Have you been missing me?

9 05 2013
Image

Guido Reni, ‘The Penitent St Peter’.

Sincere apologies.

It’s been very, very busy.

In a good way.

My inactivity is unforgivable. As a small offering to compensate for my absence, here’s a link to a feature article I wrote on the market in Aboriginal art for The Age on the weekend…. click here.  





Priscilla, Queen of the Desart

20 03 2013
Image

Still from ‘Priscilla Queen of the Desert’ (image via rockymusic.org)

A little quiet on the Western Front this week, I’m afraid, as I prepare for my keynote at Desart’s annual conference in Alice Springs next week. Under consideration will be all things Aboriginal art market-related.

I promise to update as soon as possible after I get back. Yes, I could do something on my iThing while I’m up there, but I plan to spend as little time working on the small screen as possible.

 





Creative Australia?

14 03 2013

Image

Because I’m disinclined to let you off with the ‘executive summary’, here’s a link to a pdf of the Gillard government’s new cultural policy in its entirety. While I’m on it…why is it always assumed that executives want nothing more than a digestible and condensed version of a complex document? It’s always struck me as akin to the mummy-bird regurgitating pre-digested worms for the baby bird. If I were an ‘executive’, I’d want to be the mummy-bird.

The Gillard government is summoning the shades of two great Labor leaders of years gone by and pioneers when it came to cultural policy. In the document, Julia Gillard writes: ‘It is now 40 years since the Australia Council for the Arts was formed and almost two decades since our first cultural policy, Creative Nation, was launched. Its successor, Creative Australia, continues the spirit of engagement with the arts embraced by my predecessors Gough Whitlam and Paul Keating.”

Yes – Gough Whitlam, who established the Australia Council, and whose government held its collective head high and bought Jackson Pollock’s Blue Poles for the National Gallery of Australia in spite of general consensus at the time that “my five-year-old daughter could’a done that!”; and Paul Keating, whose Creative Nation is credited with inspiring Tony Blair to initiate the ‘Cool Britannia’ campaign (does that mean we can hold him personally responsible for Oasis and Patsy Kensit?). Shame Keating didn’t get some good copywriters on the job – Cool Britannia stuck. Creative Nation? Little too ‘blah’, unfortunately, although the principles it promoted were certainly worthy. And it does carry a fair deal of currency in the Australian arts sector.

So it’s no accident that the new arts policy doffs its cap to its predecessor – from Creative Nation we now have Creative Australia. Given the prognosis for the ruling party, any straw is worth grabbing at this point. Still. I really think they could have wrangled a name for the policy that was far catchier, and a little less public service.

But what about the details?

First thoughts…

The principal goal of the policy warms the cockles… to ‘recognise, respect and celebrate the centrality of Aboriginal and Torres Strait Islander cultures to the uniqueness of Australian identity’. This is a wonderful ideal. But money, meet mouth. To celebrate and recognise is all well and good. But the Aboriginal visual art sector is facing a fairly bleak horizon at the moment. Without significant investment in restructuring the industry, things ain’t looking great.

The emphasis on the inclusion of arts education in the Australian Curriculum is also very reassuring. As is the funding allocated to the establishment of an Indigenous Employment Strategy in collaboration with Screen Australia, and to assist contemporary musicians establish career pathways.

But the one impression I took away from my (admittedly fairly rapid) read of the policy, is that the visual arts don’t seem to get much of a look-in. Any time there is a list of art forms, visual art appears at the rear end of the queue; for example, from p. 14, under the heading ‘Creative Expression and the Role of the Artist’: ‘Whether it is through live, interactive or recorded media or whether it is through drama, documentaries, comedy, music, dance, design, visual art, writing or traditional cultural practices…’ I just picked this at random. The pattern recurs at such a frequency that it is difficult to dismiss it as an accident.

What does this mean? The document seems to be promoting ‘participation’, ‘audiences’ and ‘community’. I need to think more about this, and read the document again more closely, but my first impression is that the principal focus seems to be on our diverse cultural heritage, and the many layers of social fabric that comprise the delicious mille-feuille that is contemporary Australia.

But…and I hesitate to say this, because I do want to read it again more carefully… most of what I absorbed tells me that this is about using public money to give The Australian People (caps used advisedly) what they want. There is far less talk of innovation and excellence in this document than previous iterations, which makes me suspect it’s leaning in a far more populist and community-oriented direction.  The shift in emphasis concerns me. A great deal. When it comes to the arts end of town, quite often the most visionary work doesn’t find an audience when it’s made… and that’s what public funding for the arts has often been about. The People don’t always know best. And if an artform or particular artist has already attracted public acclaim or community support, they are in a better position to generate funds from their practice as a matter of course.

Luckily, Mr Whitlam didn’t take public sentiment to heart when he listened to his expert advisers and made the call on Blue Poles. Thanks to his audacity and vision, the Australian public now owns one of the acknowledged masterpieces made by one of the greatest artists of the 20th century.

As for the news that every federal MP will be given $23,500 a year to ‘help students pursue their artistic dreams’? Given how small the pot is already, this would seem to be a rather futile, misdirected and somewhat immoderate use of available funds – the total of $8.1 million for the project is 3.5% of the total amount of the policy package of $235 million ($75.3 million of which is going to the Australia Council). Take OzCo’s cash out, and 5% of available funds will be distributed willy-nilly by standing MPs to artistic causes they deem worthy. Grab for cash, anyone?

But I reserve my right to withdraw this statement if you see me lining up at my local member’s office to share of the Gillard-given bounty.





“Aren’t I Aboriginal enough for you?”

20 11 2012

ImageThe title of this post recalls a comment by the brilliant artist, administrator and activist, Bronwyn Bancroft, at a conference I organised a while ago. When someone in the audience took issue with the fact that we hadn’t included an artist from a remote community in the line-up of three speakers chatting about the Aboriginal art market, Bronwyn stood up and said exactly that: “Aren’t I Aboriginal enough for you?”

It would be hilariously funny if it didn’t lay bare a deeply troubling truth.

And now it seems that the unsettling equation that underpins the Aboriginal art market manifests elsewhere. You know the one – the formula goes a little like this:

Indigenous Australian + remote central Australian lifestyle = authentic.

Tony Abbott, the leader of the Opposition, has declared Ken Wyatt, the Liberal Member of Parliament for Hasluck in Western Australia, a little too urban for his liking.

Wyatt is a descendant of the Yamatji, Wongi and Nyoongar nations, and was born at Roelands Mission farm. His mother was one of the Stolen Generation. But that’s not quite enough for Mr Abbott. You see, according to Abbott’s dogma, to qualify as an “authentic representative of the ancient cultures of central Australia”, you need to live in “central Australia”.

So there you have it.

Move away from a traditional, desert-based lifestyle, and you no longer qualify as an “authentic” Aboriginal person.

I’ve written elsewhere about the iffy fixation with ‘authentic’ Aboriginality in the art market and what it means for the sustainability of the Aboriginal art industry. The premise is so fundamentally wrong, based as it is on an obsolete Western obsession with ethnographic classification and the romantic vision of the ‘noble savage’.

If we accept Mr Abbott’s edict, does that mean that he is not an ‘authentic’ Catholic because he doesn’t live in the Vatican City? OK – specious analogy. But, still. Sorry. The whole thing makes me more than a little cranky.

The upside for Mr Abbott? He demonstrates an enviable capacity to run with both feet planted firmly in his mouth.

(Footnote for those of you outside Australia: Mr Abbott is also “that man” lambasted by Prime Minister Julia Gillard in her much circulated misogyny speech.)

(PS: the link above is to my article, Joining the Dots: the Sustainability of the Aboriginal Art Market, as it was reproduced in an earlier post. The full article was published in UNESCO’s journal, Diogenes, in August 2011, but you have to pony up some cold, hard folding stuff to read it on the Sage website. The link to my blog post is free, and has the same info, but it doesn’t look as pretty as the full pdf. If you do want to read it in its final form, the link to the pdf via Sage Journals can be found here.)

(image: via news.com.au)





Dreaming of the future in Aboriginal art

2 11 2012

For your delectation, below is the opening passage to an article I wrote for Australian Art Sales Digest, and a link to the full thing if you’re interested. Enjoy. 

There’s no avoiding the fact that the auction trade in Aboriginal art is not looking great. A clearance rate of 48% is pretty bleak news in anyone’s language. Predictably, Sotheby’s October auction of Important Aboriginal Art generated another round of lamentation about the parlous state of the market. But how does it stack up against the market as a whole? Are things as bad as they seem?Read more at Australian Art Sales Digest 





Are Australian Universities “letting Australian art down”?

24 03 2011

Presented without prejudice… a link to an opinion piece written by Nicky McWilliam , director of Eva Breuer Art Dealer in Sydney, and published today in the Sydney Morning Herald. In it, Nicky, who has stepped into her late mother’s formidable shoes and is now running what has been one of Australia’s most successful secondary market dealerships, bemoans what she sees as the lack of formal training in Australian art history at a tertiary level.

Due to my sometime association with the University of Melbourne, I suppose I have a horse of sorts in this particular race. Read the rest of this entry »





News just in: Melbourne’s major attractions – “Shopping!””Sport!””Sunshine!”. Art, shmart.

8 11 2010

“Shopping”?…”Talking to our great sporting identities”??… “Enjoying the beautiful Victorian weather”??? That’s it, Prime Minister? Is that really the best you can do when asked to name some of the activities Secretary of State Hilary Clinton might wish to enjoy on her visit to Melbourne (link to video moment here, at 1.13, via The Age and Channel 10 news)? Well, she’s a lady and all that, so SURELY she loves to shop, right? What woman doesn’t? Please. So, she’ll squeeze  a little ‘shopping’ in between the “top level talks about defence and trade”? Somewhere in there, we’ll work in a few be-medalled sports stars and a healthy level of exposure to our wonderful spring sunshine, and there you have it – the picture-perfect Melbourne experience.

Would it have been too big an ask to pop a little mention of Melbourne’s art and culture into that screen grab? “Oh, we’ll be zipping over to Fed Square to take a peek at the Indigenous Collection at the NGV”, or “We’re taking a tour of some of the City of Melbourne’s world-renowned street and public art zones”. But no. Shopping, sport and sunshine. Don’t get me wrong – I love many of our great sporting traditions. And Melbourne in spring? Sublime. But, really – what happened to celebrating our diverse and exciting culture?

Aussie, Aussie, Aussie. Oi, Oi, Oi. Cue: heavy sigh.

(image via The Sydney Morning Herald