is resold through an art dealer, it may be appropriate to grant the artist
a right to enforce their remuneration right respectively against both the original owner
and the commissioned art dealer, auctioneer or agent. In its submission, VISCOPY states
that this measure is essential to ensure the payment of the claim, especially in the case of
international sales.851
844.
845.
846.
847.
D. Cliche, op. cit., 1994, p. 10.

D. Cliche, op. cit., 1994, p. 10.
F. B. Berger, Should Visual Artists have a Right to a Resale Royalty?,
at www.weblaw.ch/jusletter/Artikel.jsp?ArticleNR=1033&Language=1.
VISCOPY also made a similar point in their submission.
849. ibid, p. 70.
850. G. Pfennig, op. cit., p. 4.
page 382
Appendices
2. Form
The statutory form of resale royalties varies considerably between jurisdictions. The
payment to the creator of a work could be based upon a percentage of the resale price of
the work, or a percentage of the increased value of the resale work, or a mix of both.852
Some jurisdictions calculate the royalty as a percentage of the increased value of the work,
to ensure that artists do not benefit where the work of art has declined in value.853
The problem with imposing a penalty on only that part of the sale price which represents an
increase in price from the immediately preceding sale is that the artist, the party seeking to
enforce their legal right, would be required to prove that the work has increased in value.
This would be extremely difficult to prove where there is no corresponding obligation on
each vendor or purchaser to disclose the sale price.854 A royalty calculated on the basis of
the sale price is a more effective approach to administer and enforce.
3. Rate
Australia would need to consider the appropriate royalty rate, and whether it would be
subject to a minimum sale amount.855 Also, Australia could introduce a maximum
payment limit.
Graded royalty rates for resale royalties are generally justified on the basis that graded
royalty rates are less likely to lead to a transfer of the art trade to a more permissive
jurisdiction than flat rates.856 However, there are a number of additional benefits flowing
from a flat royalty rate. Where the same royalty rate is applied for all kinds of sales, there is
greater certainty and predictability for artists, purchasers and art dealers, and it facilitates
collective management. Where there is a standard royalty rate, this may form a precondition
for sales contracting, and resale royalty remuneration could be collected in the form of a
lump sum payment.857 The percentage rate royalty imposed varies between models, but in
most jurisdictions the rate is between three per cent and five per cent of the resale price.
The royalty should be calculated so as not to be so high as to inhibit sales, and not so low
that the administrative costs outweigh the moneys collected.858
A minimum threshold for claiming a resale royalty appears necessary. The administration
of claims is costly, and this cost can only be justified if the benefits to be gained by the
claimant are of some substance. The European Union decided on a minimum threshold of
EUR$3 000, however, lobbyists assert that claims can be successfully administered if the
resale price exceeds EUR$1 000 (or about A$1 700).859 A threshold even lower is favourable
to artists, as this permits less financially successful artists to enjoy the same degree of
benefit as more well-known artists. However, a lower threshold may not be viable given
this arrangement may lead to large-scale and expensive collective management where
the royalties to be collected would not cover the costs of collection by a representative
collecting agency or by the artist. As a result, a minimum threshold should be determined
with consideration of the specific characteristics of the Australian contemporary visual
arts and craft market. The royalty should exceed the administrative costs associated with
collection and disbursement, and should consider the nature of the Australian art market.
852. D. Cliche, op. cit., 1994, p. 10. See also S. Simpson, Droit de Suite: The Artists Royalty, Simpsons Solicitors, Sydney, p. 2, at
www.simpsons.com.au/library/documents/visarts/visarts89/9Artists.pdf.
853. J. H. Merryman and A. E. Elsen, op. cit., p. 403.
855. D. Cliche, op. cit., 1994, p. 10.
856. See, for example, Commission of the European Communities (2000), Communication from the Commission to the European Parliament
pursuant to the second paragraph of Article 251(2) of the EC Treaty concerning the common position of the Council on the adoption of a
proposal for a Directive on the resale right for the benefit of the author of an original work of art, 15 September 2000, Brussels, p. 8.
page 383
A maximum threshold could also be imposed on royalties claims, as the European Union
has set in its Direction. A maximum threshold on royalties claims contradicts traditions in
copyright. Further, where a work of art increases enormously in value, it may be inequitable
to restrict the creator of the work of art to a limited share of the benefits. However, in other
jurisdictions it is argued that a limit is necessary as, if the royalties were unlimited, it is
likely that sales of more expensive artworks will be relocated to other jurisdictions where a
resale royalty either does not apply, or where the amount of the royalty payable is limited.
While the likelihood of sales in contemporary Australian visual arts and craft being relocated
overseas is not high, the issues relating to a maximum royalty limit need to be considered
when determining an appropriate model for a resale royalty.
4. Collection and distribution

Remuneration under a resale royalty could be collected and distributed by individual artists
directly, by a government agency, or by an organisation acting on behalf of artists.
Considering the difficulty in administering individual rights and monitoring subsequent
sales of works of art subject to a resale royalty, most countries collect the payment through
a collecting agency or a government institution.860 A single artist is generally not able
to avail himself or herself of the necessary legal means to enforce a remuneration claim
against a reluctant art dealer, auctioneer or agent. By way of contrast, collecting societies
have contacts in the contemporary art market and generally command sufficient influence
to enforce claims, if needs be, through legal mechanisms. The enforcement of claims by a
collecting agency also offers an advantage to the art trade, as vendors need only balance
accounts with the collecting agency annually, rather than settling each claim individually
as it is lodged at great administrative expense.861 Generally, only relatively small monetary
amounts are involved with respect to individual claims, thus it is more efficient to administer
claims for royalties in bulk.862 While the resale royalty regimes vary between jurisdictions,
the most successful regimes tend to be administered by collecting societies established
by visual artists for the artists themselves.863 A collecting agency may be the best model
for the collection and distribution of a resale royalty in Australia. Nevertheless, this should
not preclude a consideration of the implications in the Australian context of permitting
individual artists to represent their own resale royalty interests where they have adequate
resources to do so.
The costs of collecting a resale royalty in Europe appear to vary between ten per cent and
40 per cent of the royalties collected, with the larger, more successful agencies (such as
ADAGP in France and Bild-Kunst in Germany) retaining 1020 per cent to cover costs. The
British collecting society (DACS) stated that a resale royalty could be collected in Britain
for as little as ten per cent. In its submission, VISCOPY, the Australian copyright collecting
society for the visual arts, stated:
VISCOPYs current general administration fee [for copyright collection] of 25 per cent is not
unreasonable in view of the international cost comparisons from fully mature societies. Under
suitable legislation it could be that VISCOPY could administer a resale royalties scheme at
comparable rates or even much lower than the overseas figures suggest.864
860.
861.
862.
863.
D. Cliche, op. cit., 1994, p. 10.

G. Pfennig, op. cit., p. 10.
R. Duffield, The Artists Resale Right at the International Level, Paper delivered at the European Commissions International
Conference on Management and Legitimate Use of Intellectual Property, Strasbourg 9-11 July 2000, at www.europeanvisualartists.org.
page 384
Appendices
5. Waiver and assignment

If enacting legislation introducing a resale royalty, the government will need to decide
whether the resale royalty should be an inalienable right, or if the artist should be permitted
to waive or assign his or her resale royalty rights.
Much of the literature concerning the economic efficiency of resale royalties centres on the
ability to assign or waive the right. It is argued that if a resale royalty is an inalienable right,
then the ability of the artist and the buyer to efficiently allocate the risk associated with the
uncertainty of the resale price of the work is compromised.865
The above argument assumes that bargaining power is equal between artists and buyers/
agents. However, the bargaining power of artists and galleries tends to be unequal; in
most circumstances art dealers hold a stronger bargaining position than artists due to the
limited number of art galleries and the large number of artists seeking to sell and exhibit
their work. As a result of this inequality of position, art dealers generally dictate business
terms, including price and conditions of sale. If art dealers were able to persuade artists to
waive their future resale royalty claims, then art dealers may make the assignment of resale
royalties a contractual condition in any purchase of an art work.866 This would negate the
beneficial effect a resale royalty would have for the artist.
Alternatively, unequal bargaining power may also mean that an inalienable right would be
more likely to reduce the initial sale price, which may not be in the interests of the particular
artist involved. It may be in the interests of the artist concerned to waive the resale right,
and receive a higher price for the initial sale of the work.867 For example, for an artist who
does not have a large resale market, it would be in his or her interest to waive the resale
royalty and receive a higher price for the initial purchase.868 However, as is indicated above,
a wealth redistribution from an artists early career to their later life may have demonstrable
benefits, including providing a source of income in the absence of superannuation.
6. Duration and succession

The resale royalty should be actionable both by the artist and the heirs of the artist. This
is important in terms of consistency with arrangements for other creative sectors under
copyright law, particularly composers and writers, whose rights to royalties extend to their
heirs. Further, this is particularly important given that the value of a work of art can increase
a great deal after the death of the artist.869 Benefits should thus accrue to the heirs of the
artist, as well as to the artist during their lifetime. In a similar way to copyright, the rights of
heirs should only be operable during a certain time period after the death of the artist.
865.
866.
867.
868.
869.
R. Filer, op. cit.

R. Kirstein and D. Schmidtchen, op. cit., p. 15.
F. B. Berger, op. cit.
page 385
7. Reciprocity
As with most countries, if a resale royalty were introduced in Australia, it would only be
actionable by foreign artists where the artist is a citizen of a nation where a similar resale
royalty provision operates to protect Australian artists.870 The condition of reciprocity
provides an incentive for states which have not recognised resale royalties to introduce
it to obtain the benefits of its application for their artists in countries already applying the
resale royalty.871 The recognition of resale royalties in an increasing number of countries also
operates to minimise the risk of a detrimental effect on domestic art markets. As a result,
it appears appropriate for reciprocity to be required before resale royalties can be exercised
by a foreign national.
8. Right to information
Should Australia follow a number of international resale royalty models and institute a right
to information for artists and their successors?
In order to effectively enforce a resale royalty claim, the entitled partythe artist or the
right ownermust be aware of the sale of the art. While some auctions are documented,
the majority of art sales are not transparent. Further, while information data banks have
been developed which document major art trades, there are substantial costs associated
with the provision of information through these services, and many persons entitled to
receive resale royalty remuneration cannot afford to pay these charges.872 In this context,
it is imperative that a person entitled under resale royalties possess a right to information.
Greater transparency in relationships between commercial dealers and artists is essential
for a resale royalty to be enforceable. A right to information would compel an art dealer,
agent or auctioneer involved in the resale of the art work to provide the name of the creator,
the title of the work and the resale price, the minimum information necessary to determine
and calculate the claim.873 This information could then be recorded in a public register
maintained by government or a collecting society.
Given the breadth of the proposed right to information, the potential exists for vexatious,
frivolous or excessive information claims to be lodged. This presents a potential difficulty
for art dealers, as the obligation to provide information could prove extremely burdensome.
As a result, it may be appropriate to limit the exercise of the right in some way. For example,
the period for raising claims could be limited to a specified period of time subsequent to
the resale. Further, the right to information could be exercisable only by collecting societies
on behalf of the artist and those persons entitled under the artist.874 VISCOPY advocated
the granting of the right to information to a single collecting agency only.875 A collecting
society could make claims on behalf of artists in a single procedure, thereby minimising the
administration costs for art dealers by controlling the flow of claims to the organisation.
The involvement of collecting societies is particularly valuable where artists are seeking to
enforce their rights beyond national borders. These two mechanisms for limiting information
claims, the time limit for claims and the involvement of collecting societies, could be
instituted either separately or in conjunction with each other.
870.
871.
872.
873.
874.
875.

ibid.
ibid., p. 5.
ibid.
ibid., p. 6.
Submission: VISCOPY.
page 386
Appendices
9. Remedies
Australia would need to introduce mechanisms permitting artists, or collecting societies
working on behalf of the artist, to enforce the resale royalty.876
Civil remedies appear appropriate, given that the existing intellectual property regime
in Australia is enforced through civil remedies. These remedies could be enforced by the
collecting society nominated in the legislation on the behalf of visual artists and craft
practitioners.
10. Conflict of laws

An additional consideration arises out of the globalisation of the art market. The market for
art, especially for secondary sales of works of art by well-established artists, is today an
international market, and this may lead to conflict of laws issues.877 For example, if Australia
introduced a resale royalty, a situation may arise where an Australian dealer sells a work
of art to an overseas collector from Japan. The work is delivered in Japan. If a resale royalty
applied in Australia, but not in Japan, would the Japanese collector be bound to comply with
Australian obligations regarding the resale royalty? The parties may have agreed that the
contract is governed by the law of Japan. Would the artist have any right of redress in this
situation? If so, what is the appropriate forumJapanese courts, or Australian courts?
If not, can parties simply avoid resale royalties by structuring contracts so that the
applicable law is that of a jurisdiction not recognising a resale royalty?878 These are difficult
issues, but a response would need to be developed if a resale royalty was to be introduced
in Australia.

877. F. B. Berger, op. cit.
878. This example is modelled upon the hypothetical set out in F. B. Berger, op. cit.
page 387
Appendix k
key organisations in the contemporary
visual arts and craft sector
The following list should be seen as
only indicative of the breadth of the
organisations in the sector. It does not
attempt to list the commercial art galleries
other than those that are members of
the Australian Commercial Galleries
Association, the many media specific craft
associations, the many artist-run initiatives
and the many regional galleries that are not
part of the Regional Galleries Associations.
Contemporary arts organisations:

200 Gertrude Street, Melbourne
24HR Art: Northern Territory Centre for
Contemporary Art, Darwin
Artspace Visual Arts Centre, Sydney
Australian Centre for Contemporary Art,
Melbourne
Australian Centre for Photography, Sydney
Major art museums:
Centre for Contemporary Photography,

Melbourne
Art Gallery of New South Wales

Art Gallery of South Australia
Contemporary Art Centre of South Australia,

Adelaide
Art Gallery of Western Australia

Australian National Gallery
Heide Museum of Modern Art, Melbourne
Museum and Art Gallery of the Northern
Territory
Contemporary Arts Services Tasmania,

Hobart
Experimental Art Foundation, Adelaide
Institute of Modern Art, Brisbane
Perth Institute of Contemporary Arts
Museum of Contemporary Art, Sydney

National Gallery of Victoria
Craft and design organisations:
National Portrait Gallery

Queen Victoria Museum and Art Gallery,
Launceston
Craft ACT
Craft Queensland
Craft Victoria
Tasmanian Museum and Art Gallery
Craft+Design Tasmania
Craftsouth: Centre for Contemporary Craft
(SA)
Craftwest Centre for Contemporary Craft
(WA)
page 388
Appendices
Jam Factory Centre for Craft and Design (SA)
Publications:
Object, Australian Centre for Craft and

Design (NSW)
Art Almanac
Tandanya, National Institute of

IndigenousIndigenous Art (SA)
Art and Asia Pacific

Art and Australia
Art Australia Monthly
Territory Craft (NT)
Artlink
National Exhibition Touring Support

(NETS):
Broadsheet
Art on the Move (NETS WA)
Crafts
Artback - NETS - Northern Territory
Craftsouth
Contemporary Arts Services Tasmania

(NETS Tasmania)
Craftwest
Museums and Galleries Foundation of New

South Wales
Eyeline Magazine
Ceramics Art and Perception
Dialogue
NETS - Victoria
Like Magazine
Regional Galleries Association of

Queensland
Object
South Australia Touring Exhibitions Program
PostWest
Photofile
Pottery in Australia
Other contemporary arts

organisations:
Textile Fibre Forum
Arts Nexus, Cairns
National and service organisations:
Fireworks Gallery, Brisbane
Artists Foundation of Western Australia

(AFWA )
International Art Space Kellerberrin,

Western Australia
Asian Australian Artists Association
Kick Arts Collective, Cairns
Association for Northern Kimberly and

Arnhem Aboriginal Artists (ANKAAA)
Mackay Artspace
Metro Arts, Brisbane
Association of Western Australian Art

Galleries (AWAAG)
Nexus, Adelaide
Australian Art Journals represented by

ArtLink /Real Time
The Biennale of Sydney

The Performance Space, Sydney

(ACGA)
Umbrella Studios, Townsville
page 389
Australian Council of University Art and

Design Schools (ACUADS)
Australian Network for Art and Technology
(ANAT)
Australian Photographic Artists
New South Wales

Albury Regional Art Gallery
Bathurst Regional Art Gallery
Bega Regional Art Gallery
Broken Hill City Art Gallery
Black and White Artists Club

CAOS: Contemporary Arts Organisations
Australia
Campbelltown City Art Gallery

Casula Powerhouse Art Centre

(CAAMD)
Coffs Harbour Regional Gallery
Craft Australia
Gosford Art Gallery
Craft Organisations Australia (COA)
Goulburn City Art Gallery
Desart
Grafton Regional Art Gallery
IndigenousIndigenous Art Trade Association
Griffith Regional Art Gallery
Media Entertainment Arts Alliance (MEAA)
Hazlehurst Art Centre
Membership of the National Visual Arts and

Craft Network (NVACN):
Lake Macquarie Regional Art Gallery
Museums Australia
(NAVA)
Dubbo Regional Art Gallery
Lewers Bequest Penrith Regional Gallery

Lismore Regional Art Gallery
Maitland City Art Gallery
Indigenous Arts Advocacy Association

(NIAAA)
Manly Art Gallery
NETS Australia :National Exhibitions Touring

Service (NETS)
Moree Plains Regional Gallery
Manning Regional Art Gallery
Print Council of Australia

Queensland Artworkers Alliance (QAA)
Regional Galleries Australia
Mosman Regional Gallery

Muswellbrook Art Gallery
New England Regional Art Museum
Newcastle Region Art Gallery
VISCOPY
Orange City Art Gallery
Regional, metropolitan and suburban

galleries in Australia
SH Ervin Art Gallery

Sutherland Regional Gallery
Tamworth City Art Gallery
ACT
Tweed River Regional Art Gallery
Canberra Museum and Gallery

Nolan Art Gallery
page 390
Appendices
Wagga Wagga City Art Gallery
Rockhampton City Art Gallery
Wollongong City Art Gallery
Stanthorpe Regional Art Gallery

Texas Regional Art Gallery
Northern Territory
Toowoomba Regional Art Gallery
Araluen Centre Art Gallery
Townsville Regional Art Gallery

Warwick Art Gallery
Queensland
Winton Regional Gallery
Balonne River Gallery

Bauhinia Shire Bicentennial Art Gallery
Boonah Art Gallery
South Australia
Carrick Hill Regional Art Gallery
Brisbane City Art Gallery
Kapunda Arts Gallery
Bundaberg Arts Centre
Millicent Art Gallery
Caboolture Shire Arts Centre
Naracoorte Art Gallery
Caloundra Art Gallery
New Land Gallery
Dalby Regional Art Gallery
Port Lincoln Arteyrea Gallery
Cairns City Art Gallery
Port Pirie Regional Art Gallery
Cooloola Shire Public Gallery, Gympie
Riddoch Mt Gambier Regional Art Gallery
Crows Nest Regional Gallery
River Lands Gallery
Gatton Shire Art Gallery

Gladstone Regional Art Gallery
Tasmania
Gold Coast City Art Gallery
Allport Library and Museum of Fine Arts
Hervey Bay Regional Gallery
Burnie Regional Art Gallery
Hinchinbrook Gallery
Devonport Regional Art Gallery
Ipswich Regional Art Gallery (Global Arts)
Queen Victoria Museum and Art Gallery,

Launceston
Logan Art Gallery

Mackay City Gallery
Victoria
Noosa Regional Art Gallery
Ararat Gallery
Perc Tucker Regional Art Gallery
Ballarat Art Gallery
Pinnacles Gallery, Thuringowa
Balonne Regional Art Gallery
Redcliffe Regional Art Gallery
Benalla Art Gallery
Redland Shire Art Gallery
Bendigo Art Gallery
page 391
Castlemaine Regional Art Gallery
New South Wales
Caulfield Regional Art Gallery
Hermann Black Gallery
Geelong Art Gallery
Glen Eira City Gallery
Macquarrie University Gallery
Hamilton Regional Art Gallery
SCA Gallery
Heide Art Gallery
Tin Sheds Gallery
Horsham Art Gallery
University of Technology, Sydney Gallery
La Trobe Valley Art Gallery
Northern Territory
Linden Art Gallery
Northern Territory University Art Gallery
McLelland Gallery
Mildura Arts Centre
Queensland
Monash Gallery of Art
Griffith Artworks
Mornington Peninsula Arts
Queensland College of Art Gallery
Redcliffe Regional Art Gallery

Sale Regional Art Gallery

Art Gallery
Shepparton Art Gallery
University of Queensland Art Museum
Swan Hill Regional Art Gallery
University Art Gallery of Southern

Queensland
Wangaratta Exhibitions Centre

Warnambool Regional Art Gallery
South Australia
Flinders University Art Museum
Western Australia
Union Gallery, University of Adelaide
Albany Vancouver Art Centre
University of SA Art Museum
Bunbury Art Gallery

Fremantle Arts Centre
Tasmania
Geraldton Regional Art Gallery
Plimsoll Gallery
Mt Barker Art Gallery
University Gallery Launceston
University galleries
Victoria
ACT
Ian Potter Gallery University of Melbourne
Canberra School of Art Gallery
La Trobe University Art Gallery
Drill Hall Gallery
Monash University Art Gallery
page 392
Appendices
RMIT Gallery
Tobwabba Art, Forster
Victorian College of the Arts Gallery
Toomelah Co-Operative Ltd

Walkabout Gallery, Leichhardt
Western Australia
Wiawa Aboriginal Corporation, Wee Waa
John Curtin Gallery

Northern Territory
Lawrence Wilson Art Gallery
Aherrenge Craftsmen
Arts and craft centres
Ali Curung Mens Centre

Ali Curung Womens Centre
New South Wales

Amaroo Museum, Walcha
Anyinginyi Congress Arts And Crafts,

Tennant Creek
Armidale Employment Aboriginal

Corporation
Aputula Arts, Finke

Association of Northern, Kimberley and
Arnhem Aboriginal Artists, Darwin
Armidale Region Culture Centre &and

Keeping Place
Balranald Local Aboriginal Land Council
Bima Wear Asssociation Inc,

Bathurst Island
Bindi Aboriginal Heritage and Culture

Centre, Wauchope
Buku Larrnggay Mulka Centre
Boomalli Aboriginal Artists Co-Operative,

Annandale
Bulabula Arts
Desart
Boree Aboriginal Corporation, Orange
Elcho Island Art And Craft
Cooramah Culture Centre, Glen Innes
Ernabella Arts Inc
Cooramah Housing and Enterprise

Aboriginal, Glen Innes
Hermannsburg Potters
Ikuntji Womens and& Arts Centre,
Haasts Bluff
Gavala Aboriginal Art Centre, Darling

Harbour
Imangarra Womens Centre, Murry Downs
Gunuda Gunyah Aboriginal Corporation,

Gunnedah
Mrangalli Aboriginal Corporation, Tinga
Murrigejarr Aboriginal Corporation
Nindethana Aboriginal Corporation, Moree
Orana Aboriginal Corporation, Wellington
Quirindi Aboriginal Corporation
South Coast Aboriginal Culture Centre,
Nowra
page 393
Injalak Arts And Crafts, Oenpelli

Ipolera
Iwantja Arts and Crafts, Indulkuna
Janganpa Artists
Jilamara Arts And Crafts, Winnellie
Jukurrpa Artists, Alice Springs
Julalikari Council Art Centre
Kaltjiti Crafts, Fregon
Wugularr Community Government Council,

Katherine
Keringke Arts, Santa Teresa

Mabunji Resource Centre Art Gallery
Queensland
Maningrida Arts and Culture, Winnellie

Marrawuddi Gallery
Bama Ngappi Ngappi, Yarrabah

Bidjara Cdep, Charleville
Maruku Arts aAnd Crafts, Uluru

Merrepen Arts-Nauiyu, Daly River
Camu Community Corporation Society

Limited, Kennedy
Mimili Maku Arts and Crafts, Alice Springs
Doomadgee Cdep Aboriginal Corporation
Munupi Arts and Crafts Association,

Pirlangimpi/Pularampi Melville Island
Gungarde Aboriginal Corporation,

Cooktown
Mutijulu Community Inc
Jama Dreaming Aboriginal Arts and Craft,

Palm Cove
Nambara Arts and Crafts, Nhulunbuy
Lockhart River Arts and Culture Centre
Ntaria Arts Centre, Hermannsburg
Muyinda Aboriginal Corporation,

Mornington Island
Papulankutja, Blackstone
Papunya Tula Artists Pty Ltd, Alice Springs
Peppiminarti Awa Falmi Merrepen Arts
Group, Winnellie
Roma Aboriginal Corporation

Trading Arts and Crafts Aboriginal
Corporation, Mount Isa
Tiwi Designs, Bathurst Island
Warrego Aboriginal Corporation,

Cunnamulla
Utju Arts, Areyonga

Wadeye Art and Cultural Centre, Darwin
Walkatjara Art and Craft Centre,
Mutitjulu Community
Wik Artists and Cultural Resource Centre,

Aurukun
Yarrabah Aboriginal Arts and Crafts Cultural
Centre, Yarrabah
Walkatjara Art Uluru

Wallace Rockhole Community Arts,
Alice Springs
South Australia
Warakurna, Alice Springs
Koonibba Aboriginal Womens Group Inc,

Ceduna
Warlukurlangu Artists Aboriginal

Association Inc of Yuendumu
Minymaku Arts, Pitjantjatjara Lands

Weena Mooga Gu Gudba Inc, Ceduna
Warnayaka Art Centre, Lajamanu

Warumpi Arts, Alice Springs
Wiilu Arts Group, Alice Springs
Wugularr Arts Centre, Barunga
page 394
Appendices
Tasmania
Deloraine Aboriginal Cultural Association
Palawa Prints, Berriedale
Womens Karadi Aboriginal Corporation,
Goodwood
Members of the Australian Commercial

Galleries Association:
Chapman Gallery
Solander Gallery
Victoria
Dja Dja Wrung Aboriginal Association,
Bendigo
New South Wales
Koorie Heritage Trust Inc, Melbourne
Annandale Galleries
Wamba Wamba Local Aboriginal Land

Council, Swan Hill
Australian Galleries
Western Australia
Gallery 460 & Sculpture Park
Jarnda Yawaru Womens Centre, Broome
Hogarth Galleries/Aboriginal Arts Centre
Mangkaja Arts Resource Agency Aboriginal

Corporation, Fitzroy Crossing
King Street Galleries
Ngunga Designs
Michael Nagy Fine Art
Paupiyala Tjarutja, Kalgoorlie
Robin Gibson Gallery
Warba Mirdawaji, Roebourne
Roslyn Oxley Gallery
Waringarri Arts Aboriginal Corporation,

Kununurra
Sarah Cottier Gallery
Warlayirti Artists Aboriginal Corporation,

Balgo Hills
Stills Gallery
Access Contemporary Art Gallery
Byron Mapp Gallery
Legge Gallery
Sherman Galleries
Tim Olsen Gallery
Warmun Art Centre, Turkey Creek
Utopia Art Sydney
Yarliyil Art Centre, Halls Creek
Watters Gallery
Yuriny Aboriginal Culture Centre
Northern Territory
Framed, The Darwin Gallery
Gallery Gondwana
page 395
Queensland
Grahame Galleries + Editions
Michel Sourgnes Fine Art
Milburn Gallery
Philip Bacon Galleries
Redback Art Gallery
South Australia
Gallerie Australis
Greenaway Art Gallery
Hill-Smith Fine Art Gallery
Victoria
Anna Schwartz Gallery
Australian Galleries
Charles Nodrum Gallery
Christine Abrahams Gallery
Dianne Tanzer Gallery
Flinders Lane Gallery
Gallery 101
Gallery Gabrielle Pizzi
Niagara Galleries
Tolarno Galleries
William Mora Galleries
Western Australia
Artplace
Galerie Dsseldorf
Goddard De Fiddes
Gomboc Gallery Sculpture Park
Indigenart, The Mossenson Gallery
Perth Galleries
page 396
Appendices
Appendix l
australia council and state and
territory government funding of the
contemporary visual arts and craft
sector, 19992000
The information below was derived from financial information provided in the annual
reports of State and Territory arts agencies and of the Australia Council and has been used
in charts and in discussion of government funding within Chapter 6 of this Report.
Funding by State and Territory Governments, 19992000
Indvs/
Organisations
Breakdown
Individuals $
No of
Individuals
Organisations* $
No of
Organisations
Total $
NSW
VIC
QLD
SA
WA
TAS
NT
ACT
Total
120 295
227 296
261 674
174 052
140 497
123 113
18 039
74 449
1 139 415
12
30
43
34
59
40
10
21
249
5 222 795
4 382 131
2 020 715
2 445 600
1 782 980
329 551
635 794
654 546
17 474 112
146
127
25
36
58
20
37
17
466
728 995
18 613 527
5 343 090
4 609 427
2 282 389
2 619 652
1 923 477
452 664
653 833
*Note These amounts include an adjusted figure for State and Territory support of art galleries consistent with the approach in the
Report which has assumed that only ten per cent of funding for art galleries would be of benefit to the contemporary visual arts and
craft sector.
Australia Council (all Boards) Funding 19992000, by State and Territory

Individuals/
Organisations
Breakdown
Individuals $
No of
Individuals
Organisations* $
No of
Organisations
Total $
NSW
VIC
QLD
SA
WA
TAS
NT
ACT
Other
(oseas,
national)
707 118
661 115
312 555
301 631
168 510
123 320
56 155
74 000
145 558
2 549 962
45
50
17
12
15
167
1 554 113
845 991
883 797
655 782
425 158
168 847
534 174
164 854
1 590 131
6 822 847
40
29
18
24
12
18
37
189
2 261 231
1 507 106
1 196 352
957 413
593 668
292 167
590 329
238 854
1 735 689
9 372 809
Source: Australia Council internal records.
page 397
Total
Appendix m
overseas philanthropy
United States
Charitable giving and fundraising levels in the United States are very high when compared
to other jurisdictions, including Australia. Philanthropic foundations also play a major role
in the charitable sector in the United States. There are a number of foundations making
grants to the arts, including the David and Lucile Packard Foundation, the Ford Foundation,
and the Rockefeller Foundation.879 Philanthropic foundations based in the United States are
supported by Grantmakers in the Arts, a non-profit membership organisation which aims to
improve communication, information exchange and peer learning within the philanthropic
sector. Grantmakers in the Arts sponsors relevant research, provides services to members,
organises an annual conference, and sponsors meetings.880
The philanthropic organisations active in the arts in the United States are numerous and
varied. These organisations adopt different structures and have different financial resources
at their disposal (the majority possess less than ten million in corpus). These organisations
also have different priorities. Some foundations provide seed funding for charities; others
focus on supporting individual artists. A philanthropic trust may dedicate resources
to a single arts discipline, or to a specific geographic region. The following examples
demonstrate the variety of ways in which the arts are supported by family foundations in
the United States.881
Creative Family Giving in the Arts
Chris Vroom created the ArtCouncil Inc, a public, non-profit charitable organisation,
to support individual emerging artists living and working in San Francisco, and to
support organisations providing arts education programming in the region. Mr Vroom
contributes $300 000 annually, with a view to encouraging others to invest in the
ArtCouncil in the future.
The Benkhe Foundation provides The Neddy, an annual artist fellowship, to two visual
artists annually (one painter, and one visual artist from another discipline). Each artist
selected receives $10 000, and the works of all the artists considered for the award
are included in an exhibition sponsored by the community art gallery of the Bank of
America.
The Durfee Foundation supports individuals in the arts through numerous programs.
These include the Durfee Sabbatical Program, which provides grants.
879. For further details on grant making activities, see the David and Lucile Packard Foundation, Program Overview 2001, at
www.packfound.org/pdf/2001progover.pdf; the Ford Foundation, Mission Statement, 2001, at
www.fordfound.org/about/mission.cfm; and the Rockerfeller Foundation, The Programs Creativity & Culture, 2001,
at www.rockfound.org/display.asp?context=3&SectionTypeID=16&Preview=0&ARCurrent=1.
880. Grantmakers in the Arts, Who We Are, at www.girarts.org
881. More detail regarding support of the arts in the United States can be obtained from L. Jones and M. Warshawski, Creative Family Giving
in the Arts, Grantmakers in the Arts Field Resource Book, Vol 2, Seattle, 2000. The examples included in this section were derived from
the information set out in this resource.
page 398
Appendices
These grants allow recipients to take a rejuvenating break from work commitments.
The Durfee Foundation also supports individual practising artists in Los Angeles
through Artist Awards, and mini-grants of up to $2 500 to artists who have been
invited to present their work at an institution, but who lack the funds to complete and
present the work.
The LEF Foundation, in collaboration with other public and private funders, provides
support for the creation of new work by visual artists for projects linked to public sites
in the Boston region.
The Wallace Alexander Gerbode Foundation is a private foundation supporting
arts organisations, institutions and individual artists. Some recent recipients of
support include the Berkely Art Museums, California Lawyers for the Arts, and the
Contemporary Museum (Honolulu).
The Foundations Center observed that grant making activities by foundations increased
by US$4.3 billion in 2000. Foundations donated an estimated US$27.6 billion, which
represents an 18.4 per cent increase from 1999.882 Thus, it would appear that philanthropic
foundations are becoming an increasingly significant source of funding for the charitable
sector in the United States.
The United States federal government provides support predominantly through tax
incentives, rather than direct subsidies. The Federal Tax Code provides two important
incentives for philanthropy in the United States:
tax deductions for individuals and corporations; and
tax-exempt status for organisations.883
However, the Commonwealth Government provides some support for the arts and cultural
organisations through a number of different programs, including the National Endowment
for the Arts.884
Tax deductions are designed to stimulate charitable donations to arts organisations
by organisations and individuals.885 Generally, the Internal Revenue Service permits an
individual or organisation to deduct contributions of money or property made to qualified
organisations from their adjusted gross income when calculating tax liability. Qualified
organisations include corporations and foundations whose purpose is solely charitable,
religious, sporting, educational, literary or scientific. The allowable deduction for charitable
contributions is generally limited to 50 per cent of the adjusted gross income.
882. Council on Foundations, Foundation Facts, at www.cof.org/whatis/types/content.htm.

884. For further information on the support provided by the National Endowment for the Arts, and for links to information regarding other
Commonwealth Government programs supporting the arts in the United States, see National Endowment for the Arts, Cultural
Funding: Federal Programs.
page 399
Appendix n
inquiry secretariat
The Inquiry was assisted by a Secretariat based in Canberra staffed by officers on
secondment from the Department of Communications, Information Technology and the Arts
and the Australia Council.
Principal staff
Jim Adamson
Manager
July 2001June 2002
Billy Crawford
Senior Research Officer
July 2001June 2002
Chris Toyne
July 2001March 2002
Jen Watson
Administrative Officer
August 2001May 2002
Kathryn Alley
Research Officer
September 2001May 2002
Liz Penhallurick
March 2002June 2002
Georgina Ryan
Research Officer
November 2001January 2002
Veronica Cairns
Research Officer
January 2002March 2002
Justin Murray
Research Officer
January 2002April 2002
Marie Wood
Administrative Officer
August 2001
Temporary staff
The Inquiry would also like to acknowledge the support of Kay McPhie in Rupert Myers
office in Melbourne, and Celia Hevesi in the Corporate Communications Section of the
Department of Communications, Information Technology and the Arts.
page 400
Appendices
page 401

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Report of The Contemporary Visual Arts and Craft Inquiry

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Introduction

Chapter 2 The contemporary visual arts and craft sectoran overview

Chapter 3 Valuing artists

The visual artist and craft practitioner population

Chapter 4 Strengthening the infrastructure

Chapter 5 Expanding the market

Audiences for contemporary visual arts and craft

Chapter 6 Resourcing the sector

Role of governments in supporting

Appendix A Biography of Rupert Myer

Appendix B Consultations and conferences

Indigenous Reference Group

Appendix D Key references

Appendix G Derivation of value added estimates

Appendix H Tertiary institutions offering courses in visual arts and craft

Types of insurance cover for visual artists and

Australia Council and State and Territory government

Appendix M Overseas philanthropy

Appendix N Inquiry Secretariat

It is only comparatively recently that, as a community, we have come to find a way to

The Inquiry concluded that strategic investments by governments in the infrastructure,

The Commonwealth provide an additional $2 million per annum to the Australia

The Commonwealth remove any inconsistencies in practice involving the eligibility

The Commonwealth support artist service associations and membership

commencing consultations in preparation for the review of the Digital Agenda;

considering amendments to deem artists to have asserted their moral rights;

conducting an independent review of the impact of extending the term of copyright;

extending the duration of copyright in photographs to match other copyright media;

considering the viability and implications of repealing provisions dealing with

examining the costs and benefits of providing a guaranteed distribution of income

commencing consultations regarding a national education campaign to raise the

Introduce a resale royalty arrangement.

Establish a working group, comprising representatives from government and the

Conduct a tender to determine an appropriate body to administer the resale

Allocate $250 000 for the development of an implementation strategy.

In implementing this recommendation, the Commonwealth commits an initial

mentoring and development of opportunities for artist-run initiatives;

In implementing this recommendation, the Commonwealth commit an initial

contemporary craft and design publishing;

The Commonwealth and State and Territory governments allocate $2 million

In implementing this recommendation, the Commonwealth commit an initial

In implementing this recommendation, the Commonwealth commit an initial amount

In implementing this recommendation, the Commonwealth commit an initial

CONDUCT OF THE INQUIRY

New South Wales

Australian Capital Territory

STRUCTURE OF THE REPORT

Implementation Working Group

DEFINING AND MEASURING THE SECTOR

Submission: Beth Jackson.

VISUAL ARTISTS, CRAFT PRACTITIONERS AND ARTSWORKERS

C. D. Throsby, and B. Thompson, But What do you do for a Living?:

Table 2.1 Employment in selected culture/leisure occupations in Australia, by State, 1996

Painter (visual arts)

Visual arts and craft

5 075 4 136 2 824

EDUCATION AND TRAINING

ABS, Commercial Art Galleries, Cat no 8651.0, ABS, Canberra, 2001.

INFRASTRUCTURE: KEY ORGANISATIONS AND INSTITUTIONS