AGAA Member's Flinders Lane Gallery have compiled a list of '17 Reasons to Buy Art'. The gallery staff spoke to Friends and Supporters of the Gallery to compile a diverse and interesting list of reasons to invest in art, placing a love of art, and the sheer pleasure of collecting as a core reason. Head over to Flinders Lane Gallerie's Website to read the article in full
In 1833 when William Wilberforce was finally able to convince the House of Commons to outlaw slavery across the British Empire, 800,000 slaves were released.
Now in 2017 there are an estimated 45,000,000 enslaved from within 167 countries including Australia. (Data quoted from: www.globalslaveryindex.org)
Almost every country has laws against modern slavery. Government intervention can have an immediate impact in every country.
Paint4Freedom are in the preliminary stages of organising a National Art Competition open to Emerging and Established artists.
The overall objectives of the art prize are as follows:
1) To help raise awareness within Australian about modern-day slavery; forced labour; child
soldiers & forced prostitution both Nationally and Internationally.
2) Raise funds to financially assist existing anti-slavery organisations.
3) Help and encourage countries to fight slavery, at a government, national and local level.
The preliminary details of the Paint4Freedom National Art Competition will be announced shortly.
To follow the Paint4Freedom journey subscribe to their website here; http://www.paint4freedom.org/ and follow the Paint4Freedom Facebook page here; https://www.facebook.com/Paint4Freedom/
A $400,000 colonial-era painting is believed to have been stolen from a home in Windsor, Melbourne.
The oil painting, titled Passage of the Blacks, was discovered missing in late July, police believe it had been stored at the Windsor house for the previous six months. The privately owned painting was awaiting maintenance work at this location.
The oil painting, titled ‘Passage of the Blacks’, depicts a group of Indigenous Australian people in a landscape by a river, in colonial in style. The unsigned painting is on a wooden
board sized 54.6 x 69.8 cm. The words ‘Passage of the Blacks’ are inscribed on
the verso in yellow paint along with an indistinct pencil inscription. It is possible
that the number 215263 may be evident on a label on the verso.
Police are appealing for anyone with information or who may have seen the
painting to contact Prahran Police Station on 9520 5200 or Crime Stoppers on
1800 333 000, or submit a confidential report at www.crimestoppesvic.com.au
The Telstra National Aboriginal and & Torres Strait Islander Art Awards (NATSIAA), run by the Museum and Art Gallery of the Northern Territory (MAGNT), is Australia’s most prestigious and longest running Indigenous art prize. The Art Prize was established in 1984, and has since become renowned for presenting a deeper understanding of Australian Indigenous culture.
This year, the overall prize was awarded to South Australian artists Anwar Young, Frank Young and Unrupa Rhonda Dick, for there collaborative work; Kulata Tjuta — Wati kulunypa tjukurpa (Many spears — Young fella story). This piece responds powerfully to the incarceration of young Aboriginal men in Australia.
‘We see many young men from remote communities becoming stuck in a cycle of reoffending and being locked up in juvenile detention centres, like Magill and Don Dale. We are concerned the whitefella way of locking people up isn’t working,’ said the artists.
The Artists, and Anwar Young’s grandfather, Frank Young believe that these young men should be brought back to country to work with Senior Men, and help to look after their communities. The artists, along with many other young men from Amata have been working with their grandfathers on the Kulata Tjuta project, learning to make traditional kulata (spears). The kulata (spears) then form part of the final instillation, as they are suspended in a cell-like formation in the gallery, which also functions to protect a photograph of a young man who looks to the future.
The winning work was selected by the judging panel: independent curator Emily McDaniel, Director of Queensland Art Gallery and Gallery of Modern Art, Chris Saines, and artist Regina Wilson
Telstra NATSIAA finalists’ works will be exhibited at MAGNT from Saturday 12 August until Sunday 26 November, 2017. Visit www.magnt.net.au/natsiaa for details.
The Australian Centre for the Moving Image (ACMI) and Artbank have announced a three-year, $210,000 commission program for works that bring together art and cinema.
AGAA is very excited to hear about ACMI's newest partnership that establishes a new commission for Australian artists worth $210,000 over the next three years. Established with Artbank, the federal government’s flagship support program for Australian contemporary artists, this program will enable Australian artists and filmmakers to create new works that are conceived at the intersection of art and cinema.
This rare funding opportunity will enable practitioners – visual artists or filmmakers – to create ambitious, experimental cinematic artwork that sits outside the usual categorisation – and the usual funding opportunities.
Each year, the Artbank + ACMI Commission recipient will be granted $70,000 for the development and creation of a new work that can be viewed in a cinema or gallery context.
This new partnership further expands ACMI's vibrant commissioning program, which through a series of vital collaborations - with the Artbank, the Ian Potter Foundation, City of Melbourne and the Mordant Family - will directly fund Australian artists with $650,000 support to create new work over the next three years and then exhibit it to thousands of people at ACMI and beyond.
Applications are now open and close at 5pm Friday 15 September 2017. To apply, visit acmi.net.au/commissions
For further information reguarding this exciting opportunity for artists, a full media release is available at acmi.net.au/museum/commissions/art-film-commission
Melbourne Art Fair is nationally renowned as the region's most significant platform for Australasian Contemporary Art. AGAA is very excited to see the return of the Melbourne Art Fair in August 2018, with a renewed focus and venue. The Fair will take place as the anchor event of Melbourne Art Week, 2-5 August 2018, housed in a temporary structure within the Southbank Arts Precinct and alongside the iconic Australian Centre for Contemporary Art (ACCA).
Showcasing 40-50 Galleries from Australia, New Zealand and the region, Melbourne Art Fair returns with a curated selection of some of the newest and most respected names in contemporary art. Owned and managed by Melbourne Art Foundation, the Fair is set to welcome 20,000 visitors over 4 days as the anchor event of Melbourne Art Week; a city-wide program embracing cultural organisations, public institutions, independent art spaces and commercial galleries in the creation of public events, exhibitions, talks and performances.
Beginning in 1988, the biennial event provides a platform for artists, collectors, curators, arts professionals and enthusiasts to connect and engage with contemporary art, providing commercial and curatorial opportunities for galleries and their artists.
The revitalised fair is driven by the newly appointed Melbourne Art Foundation Director and CEO Maree Di Pasquale, who brings international art fair expertise having worked in key global markets across Asia and the Middle East. Di Pasquale takes the helm after holding senior positions with key regional fairs, namely Assistant Director of Sydney Contemporary and founding Director of Art Central in Hong Kong.
Di Pasquale is supported by a new Melbourne Art Foundation board. At AGAA, we are very excited that 3 of our members will hold a seat on the new Melbourne Art Foundation Board. We are also very excited by the opportunity that the Melbourne Art Fair will present to our member galleries, by providing commercial opportunities for the industry, and building national and international audiences for the Australian art market.
Congratulations to Mitch Cairns who has been announced as the winner of the Archibald Prize 2017 for his portrait of partner and fellow artist Agatha Gothe-Snape. Both Cairns and Gothe-Snape are represented by the AGAA's newest member gallery The Commercial.
The Archibald exhibition feautures a range of spectacuilar portrait's by some of Australias most prominent artists, many of whom are represented by AGAA Member Galleries.
The exhibition opens to the public at the Art Gallery of New South Wales tomorrow and continues until 22/10/17.
The University of Tasmania has recently introduced a new engagement subject called Foundations of Arts and Health. This unit has been made available to increase community awareness in the benefits of arts-based approaches to health and well-being.
Foundations of Arts and Health explores ways to integrate creative practices into programs and to promote personal health and well being. This unit will give students evidence based examples of the benefit of arts based approaches to health and well-being as well as practical activities from a variety of creative genres.
The University of Tasmania also has additional units that may be of interest, such as Stress Reduction and Mindfulness. Both of these units are available online, with full HECS scholarships available.
Australian Copyright Council National Seminar Series
Melbourne | 8–10 May 2017
As gallery and museum professionals, you deal with copyright all the time.
Whether you’re new to copyright or in need of a refresher, this seminar will provide you with the knowledge you need to understand copyright and apply it in a practical setting.
- Copyright basis for GLAM;
- Gallery & Museum Exceptions;
- Galleries & Museums in the Digital Age;
- Using Copyright Confidently: Galleries & Museums;
- Social media for Galleries & Museums; and
- Putting it in to practice: Workshop For Galleries & Museums.
Date: 8–10 May2017
Venue: Karstens: 123 Queen Street, VIC 3000
To register or download a brochure click here
Art Education Victoria and the Victorian College of the Arts present Unconference | Teacher as Artist. A day of inspiration, collaboration, learning and development.
DATE AND TIME
Fri. 3 February 2017
9:00 am – 10:00 pm AEDT
Victorian College of the Arts
5/7-17 Grant St
Southbank, VIC 3006
FOR MORE INFO & BOOKINGS:
Australia Council for the Arts -
Tenth National Indigenous Arts Awards
The National Indigenous Arts Awards were established in 2007 to recognise and celebrate the outstanding work and achievements of Aboriginal and Torres Strait Islander artists. These prestigious national awards consist of the Red Ochre and the Dreaming Award.
In 2017 the 10th annual awards will celebrate the achievements and artistic creativity of exceptional Indigenous artists on the 27th May. Celebrated on this day each year, the awards are decided by a national panel of Indigenous arts peers consisting of leading Indigenous artists, curators and arts managers from each state and territory, including the Torres Strait Islands.
The Red Ochre Award
The Aboriginal and Torres Strait Islander Arts Panel established the Red Ochre Award in 1993 to pay tribute to a senior Aboriginal and/or Torres Strait Islander person for their lifetime achievement in the arts and their outstanding contributions to the recognition of Aboriginal and Torres Strait Islander arts, both nationally and internationally.
Nominations for a senior artists are accepted from arts and community organisations and individuals. Senior artists may not nominate themselves and nominations may only be made for a living artists. Awards will not be given posthumously.
In selecting a nominee the Aboriginal and Torres Strait Islander Arts Panel will take into account the artist’s outstanding lifetime achievement to:
- Aboriginal and Torres Strait Islander Arts
- Aboriginal and Torres Strait Islander community
- Artistic leadership.
The Dreaming Award recognises an inspirational young artist aged 18-26 years and supports the opportunity for them to create a major body of work through mentoring and partnerships, either nationally or internationally.
The successful candidate is mentored in their chosen discipline (music, dance, theatre, literature, visual arts, new media, and cultural vibrancy) by another established professional artist or by an arts institution nominated by the artist. In addition, the Australia Council will promote the achievements of the recipient to inspire other young artists.
The Aboriginal and Torres Strait Islander Arts Panel will base their selection on the following considerations:
- A project idea/concept
- Artistic merit of the project
- Cultural integrity of the project
- Professional development benefits of the project for the individual and the art form involved
- Experience of the artists and/or arts workers involved, with skills appropriate to the project.
Nominations close Tuesday 4 October .For more information contact Australia Council at: firstname.lastname@example.org or by phone on 02 9215 9167 or toll free on 1800 226 912.
Complete the nominations form online here.
Six years after it began, Australia’s resale royalty scheme has generated more than $4 million for artists, with more than half of those artists living and working in remote and regional Australia.
More than 12,800 eligible artworks have been resold, well above predicted expectations for the scheme, returning a 5 per cent royalty to 1200 artists and providing them with invaluable information on the provenance and changing value of their work.
CEO of the Copyright Agency, Adam Suckling, says the scheme’s particular success in delivering rewards to remote Aboriginal and Torres Strait Islander artists is evident.
“In total, Aboriginal and Torres Strait Islander artists received $1.4 million since 2010. Some 40 per cent of the artists paid under the scheme live in the Northern Territory, while another 16 per cent live in South Australia and Western Australia – mostly near the centre.”
Of the Top 20 Australian artists earning royalties, five (25 per cent) are Aboriginal and four of those are women.
“The scheme has delivered several positives: much-needed income to Aboriginal and non-Aboriginal artists, and importantly, information to artists on the changing value of their work as it progresses through the secondary art market,” Mr Suckling says. “Artists Australia-wide have welcomed these changes.”
“The scheme’s success has been recognised overseas as an international benchmark, with some countries, such as Canada and China, looking to introduce the scheme.”
Most royalties being paid have been between $50 and $500 and more than 66 per cent of royalties have been paid directly to living artists, with the remainder paid to artists’ estates and beneficiaries. Artists from emerging to senior, remote to urban, Aboriginal and Torres Strait Islander and non-Indigenous are participants in the scheme, demonstrating the importance of the right to them.
Artist Nyurpaya Kaika, who works from the Tjala Arts centre in the APY Lands, says it’s fair that when the work is sold, that there is a royalty for the “… Aboriginal artist who is still in community, working hard on their artwork, and trying to make a better future for their kids. This resale royalty might be important for all artists, but it is really important for Aboriginal artists.”
Resale rights are recognised in 81 countries.
For more information on the resale royalty scheme, go to www.resaleroyalty.org.au
The Arts Law Centre of Australia, the Indigenous Art Code and Copyright Agency | Viscopy are at the Darwin Aboriginal Art Fair calling for the Government to tackle the problem of fake ‘Indigenous’ arts and craft being sold in Australia, harming Aboriginal and Torres Strait Islander cultures and incomes.
The Darwin Aboriginal Art Fair is full of fantastic art, crafts and merchandise that Aboriginal and Torres Strait Islander artists have created. Consumers can buy these artworks with confidence and with the knowledge that the artworks are being sold ethically and are authentically made.
However if the same consumers were to go into town and into a shop marketed at tourists, it suddenly becomes very difficult to know what is real and what is fake ‘Indigenous’ artwork.
The abundance of fake or inauthentic ‘Aboriginal-style’ arts and crafts available in Australian tourism shops causes harm to Aboriginal and Torres Strait Islander peoples as it misappropriates and exploits the stories, imagery, knowledge and heritage embodied in authentic works.
It also destroys the income streams that could be earned from selling genuine arts and craft works to the many consumers wanting to connect with Indigenous Australia.
This means artists are cheated, buyers are cheated and Australia as a country is cheated.
The Fake Art Harms Culture campaign asks that the Australian Consumer and Competition Commission (ACCC) take action against the many businesses involved in producing, importing and selling fake goods in Australia, as well informing consumers of their ability to take action against this issue.
In addition, the Government should implement stronger and more effective laws to prohibit the marketing and sale of Aboriginal and Torres Strait Islander arts and crafts products within Australia unless it is made by Aboriginal and Torres Strait peoples (or licensed with their full authority, which is clearly documented).
For more information on this campaign please contact Gabrielle Sullivan, CEO of the Indigenous Art Code on 0438 637 862 or email email@example.com or Robyn Ayres, CEO of Arts Law Centre of Australia or firstname.lastname@example.org
Austrade Free Trade Agreement : Training Provider Grant
The GAIA Project is a not for profit cultural initiative launched to foster the activity
and widen the horizons of young disadvantaged Australian and International
artists. The objective is to promote, through the artworks of young international
figurative artists, their regional culture, traditions and folklore in Australia, and
through the artworks of young Australian artists (including Aboriginal and Torres
Strait Islands) their culture, traditions and folklore overseas.
With support from ACGA, the Copyright Agency | Viscopy has undertaken a three-part project, Voice of the Artist, to explore and discover more about the extent to which visual artists have been impacted by the online environment. After conducting the largest survey of its kind, it was found that visual artists are losing out on online revenue.
Article in The Guardian on 9 March 2016, investigating the Countess Report which shows that despite women dominating visual art degrees, commercial galleries and state museums still under-represent them. Includes comments by ACGA President Anna Pappas.
Late last year, ACGA President Anna Pappas was invited by the Taiwan Art Gallery Association (TAGA) to become a founding member of the Asia-Pacific Art Gallery Alliance (APAGA), and has since attended three forums in Taiwan, Singapore and Hong Kong.
With support from the Australian Department of Foreign Affairs and Trade, the Australian chapter played host to the most recent forum, with delegates from Hong Kong, Japan, Korea, Singapore and Taipei making the trip down under.
It has been announced that the management and commercial delivery of the Melbourne Art Fair will return to the Board of the Melbourne Art Foundation, effective immediately, following the end of a commercial agreement between Art Fairs Australia and the Foundation