Footnotes

Key Recommendations

[1]        On this subject, see in particular Desart, Submission 49, pp 24–25.

Chapter 1 - Introduction and conduct of inquiry

[1]        R. Myer, Report of the Contemporary Visual Arts and Craft Inquiry (cited throughout this report as the Myer Report), June 2002.

Chapter 2 - The size and scale of Australia’s Indigenous visual arts and craft sector

[1]        Viscopy, Submission 44A, p. 6; Ananguku Arts and Culture Aboriginal Corporation, Submission 45, p. 2.

[2]        T. Pascoe, Improving Focus and Efficiency in the Marketing of Aboriginal Artefacts, Report to the Australia Council and Aboriginal Arts and Crafts Ltd, June 1981.

[3]        Altman Review, pp 22–23, citing results of Pascoe study.

[4]        Jon Altman, 'The Structure and Future of Artefact Production for Market Exchange in North-central Arnhem Land', in P Loveday and P Cooke (eds), Aboriginal Arts and Crafts and the Market, North Australia Research Unit, ANU, Darwin, 1983, pp 7–19; Nicholas Peterson, 'Aboriginal Arts and Crafts Pty Ltd: A Brief History', in P Loveday and P Cooke (eds), Aboriginal Arts and Crafts and the Market, North Australia Research Unit, ANU, Darwin, 1983, pp 60–65; Peter Cooke, 'The Craft Adviser's Role in the Battle Against Headless Crocodiles', in P Loveday and P Cooke (eds), Aboriginal Arts and Crafts and the Market, North Australia Research Unit, ANU, Darwin, 1983, pp 66–70.

[5]        Nicholas Peterson, 'Aboriginal Arts and Crafts Pty Ltd: A Brief History', in P Loveday and P Cooke (eds), Aboriginal Arts and Crafts and the Market, North Australia Research Unit, ANU, Darwin, 1983, p. 61.

[6]        Altman Review, p. 12.

[7]        Altman Review, pp 33–35, 40, 70.

[8]        Felicity Wright, The Art and Craft Centre Story, vol. 1, ATSIC, Canberra, 1999, p. 3.

[9]        Felicity Wright, The Art and Craft Centre Story, vol. 1, ATSIC, Canberra, 1999, p. 297.

[10]      Australian Bureau of Statistics, Commercial Art Galleries, Australia, Cat. No. 8651.0, 1998, p. 9, http://www.abs.gov.au/AUSSTATS/abs@.nsf/DetailsPage/8651.01996-97?OpenDocument, accessed January 2007.

[11]      Australian Bureau of Statistics, Commercial Art Galleries, Australia, Cat. No. 8651.0, 1998, p. 9, http://www.abs.gov.au/AUSSTATS/abs@.nsf/DetailsPage/8651.01996-97?OpenDocument, accessed January 2007. It is assumed that this ratio would be the same for the Indigenous art market as for the art market as a whole.

[12]      Australian Bureau of Statistics, Commercial Art Galleries, Australia, Cat. No. 8651.0, 1998, p. 4, http://www.abs.gov.au/AUSSTATS/abs@.nsf/DetailsPage/8651.01996-97?OpenDocument, accessed January 2007.

[13]      Australian Bureau of Statistics, Commercial Art Galleries, Australia, Cat. No. 8651.0, 2001, p. 3, http://www.abs.gov.au/AUSSTATS/abs@.nsf/DetailsPage/8651.01999-2000?OpenDocument, accessed January 2007.

[14]      Australian Bureau of Statistics, Aboriginal and Torres Strait Islander Australians: Involvement in Arts and Culture, Cat. No. 4721.0, 2006.

[15]      Australian Bureau of Statistics, Aboriginal and Torres Strait Islander Australians: Involvement in Arts and Culture, Cat. No. 4721.0, 2006, p. 23.

[16]      Australian Bureau of Statistics, Aboriginal and Torres Strait Islander Australians: Involvement in Arts and Culture, Cat. No. 4721.0, 2006, pp 26–27.

[17]      Australian Bureau of Statistics, Aboriginal and Torres Strait Islander Australians: Involvement in Arts and Culture, Cat. No. 4721.0, 2006, p. 29.

[18]      Myer Report, p. 165.

[19]      Australia Council, Submission 38, p. 9, citing H. Guldberg, 'The Indigenous Art and Craft Market: A Preliminary Assessment for the Cultural Ministers Council Statistics Working Group', 2002, p. 5.

[20]      Jon Altman, Boyd Hunter, Sally Ward and Felicity Wright, 'The Indigenous Visual Arts Industry', in Jon Altman and Sally Ward (eds), Competition and Consumer Issues for Indigenous Australians, ACCC, Canberra, 2002, p. 67.

[21]      Jon Altman, Boyd Hunter, Sally Ward and Felicity Wright, 'The Indigenous Visual Arts Industry', in Jon Altman and Sally Ward (eds), Competition and Consumer Issues for Indigenous Australians, ACCC, Canberra, 2002, p. 67.

[22]      NAVA, Submission 27, p. 1; Arts Law Centre of Australia, Submission 36, p. 3; Australia Council, Submission 38, p. 9; DCITA, Submission 50, p. 1.

[23]      Desart, Submission 49, p. 8; ANKAAA, Submission 63, p. 8.

[24]      The NT government submission quoted the National Association for the Visual Arts (NAVA)'s National Indigenous Art Commercial Code of Conduct Discussion Paper, 2006, as containing an estimate of $400 million. That estimate was derived from a conference paper by Associate Professor Clive Barstow, which in turn states that the data is based on 1996 ABS data. The 1996 ABS data do not contain such a figure. See NT government, Submission 57, p. 9; NAVA, National Indigenous Art Commercial Code of Conduct, Section 6, Buyers, Collectors and Commissioners of Indigenous Art, Discussion Paper, NAVA, Sydney, 2006, p. 7, http://www.visualarts.net.au/advicecentre/codesofpracticeandprotocols/indigenouscommercial, accessed January 2007; Clive Barstow, 'The Bridge Between: Connecting Studio Pedagogy to the Indigenous Art Market', Paper presented to the Australian Council of University Art and Design Schools conference, September 2005, http://www.acuads.com.au/conf2005/papers/barstow.pdf, accessed January 2007. However, if one assumes that 25 per cent of Indigenous art work is sold through commercial galleries (which was the ABS estimate for the ratio for art in general in 1996), and assume the 46 per cent rate of growth from 1996–97 to 1999–2000 continued through to 2006, then that would produce a result in the vicinity of $400 million.

[25]      The lower figure appears in his submission (Submission 2); the higher figure is in Papunya Tula Artists' Manager Mr Sweeney's report of a conversation with Mr Reid. See Committee Hansard, 21 February 2007, p. 11.

[26]      Submission 38, p. 6.

[27]      See for example ABS, 2001 Census of Population and Housing, cited in Arts NSW, Submission 53; Hans Guldberg, The Arts Economy 1968-1998: Three decades of growth in Australia, Australia Council Research Report, Australia Council, Sydney, 2000.

[28]      Terri Janke and Robynne Quiggin, Indigenous Cultural and Intellectual Property: The Main Issues for the Indigenous Arts Industry in 2006, Prepared for the Aboriginal and Torres Strait Islander Arts Board of the Australia Council, May 2006, p. 50; Australia Council, Submission 38, pp 8–9; Desart, Submission 49, p. 9; Professor Jon Altman, Submission 11, p. 3; Queensland Government, Submission 58, p. 7.

[29]      Northern Territory Government, Submission 57, p. 8.

[30]      ANKAAA, Submission 63, p. 8.

[31]      Desart, Submission 49, p. 9.

[32]      John Oster, Desart, Committee Hansard, 21 February 2007, p. 34.

[33]      Ananguku Arts & Culture Aboriginal Corporation, Submission 46, pp 2–3.

[34]      Ananguku Arts & Culture Aboriginal Corporation, Submission 46, p. 1.

[35]      Brian Tucker, Submission 12, p. 1.

[36]      Lockhart River Arts and Cultural Centre, Submission 67.

[37]      Maningrida Arts and Culture, Submission 51.

[38]      Warlayirti Artists Aboriginal Corporation, Submission 10.

[39]      Waringarri Aboriginal Arts, Submission 52.

[40]      Papunya Tula Artists, Submission 14. If evidence given by John Oster referred to above is correct (that the combined income of Balgo and Papunya Tula is about $7 million), and Balgo's centre has an income of $2.1 million according to their submission, that suggests Papunya Tula's annual gross income is about $5 million.

[41]      The Rainbow Serpent, Submission 17.

[42]      Kevin Kelly, Red Rock Art, Committee Hansard, 19 February 2007, p. 36.

[43]      Ms Kohen, Maningrida Arts and Culture, Committee Hansard, 20 February 2007, pp 47–48.

[44]      The Rainbow Serpent, Submission 17.

[45]      Australia Council, Submission 38, p. 15.

[46]      For example the Australian Aboriginal Fine Art Gallery of New York, http://www.aboriginalvisions.com/, accessed January 2007; the Aboriginal Art Gallery Bähr, http://www.aboriginal-art.de/art_eng/kunst.htm, accessed January 2007.

[47]      The Rainbow Serpent, Submission 17.

[48]      NAVA, National Indigenous Art Commercial Code of Conduct, Discussion Paper, Section 7, The Indigenous Art Industry, Tourism Operators and Tourists, NAVA, Sydney, 2006, p. 5, http://www.visualarts.net.au/advicecentre/codesofpracticeandprotocols/indigenouscommercial, accessed January 2007.

[49]      Mr Kevin Kelly, Red Rock Art, Committee Hansard, 19 February 2007, p. 28.

[50]      For example Michael Reid, Submission 2; Dr B Korman, Submission 64; Mr Paul Johnstone, Cross Cultural Art Exchange, Committee Hansard, 20 February 2007, p. 33.

[51]      Brian Tucker, Submission 12, p. 1.

[52]      Christine Godden, Submission 41, p. 1.

[53]      See for example WA Department of Culture and the Arts, Submission 18, p. 2; Australia Council, Submission 39, p. 3; Mr Paul Johnstone, Cross Cultural Art Exchange, Committee Hansard, 20 February 2007, p. 40.

Chapter 3 - The benefits of Indigenous art

[1]        Professor Howard Morphy, Committee Hansard, 9 February 2007, pp 69–71; Ms Hetti Perkins, Senior Curator, ATSI Art, NGA, Committee Hansard, 9 February 2007, p. 52; Mr John Oster, Executive Officer, Desart, Committee Hansard, 21 February 2007, p. 21.

[2]        Minister for Indigenous Affairs, Senator Amanda Vanstone; Peter Garrett MP, quoted in Matt Price, 'Blacks' art "our greatest cultural gift"', The Australian, 29 November 2005.

[3]        ANKAAA, Submission 63, p. 10.

[4]        Ms Marion Scrymgour, NT Minister for Arts and Museums, Committee Hansard, 20 February 2007, p. 4.

[5]        Myer Report, p. 52.

[6]        Ms Christine Godden, Submission 41, p. 2.

[7]        Jon Altman, Developing an Indigenous Arts Strategy for the Northern Territory: Issues Paper for Consultations, 2003, p. 9 (hereafter 'Developing an Indigenous Art Strategy'). See also Australia Council, Submission 38, p. 16.

[8]        NT Government, Submission 57, p. 9; Aranda Aboriginal Art, Submission 83, p. 2.

[9]        Ms Marion Scrymgour, NT Minister for Arts and Museums, Committee Hansard 20 February 2007, p. 2.

[10]      NT Government, Submission 57, pp 9–10.

[11]      NT Government, Submission 57, p. 10.

[12]      Developing an Indigenous Arts Strategy, p. 9.

[13]      Arts Victoria, Submission 70, p. 3.

[14]      Developing an Indigenous Arts Strategy, p. 12.

[15]      Developing an Indigenous Arts Strategy, p. 12.

[16]      Art centres operate on an average commission rate of 30-40 per cent. See Desart, Submission 49, p. 7.

[17]      Developing an Indigenous Arts Strategy, pp 12–13.

[18]      Developing an Indigenous Arts Strategy, p. 13.

[19]      Queensland Government, Submission 58, p. 7.

[20]      Developing an Indigenous Arts Strategy, pp 13–14.

[21]      Australia Council, Submission 38, p. 16; Victorian College of the Arts, Submission 39, p. 1.

[22]      NT Government, Submission 57, p. 10.

[23]      Developing an Indigenous Arts Strategy, p. 14. See also Professor Jon Altman, Committee Hansard, 9 February 2007, p. 79.

[24]      Lockhart River Arts and Cultural Centre, Submission 67, p.1; Ms Monique Weemstra, Submission 22, p. 1.

[25]      Maningrida Arts and Culture, Submission 51, p. 2.

[26]      Desart, Submission 49, p. 10. See also Lockhart River Arts and Cultural Centre, Submission 67, p. 2.

[27]      NT Government, Submission 57, p. 10; Professor Jon Altman, Submission 11, p. 4.

[28]      Victorian College of the Arts, Submission 39, p. 1.

[29]      T Janke, The Social and Cultural Benefits of Indigenous Visual Arts, October 2006, Attachment to Australia Council, Submission 38, pp 21–23 (Hereafter referred to as the Janke study). The committee acknowledges the comprehensive nature of this study in examining the social and cultural benefits of the sector.

[30]      The Artists of Ampilatwatja, Submission 20, p. 1. See also Lauraine Diggins Fine Art, Submission 26, p. 3.

[31]      Janke study, p. 24.

[32]      Janke study, pp 23–24.

[33]      ACGA, Submission 82, p. 5.

[34]      Arts Law Centre of Australia, Submission 36, pp 5–6. See also NSW Aboriginal Justice Advisory Council, Submission 37, p. 2.

[35]      WA Department of Culture and the Arts, Submission 18, p. 2.

[36]      Janke study, p. 20.

[37]      Janke study, p. 19.

[38]      Desart, Submission 49, p. 10. See also Ms Gloria Morales-Segovia, Assistant Manager, Warlukurangu Artists, Committee Hansard, 21 February 2007, p. 37.

[39]      Mr Brian Tucker Accounting, Submission 12, p. 2.

[40]      ANKAAA, Submission 63, p. 9.

[41]      ANKAAA, Submission 63, pp 9–10; Ms Monique Weemstra, Submission 22, pp 1–2.

[42]      Desart, Submission 49, p. 10.

[43]      Papunya Tula Artists, Submission 14, p. 2. See also Aranda Aboriginal Art, Submission 83, p. 4.

[44]      Ms Monique Weemstra, Submission 22, p. 2.

[45]      Arts Law Centre of Australia, Submission 36, p. 6. See also Dr Diane Mossenson, WA State Chairman, ACGA, Committee Hansard, 23 February 2007, p. 7.

[46]      ANKAAA, Submission 63, p. 10. See also Mr Djambawa Marawilli, Chairperson, Association of Northern Kimberley and Arnhem Aboriginal Artists, Committee Hansard, 20 February 2007, p. 18.

[47]      Victorian College of the Arts, Submission 39, p. 1.

[48]      Janke study, p. 3.

[49]      Ananguku Arts and Culture, Submission 46, p. 3.

[50]      Professor Howard Morphy, Committee Hansard, 9 February 2007, p. 70.

[51]      Ms Monique Weemstra, Submission 22, p. 2.

[52]      Dr Diane Mossenson, Submission 78, p. 3.

[53]      Ms Isabelle de Beaumont, Submission 71, p. 1.

[54]      Janke study, pp. 7–8; Caruana Fine Art, Submission 31, p. 2.

[55]      Australia Council, Submission 38, p. 17.

[56]      Janke study, p. 7.

[57]      Desart, Submission 49, p. 10. See also ANKAAA, Submission 63, p. 10.

[58]      Ms Isabelle de Beaumont, Submission 71, p. 1.

[59]      Janke study, pp 4–5.

[60]      Janke study, pp 12–13.

[61]      For a further discussion see Janke study, pp 10–12; Australia Council, Submission 38, p. 17; Queensland Government, Submission 58, p. 13.

[62]      Mbantua Gallery, Submission 24, p. 4; Professor Jon Altman, Submission 11, p. 5.

[63]      Desart, Submission 49, p. 10.

[64]      Mr Christopher Hodges, Committee Hansard, 23 February 2007, p. 5.

[65]      Desart, Submission 49, p. 10.

[66]      NT Government, Submission 57, p. 12.

[67]      Ms Christine Godden, Submission 41, p. 2.

Chapter 4 - Art centres

[1]        Arts Law Centre of Australia, Submission 36, p. 4.

[2]        DCITA, Submission 50, p. 2; NAVA, National Indigenous Art Commercial Code of Conduct, Discussion Paper, Section 1, Introduction, NAVA, Sydney, 2006, p. 7, http://www.visualarts.net.au/advicecentre/codesofpracticeandprotocols/indigenouscommercial, accessed January 2007.

[3]        Desart, Submission 49, p. 7.

[4]        Susan McCulloch, Contemporary Aboriginal Art: A Guide to the Rebirth of an Ancient Culture, Allen & Unwin, St Leonards, 1999, pp 42–43.

[5]        Lauraine Diggins Fine Art, Submission 26, p. 2. Maningrida Arts and Culture art centre purchases all works by member artists. See Submission 51.

[6]        ANKAAA, Submission 63, p. 2.

[7]        Desart web site, http://www.desart.com.au/about/index.htm, accessed 16 April 2007.

[8]        Ananguku Arts & Culture Aboriginal Corporation, Submission 46, p. 1.

[9]        Ananguku Arts & Culture Aboriginal Corporation, Submission 46, p. 2.

[10]      Umi Arts web site, www.umiarts.com.au, accessed 16 April 2007; DCITA web site, http://archive.dcita.gov.au/2005/10/artbeat_spring_2005/indigenous)arts_agency_launched_in_far_north_queensland, accessed 26 April 2007.

[11]      Umi Arts web site, www.umiarts.com.au, accessed 16 April 2007.

[12]      DCITA, Submission 50, p. 1.

[13]      DCITA, Submission 50, p. 2;

[14]      Mr Brian Tucker, Submission 12.

[15]      NAVA, National Indigenous Art Commercial Code of Conduct, Discussion Paper, Section 1, Introduction, NAVA, Sydney, 2006, p. 7, http://www.visualarts.net.au/advicecentre/codesofpracticeandprotocols/indigenouscommercial, accessed January 2007.

[16]      ANKAAA, Submission 63, p. 9.

[17]      ANKAAA, Submission 63, p. 9.

[18]      Desart, Submission 49, Attachment 2, pp 10–11.

[19]      Warlayirti Artists, Submission 10, p. 2

[20]      Maningrida Arts & Culture, Submission 51, p. 1.

[21]      Maningrida Arts & Culture, Submission 51, p. 1.

[22]      Waringarri Aboriginal Arts, Submission 52, p. 2.

[23]      Lockhart River Arts and Cultural Centre, Submission 67, p. 1.

[24]      Arts Law Centre of Australia, Submission 36, p. 10.

[25]      Cross Cultural Art Exchange, Submission 16, p. 3.

[26]      See, for example, Mr Martin Wardrop, Committee Hansard, 10 April 2007, p. 2; Mr Claude Ullin, Committee Hansard, 11 April 2007, pp 43–44.

[27]      See, for example, Mrs Beverley Knight, Committee Hansard, 23 February 2007, p. 3.

[28]      See, for example, Mr Kevin Kelly, Committee Hansard, 19 February 2007, p. 27; Mr AP Bond, Submission 55.

[29]      Professor Howard Morphy, Committee Hansard, 9 February 2007, p. 70; Professor Jon Altman, Submission 11, p. 9; Mr Wally Caruana, Submission 31;

[30]      DCITA, Submission 50, p. 1.

[31]      Papunya Tula Artists, Submission 14, p. 1.

[32]      For example, Desart, Submission 49, Attachment 3 (Report of Organisational Audit, Irrunytju Arts, December 2006).

[33]      Lauraine Diggins Fine Art, Submission 26, p. 1.

[34]      Australian Commercial Galleries Association, Submission 82, pp 3–4.

[35]      See, for example, Dr Ben Korman, Submission 64.

[36]      Identeart, Submission 25A.

[37]      Mr Brian Tucker Accounting, Submission 12, p. 7.

[38]      Creative Economy, Submission 8, p. 4.

[39]      ArtsSA, Submission 5; WA Department of Culture and the Arts, Submission 18, p. 12.

[40]      See, for example, Waringarri Arts, Submission 52; Mr John Oster, Desart, Committee Hansard, 21 February 2007, p. 21.

[41]      Mr John Oster, Desart, Committee Hansard, 21 February 2007, p. 22.

[42]      Mr Brian Tucker Accounting, Submission 12, p. 7.

[43]      Mr Tony Oliver, Committee Hansard, 19 February 2007, p. 46.

[44]      Mr Tony Oliver, Committee Hansard, 19 February 2007, p. 46.

[45]      See for example the training book they submitted to the committee: Desart, Submission 49, Attachment 2.

[46]      Mr Brian Tucker Accounting, Submission 12, p. 7.

[47]      Mr Tony Oliver, Committee Hansard, 19 February 2007, p. 46.

[48]      WA Department of Culture and the Arts, Submission 18, pp 4–5.

[49]      Mr Narayan Kozeluh, Art coordinator for The Artists of Ampilatwatja, Submission 20.

[50]      Felicity Wright, The Art and Craft Centre Story, vol. 1 (Report), ATSIC, Canberra, 1999, p. 211.

[51]      Ms Jennifer Herd, Submission 47, p. 2.

[52]      WA Department of Culture and the Arts, Submission 18, pp 4–5.

[53]      DCITA, Submission 50, p. 7.

[54]      DCITA Answers to questions on notice, 10 April 2007 (received 24 May 2007).

[55]      Maningrida Arts & Culture, Submission 51, p. 2.

[56]      WA Department of Culture and the Arts, Submission 18, p. 3.

[57]      Ms Belinda Scott, Submission 1, pp 3–4.

[58]      Professor Jon Altman, 'Brokering Aboriginal Art: A Critical Perspective on Marketing, Institutions and the State', Kenneth Myer Lecture in Arts and Entertainment Management, 7 April 2005, Deakin University, Geelong, p. 14.

[59]      See for example Mr Brian Tucker, Submission 12.

[60]      Mr Brian Tucker, Submission 12, p. 5.

[61]      Brian Tucker Accounting, Submission 12, p. 5.

[62]      Desart, Submission 49, Attachment 1.

[63]      Desart, Submission 49, p. 16.

[64]      Queensland Department of the Premier and Cabinet, Submission 58, p. 18; Belinda Scott, Submission 1, p. 3; Creative Economy, Submission 8, p. 4.

[65]      ANKAAA, Submission 63, p. 11.

[66]      Desart, Submission 49, p. 16.

[67]      ANKAAA, Submission 63, p. 12.

[68]      Desart, Central Australian Aboriginal Art Centres, Physical Infrastructure Needs Assessment (Facilities and Housing), November 2005, p. 4. (Attachment to Desart Submission 49.)

[69]      Desart, Central Australian Aboriginal Art Centres, Physical Infrastructure Needs Assessment (Facilities and Housing), November 2005, p. 4.

[70]      ANKAAA, Submission 63, p. 11.

[71]      ANKAAA, Submission 63, p. 11.

[72]      ANKAAA, Submission 63, p. 12.

[73]      Desart, Central Australian Aboriginal Art Centres, Physical Infrastructure Needs Assessment (Facilities and Housing), November 2005, p. 7 (Attachment to Desart Submission 49).

[74]      DCITA, Submission 50, p. 6.

[75]      Desart, Central Australian Aboriginal Art Centres, Physical Infrastructure Needs Assessment (Facilities and Housing), November 2005, p. 7 (Attachment to Desart Submission 49).

[76]      DCITA, Submission 50, p. 9.

[77]      DoTARS correspondence to the Committee, 20 April 2007.

[78]      DoTARS correspondence to the Committee, 20 April 2007.

[79]      Desart, Central Australian Aboriginal Art Centres, Physical Infrastructure Needs Assessment (Facilities and Housing), November 2005, p. 6. . (Attachment to Desart Submission 49.)

[80]      Desart, Submission 49, Recommendation 3, “Both the Commonwealth Government and the NT Government should strongly pursue the release of Aboriginal Benefit Account funds and make any such funds available for capital works in NT Art Centres”, p. 17.

[81]      Desart, Central Australian Aboriginal Art Centres, Physical Infrastructure Needs Assessment (Facilities and Housing), November 2005, p. 7. (Attachment to Desart Submission 49.)

[82]      Office of Indigenous Policy Coordination Website, http://oipc.gov.au/, accessed 4 April 2007.

[83]      Office of Indigenous Policy Coordination Website, http://oipc.gov.au/programs/AboriginalsBenefitAccountNT.asp, accessed 4 April 2007. In relation to sub-section 64(4) payments, the Minister is advised by the fifteen person ABA Advisory Committee. Its Chairperson, currently Ms Miriam Rose Baumann AM, is appointed by the Minister. Ms Baumann is also a member of the National Indigenous Council. The fourteen other members are elected by the four NT land councils established under the ALRA; the Northern Land Council; Central Land Council; Tiwi Land Council; and the Anindilyakwa Land Council.

[84]      Office of Indigenous Policy Coordination Website, http://oipc.gov.au/programs/documents/ABAform.pdf, accessed 4 April 2007.

[85]      Senator Amanda Vanstone, 'Coalition increases support for Indigenous art', Media Release VPS 571.04, 22 September 2004. See also Schedule 2.2 to the Overarching Agreement on Indigenous Affairs Between the Commonwealth of Australia and the Northern territory of Australia 2005–2010, http://www.nt.gov.au/dcm/people/pdf/20050406/arts.pdf, accessed May 2007.

[86]      'Pursue funding for capital works such as the construction of new buildings and upgrade of existing facilities'; DCITA, Aboriginal and Torres Strait Islander Services and the Australia Council, Indigenous Art Centres Strategy and Action Plan, section 5.

[87]      Papunya Tula Artists web site, History, http://www.papunyatula.com.au/history/, accessed May 2007.

[88]      Fred Myers, Painting Culture, Duke University Press, Durham, 2002, pp 132–3, 142–3, 150.

[89]      Fred Myers, Painting Culture, Duke University Press, Durham, 2002, p. 132.

[90]      Nicolas Peterson, 'Aboriginal Arts and Crafts Pty Ltd: A Brief History', in P Loveday and P Cooke (eds), Aboriginal Arts and Crafts and the Market, Australian National University North Australia Research Unit, Darwin, 1983, p. 64.

[91]      Fred Myers, Painting Culture, Duke University Press, Durham, 2002, p. 155.

[92]      Mr Paul Sweeney, Papunya Tula Artists, Committee Hansard, 21 February 2007, p. 5.

[93]      Jeremy Eccles, 'Jirrawun: A Unique Model for Aboriginal Art', Art & Australia, vol. 44, no. 1, 2006, p. 89.

[94]      Marcia Langton, 'Goowoomji's World', in Linda Michael (ed.), Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 57.

[95]      Marcia Langton, 'Goowoomji's World', in Linda Michael (ed.), Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 58.

[96]      Marcia Langton, 'Goowoomji's World', in Linda Michael (ed.), Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 59.

[97]      Kim Ackerman, 'Rover Thomas', Artlink, vol. 20, no. 1; Rover Thoms Joolama, Artist biography, National Gallery of Victoria, http://www.ngv.vic.gov.au/rover_queenie/rover.html, accessed May 2007.

[98]      Quoted in Jeremy Eccles, 'Jirrawun: A Unique Model for Aboriginal Art', Art & Australia, vol. 44, no. 1, 2006, p. 83.

[99]      Mr Paul Sweeney, Papunya Tula Artists, Committee Hansard, 21 February 2007, p. 5.

[100]    Arnold Bloch Leibler & Jirrawun Arts Corporation, Submission 59, p. 3.

[101]    On this subject, see in particular Desart, Submission 49, pp 24–25.

Chapter 5 - ’Urban’ Indigenous art

[1]        Fire-Works Gallery, About us, http://www.fireworksgallery.com.au/About.htm, accessed May 2007.

[2]        Designer Aboriginals, Biography, http://www.bronwynbancroft.com/2.html, accessed April 2007.

[3]        Ms Brenda Croft, 'Up in the sky, behind the clouds', in Brenda Croft (ed.), Michael Riley: Sights Unseen, National Gallery of Australia, 2006, p. 25.

[4]        Richard Bell, 'Bell's theorem of Aboriginal art: it's a white thing', Brisbane Institute, 11 November 2003, http://www.brisinst.org.au/resources/brisbane_institute_bell_theorem.html, accessed April 2007.

[5]        'Bell raiser', Sydney Morning Herald, 28 May 2004.

[6]        Kate Williamson, Lin Onus (1948 - 1996), Art Interview, http://www.artinterview.com.au/artist-biographies/lin-onus/, accessed April 2007.

[7]        Department of the Environment and Heritage web site, Indigenous Settlements of Australia, 'Australia: State of the Environment Second Technical Paper Series (Human Settlements), Series 2', Dr Paul Memmott and Mark Moran, Department of the Environment and Heritage, 2001, http://www.environment.gov.au/soe/techpapers/indigenous/distribution.html, accessed 15 June 2007.

[8]        Mrs Beverly Knight, Australian Commercial Galleries Association, Committee Hansard, 23 February 2007, p. 3.

[9]        Girls on film: Tracey Moffatt, http://www.artgallery.wa.gov.au/collections/documents/t_moffatt.pdf, accessed April 2007; Designer Aboriginals, Biography, http://www.bronwynbancroft.com/2.html, accessed April 2007.

[10]      Arts Law Centre of Australia, Submission 46, p. 5.

[11]      Arts Law Centre of Australia, Submission 46, p. 5.

[12]      Birrung Gallery, Submission 3, p. 1.

[13]      Birrung Gallery, Submission 3, p. 3.

[14]      Birrung Gallery, Submission 3, p. 3.

[15]      Ms Jennifer Herd, Submission 47, pp. 1, 2.

[16]      Queensland University of Technology, Submission 9, p. 3.

[17]      Mr Michael Eather, Submission 88; see also Fire-Works Gallery, http://www.fireworksgallery.com.au/Index.htm, accessed May 2007.

[18]      George Petelin, 'The history of the Campfire Group', in Michael Eather (ed.), Shoosh! The History of the Campfire Group, Institute of Modern Art and Campfire Group, Brisbane, 2005, pp 9–11.

[19]      Mr Michael Eather, Submission 88, p .2.

[20]      Frank Panucci and Associates, Report on Boomalli Aboriginal Artists Co-Operative Ltd, August 2003; Incite Management Group, Boomalli Aboriginal Artists Co-Operative Ltd Strategic Plan FY203.

[21]      DCITA, Aboriginal and Torres Strait Islander Services and Australia Council for the Arts, Indigenous Art Centres Strategy and Action Plan.

[22]      Australia Council for the Arts, ATSIA: Grants: Skills and Arts Development, http://www.ozco.gov.au/grants/grants_atsia/skills_and_arts_development/, accessed May 2007.

[23]      The Rainbow Serpent, Submission 17, p. 3.

Chapter 6 - Existing government funding

[1]        The ICS program was called the Regional Arts and Culture Support (RACS) program when it was administered by ATSIC.

[2]        DCITA, Submission 50, p. 3.

[3]        DCITA, Correspondence, 14 February 2007.

[4]        The Hon Phillip Ruddock and Senator the Hon Rod Kemp, 'New support for Australia's visual arts', Budget news release, 9 May 2006.

[5]        Visions of Australia provides funding to eligible organisations to develop and tour exhibitions of Australian cultural material across the country. Festivals Australia provides assistance to Australian regional and community festivals for the presentation of cultural projects. The Regional Arts Fund supports the arts in regional and remote areas in partnership with state and territory regional arts organisations. DCITA, Correspondence, 14 February 2007.

[6]        The NTN program ceased on 30 June 2005 and the ITTTS program will cease on 30 June 2007. See DCITA, Correspondence, 14 February 2007.

[7]        See Australia Council, Visual Arts and Crafts Strategy, www.ozco.gov.au/boards/visual­_arts/vacs, accessed may 2007.

[8]        Australia Council, Submission 38, p. 19. Four further years of funding of the VACS initiative at existing funding levels was announced in the 2007–08 budget.

[9]        Australia Council, Submission 38, p. 19.

[10]      Australia Council, Correspondence, received 18 May 2007.

[11]      DEWR, answer to question on notice 11 April 2007, received 14 May 2007.

[12]      DEWR, Submission 66, p. 8.

[13]      DEWR, Submission 66, p. 8.

[14]      DEWR, Submission 66, p. 8.

[15]      Waringarri Aboriginal Arts, Submission 52, p. 2; Maningrida Arts and Culture, Submission 51, pp 2–4.

[16]      Northern Territory Government, Submission 57, pp 23–26; See also Desart, Submission 49, p. 27.

[17]      Queensland Government, Submission 58, pp 23–24.

[18]      WA Department of Culture and the Arts, Submission 18, p. 12.

[19]      Arts NSW, Submission 53, pp 12–13.

[20]      Arts Victoria, Submission 70, pp 5–6.

[21]      Department of Industry and Resources, Western Australia, Submission 35, p. 2.

[22]      Desart, Submission 49, p. 14.

[23]      Northern Territory Government, Submission 57, p. 24.

[24]      Arts NSW, Submission 53, p. 16.

[25]      Professor Howard Morphy, Committee Hansard, 9 February 2007, p. 73.

[26]      Maningrida Arts and Culture, Submission 51, p. 3; ANKAAA, Submission 63, p. 14; WA Department of Culture and the Arts, Submission 18, p. 12.

[27]      Schedule 2.2 to the Overarching Agreement on Indigenous Affairs Between the Commonwealth of Australia and the Northern territory of Australia 2005–2010, http://www.nt.gov.au/dcm/people/pdf/20050406/arts.pdf, accessed May 2007.

[28]      ANKAAA, Submission 63, pp 14–15; Northern Territory Government, Submission 57, pp 24‑25; Queensland Government, Submission 58, p. 25.

[29]      Professor Jon Altman, Submission 11, p. 7.

[30]      WA Department of Industry and Resources, Submission 35, p. 3.

Chapter 7 - Education and training

[1]        Mr Wallace Caruana, Committee Hansard, 9 February 2007, p. 25.

[2]        Cross Cultural Art Exchange, Submission 16, p. 3.

[3]        Ms Apolline Kohen, Arts Director, Maningrida Arts and Culture, Committee Hansard, 20 February 2007, p. 43.

[4]        Mr Brian Tucker, Submission 12, pp 7-8.

[5]        Australia Council, Submission 38, pp 25-26.

[6]        Australia Council, Submission 38, pp 25-26.

[7]        Professor Jon Altman, Appendix A, Submission 11, p. 16.

[8]        Ms Lyn Allan, General Manager, Indigenous Arts and Training, DCITA, Committee Hansard, 10 April 2007, p. 17.

[9]        Mr Brian Tucker, Committee Hansard, 10 April 2007, p. 10.

[10]      Mr Brian Tucker, Committee Hansard, 10 April 2007, p. 13.

[11]      Sharenne Bell, Arts, Business, Culture: A research report on an Indigenous cultural history in Queensland business culture. Arts Queensland, May 1997.

[12]      Sharenne Bell, Arts, Business, Culture: A research report on an Indigenous cultural history in Queensland business culture. Arts Queensland, May 1997, p. 68.

[13]      Department of Education, Science and Training (DEST) website, http://www.grouptraining.dest.gov.au/targeted_initiatives.htm, accessed 9 May 2007. "The objective of the Programme is to enable Group Training Organisations to generate quality Australian Apprenticeship opportunities in priority areas that would not otherwise happen, as well as strengthen the capacity of the group training sector to generate Australian Apprenticeships in difficult, challenging or under serviced markets which contributes to the establishment of a sustainable Australian Apprenticeships market."

[14]      DCITA, Answers to questions on notice, 10 April 2007, received 24 May 2007.

[15]      DCITA, Answers to questions on notice, 10 April 2007, received 24 May 2007.

[16]      Department of Education & Workplace Relations (DEWR), Submission 66, pp 3–6.

[17]      IBA, Correspondence to the committee, 4 June 2007.

[18]      DEWR website, http://www.workplace.gov.au/workplace/Category/SchemesInitiatives/IndigenousProgs/CommunityDevelopmentEmploymentProjectsCDEPprogramme, accessed 27 April 2007.

[19]      Ms Mary-Anne Sakkara, Assistant Secretary, Community Development and Employment Future Directions Branch, Department of Employment and Workplace Relations, (DEWR) Committee Hansard, 11 April 2007, p. 16. See also p. 26 where Ms Sakkara refers to using the CDEP to give Indigenous people greater skills.

[20]      DEWR, Correspondence, 4 April 2007, Attachment.

[21]      DEWR, Submission 66, p. 8.

[22]      Cross Cultural Art Exchange, Submission 16, p. 1.

[23]      DEWR, answer to question on notice 11 April 2007, received 14 May 2007.

[24]      DEWR does not collect information to indicate whether most CDEP participants working in the Indigenous art sector would be working for CDEP service providers or under host employer arrangements. However it is understood most service providers are relatively large organisations compared to art centres, and some art centres are not separately incorporated bodies. Both these factors suggest they are likely to be involved in CDEP under host employer arrangements.

[25]      Other changes included the provision that new CDEP participants under 20 years would be paid a youth rate consistent with the Independent rate of Youth Allowance. See Hon Kevin Andrews MP, 'CDEP Changes Announced', Media Release, 29 March 2006.

[26]      Community Development Employment Projects (CDEP) programme, web site, http://www.workplace.gov.au/workplace/Category/SchemesInitiatives/IndigenousProgs/CommunityDevelopmentEmploymentProjectsCDEPprogramme.htm, accessed 28 May 2007.

[27]      Waringarri Aboriginal Arts, Submission 52, pp. 2–3.

[28]      Waringarri Aboriginal Arts, Submission 52, p. 3.

[29]      Arts Law Centre of Australia, Submission 36, p. 8.

[30]      Professor Jon Altman, Submission 11, p. 6.

[31]      DEWR, Questions and Answers for the Outcome of the Indigenous Potential Meets Economic Opportunity Consultation, p.4.

[32]      DEWR, Submission 66, pp 3–4.

[33]      DEWR, Submission 66, p. 8.

[34]      DEWR, Submission 66, p. 8.

[35]      Desart, Appendix 2 Training Book, pp 8–9.

[36]      Desart, Submission 49, p. 14.

[37]      Desart, Appendix 2 Training Book, p. 8.

[38]      Desart, Appendix 2 Training Book, pp 8–9.

[39]      ArtSource, Submission 15, p. 5.

[40]      Ms Jennifer Herd, Submission 47, pp 2–3.

[41]      Creative Economy, Submission 8, p. 3.

[42]      Creative Economy, Submission 8, pp 6–7.

[43]      Creative Economy, Submission 8, pp 6–7.

[44]      Viscopy, Submission 44A, p. 3.

[45]      Viscopy, Submission 44A, p. 3.

[46]      Mr Alex Malik, Submission 6, p. 36.

[47]      Arts Law Centre of Australia, Submission 36, p. 2.

[48]      Arts Law Centre of Australia, Submission 36, p. 2.

[49]      Arts Law Centre of Australia, Submission 36, p. 12.

[50]      Ms Jennifer Herd, Submission 47, pp 3–4.

[51]      Ms Jennifer Herd, Submission 47, pp 3–4.

[52]      Queensland Department of the Premier and Cabinet, Submission 58, p. 24.

[53]      ArtSource, Submission 15, p. 4.

[54]      NAVA, Submission 27, p. 7.

[55]      Te Manatu Taonga, New Zealand Ministry for Culture and Heritage, Submission 84, pp 4–5.

[56]      Te Manatu Taonga, New Zealand Ministry for Culture and Heritage, Submission 84, p. 5.

[57]      Te Manatu Taonga, New Zealand Ministry for Culture and Heritage, Submission 84, p. 10.

[58]      Western Australia Department of Industry and Resources, Submission 35, p. 10. "Implement a cohesive consumer education and awareness program, in partnership with key industry representatives. This campaign should target specific layers of the overall industry, including international tourists and the fine art market. Use a range of media, from publications and postcards to information for in-bound travellers." Recommendations and observations such as this are common to many Submissions.

[59]      Professor Jon Altman, Submission 11, p. 9 & p. 11.

[60]      Mr Alex Malik, Submission 6, p. 1. "In particular, greater pubic education should be undertaken regarding the importance of Indigenous Australian Intellectual Property (IP) rights and in the impact of IP rights infringement in this area. Indigenous Australians should also receive greater education regarding their legal rights in the advent of IP rights infringement impacting on them. Australian Aborigines need to be made aware that they are not powerless to prevent the theft of their creativity, and criminal and civil remedies exist to prevent this type of activity. Non Indigenous Australians need to be made aware that the theft of Indigenous Australian arts and craft is not a victimless crime."

[61]      Association of Northern, Kimberley and Arnhem Aboriginal Artists, (ANKAAA), Submission 63, pp 12–13.

[62]      Ms Stephanie Hawkins, Manager, Indigenous Arts Development Unit, Arts NT, Department of Natural Resources, Environment and the Arts, Northern Territory, Committee Hansard, 20 February 2007, p. 6.

[63]      DCITA, Indigenous Visual Arts and Craft Resource Directory, Canberra, 2006,

[64]      Birrung Art Gallery, Submission 3, p. 3.

[65]      Papunya Tula Artists, Submission 14, p. 5.

[66]      Cross Cultural Art Exchange, Submission 16, p. 2.

[67]      Ms Christine Godden, Submission 41, p. 7.

[68]      Mr Alex Malik, Submission 6, p. 39

[69]      In 1996, Aboriginal art auction sales were listed at $1.36 million; in 2006 they had increased more that ten times to $14.32 million. See Australian Arts Sales Digest, http://www.aasd.com.au/AnnualAuctionTotals.cfm, accessed 2 May 2007.

[70]      Ms Tamara Winikoff, Executive Director, National Association for the Visual Arts Ltd, Committee Hansard, 23 February 2007, p. 19.

[71]      ANKAAA, Submission 63, p. 15.

[72]      Ms Apolline Kohen, Arts Director, Maningrida Arts and Culture, Committee Hansard, 20 February 2007, p. 43.

[73]      Desart, Submission 49, p. 29.

[74]      Austrade mission statement, http://www.austrade.gov.au/About-Austrade1351/default.aspx accessed 30 April 2007.

[75]      Austrade, Submission 29, p. 9. See also, Mr John Odgers, Austrade, Committee Hansard, 9 February 2007, pp 36–37.

[76]      Northern Territory Government, Submission 57, pp 27–33.

[77]      Lauraine Diggins Fine Art, Submission 26, p. 4.

[78]      Te Manatū Taonga, New Zealand Ministry for Culture and Heritage, Submission 84, p. 5.

[79]      Te Manatū Taonga, New Zealand Ministry for Culture and Heritage, Submission 84, p. 10.

[80]      Te Manatū Taonga, New Zealand Ministry for Culture and Heritage, Submission 84, p. 11.

[81]      Desart, Submission 49, Attachment 2.

[82]      Ms Helene George, Creative Economy, Committee Hansard, 11 April 2007, p. 33.

[83]      DCITA, Submission 50, p. 8.

Chapter 8 - Threats to the Indigenous art market

[1]        Nicholas Rothwell, 'Scams in the desert', The Weekend Australian, 4 March 2006.

[2]        Antiques by Alternatives website, http://www.antiquesbyalternatives.com/Art_Terminology.htm, accessed on 13 February 2007.

[3]        Perkin, C., 'Plunder of a painter's reputation', The Australian, 8 December 2006, p. 16.

[4]        Ms Carol Best, Submission 69, p. 4.

[5]        Grafico Arts, Special Exhibition Reviews by Sue Smith, website, http://www.grafico-qld.com/exhibition/abart_comment.htm, first published in The Courier Mail, 24 April 1999, accessed on 15 February 2007.

[6]        Eloise Dortch, 'Aboriginal art experts warn of fraud as police fail to file charges', The West Australian, 16 March 2006, p.17; and 'Art of Exploitation', The Australian, 7 March 2006, p. 13. See also, Tania Johnson, 'When is a forgery not a forgery?', Journal of Indigenous Policy, Issue 6, pp 83–119.

[7]        Mr Claude Ullin, Committee Hansard, 11 April 2007, p. 41.

[8]        See, for example, Daniel Palmer, 'Interview with Patricia Piccinini and Peter Hennessey', RealTime, 2001, http://www.patriciapiccinini.net/essay.php?id=6, accessed May 2007.

[9]        Ms Carole Best, Submission 69, p. 4.

[10]      Desart, Submission 49, p. 7.

[11]      Desart, Submission 49, p. 7.

[12]      Michael Reid, '2007 Art Market Trends', Michael Reid [newsletter], Feb-Mar 2007, p. 1.

[13]      Ashleigh Wilson, 'Probe into Indigenous artist "exploitation"', The Australian, 6 March 2006.

[14]      Ms Ali Cobby Eckermann, Submission 56, p. 1.

[15]      Ms Ali Cobby Eckermann, Submission 56, p.1. The submission gives an example of how established artists are given the pretence of 'special treatment' in return for receiving artwork at heavily discounted prices.

[16]      Papunya Tula Artists, Submission 14, p.3.

[17]      Papunya Tula Artists, Submission 14, p.3. The submission gives a broad overview of how elderly artists are manipulated into producing art for 'new' four-wheel drive cars. See also Submission 55, Mr A.P. Bond. Mr Bond's submission provides further detail.

[18]      Ms Jennifer Herd, Queensland Art College, Submission 47. Ms Herd refers to the Altman Report (2001) which gave an example of backpackers painting didgeridoos for the souvenir market.

[19]      Northern Territory Government, Submission 57. There are two aspects to this: one is the deliberate forgery and fake authorship of artwork by 'carpetbaggers', the other is forgery by other Aboriginal people of other Aboriginal artists.

[20]      Arnold Bloch Liebler and the Jirrawun Arts Corporation, Submission 59, p. 3.

[21]      Arts Law Centre of Australia, Submission 36, p. 6.

[22]      Desart, Submission 49, Appendix 4, pp 36-37.

[23]      Japingka Indigenous Fine Art Gallery, Submission 21, p. 2

[24]      Dr Ben Korman, Submission 64, pp 3-4.

[25]      Mr J Eccles, Submission 43, p. 2.

[26]      Mr J Eccles, Submission 43, p. 2.

[27]      Mr Anthony Oliver, Chief Executive Officer of Jirrawun Arts, Committee Hansard, 19 February 2007, p. 44.

[28]      Art.Trade, Submission 19B, p. 1.

[29]      Ms Gloria Morales-Segovia, Assistant Manager, Warlukurlangu Artists, Committee Hansard, 21 February 2007, p. 39.

[30]      Ms Cathy Cummins, Manager of Waringarri Aboriginal Arts, Committee Hansard, 19 February 2007, pp 23-24.

[31]      Desart, Submission 49, p.19.

[32]      Desart, Submission 49, p.19.

[33]      The Australian Consumer and Competition Commission (ACCC) commented on 25 March 2006 that there was 'too much difficulty in trying to establish the necessary evidence to prove any breaches'. See John Oster, 'A code to stop the sweatshops' in The Australian, 2 June 2006, p. 17.

[34]      ACCC comment in John Oster, p. 17.

[35]      Mr Alex Malik, Submission 6, p. 35.

[36]      Katrina Strickland, 'Couple go on trial for Rover's art', in The Australian Financial Review, 24 November 2006, p. 3.

[37]      Eloise Dortch, 'Federal Minister sets sights on Aboriginal art fraud', West Australian, 5 April 2006.

[38]      Mr Nigel Ridgway, General Manager, Compliance Strategies Branch, Australian Competition and Consumer Commission, Committee Hansard, 23 February 2007, p. 65.

[39]      Arts Law Centre of Australia, Submission 36, p. 2. See also The Australia Council, Submission 38, p. 3, and Arts Law Centre of Queensland, Submission 45, p. 3.

[40]      Caruana Fine Art, Submission 31, p. 3.

[41]      Maningrida Arts & Culture, Submission 51, p. 4.

[42]      Northern Territory Government, Submission 57, pp 19, 23.

[43]      Viscopy Ltd. Submission 44, p. 6.

Chapter 9 - Enhancing the market for Indigenous art - I

[1]        ACCC, Submission 60, p. 1.

[2]        ACCC, Guide to Unconscionable Conduct, Commonwealth of Australia, October 2004, p. 1.

[3]        ACCC web site, Unconscionable conduct 51AA & 51AC, http://www.accc.gov.au/content/index.phtml/itemId/303748/fromItemId/3669, accessed 13 February 2007.

[4]        ACCC, Submission 60, p. 2–3.

[5]        Professor Howard Morphy, Committee Hansard, 9 February 2007, p. 75.

[6]        Ms Brenda Croft, National Gallery of Australia, Committee Hansard, 9 February 2007, p. 54.

[7]        ACCC web site, Misleading Conduct, http://www.accc.gov.au/content/index.phtml/itemId/352599/fromItemId/3871, accessed 14 February 2007.

[8]        ACCC web site, What to do if You Think You Have Been Misled, http://www.accc.gov.au/content/index.phtml/itemId/740212/fromItemId/3871, accessed 15 February 2007.

[9]        ACCC, Submission 60, p. 7.

[10]      Dr John Moriarty, National Indigenous Council, Committee Hansard, 9 February 2007, p. 43.

[11]      Mr Nigel Ridgway, ACCC, Committee Hansard, 23 February 2007, pp 61–62.

[12]      Mr Nigel Ridgway, ACCC, Committee Hansard, 23 February 2007, pp 61–62.

[13]      ACCC, Correspondence to the committee, 8 June 2007, p. 1.

[14]      ACCC, Correspondence to the committee, 8 June 2007, p. 1.

[15]      ACCC, Correspondence to the committee, 8 June 2007, p. 8.

[16]      ACCC, Correspondence to the committee, 8 June 2007, p. 6.

[17]      IdenteArt Pty Ltd, Submission 25, p. 3.

[18]      Dr Peter Toyne, Identeart Pty Limited, Committee Hansard, 11 April 2007, p. 5.

[19]      Australians Customs Service, Prohibited and Restricted Imports, http://www.customs.gov.au/site/page.cfm?u=4369, accessed 15 February 2007.

[20]      For a discussion of the issue, see Mr Parnes, Director, The Rainbow Serpent Pty Ltd, Committee Hansard, 23 February 2007, pp 23–26.

[21]      ACS, Submission 81, p.1.

[22]      ACS, Submission 81, p. 2.

[23]      Mr Michael Kiley, ACCC, Committee Hansard, 23 February 2007, p. 57.

[24]      J.C. Altman et al, 'Some competition and consumer issues in the Indigenous visual arts industry', Discussion Paper No. 235, Centre for Aboriginal and Economic Research, A.N.U., 2002, p. 13.

[25]      Terri Janke, 'Copyright – The Carpet Case', Aboriginal Law Bulletin, 13:3(72) 1995, p. 36.

[26]      Nicholas Rothwell, 'The desert's tainted brush', The Australian, 11/9/2006, p. 16.

[27]      Paul Baker, Policing Fakes, Paper presented at the Art Crime Protecting Art, Protecting Artists and Protecting Consumers Conference convened by the Australian Institute of Criminology and held in Sydney, 2-3 December 1999, p. 6.

[28]      Paul Baker, Policing Fakes, Paper presented at the Art Crime Protecting Art, Protecting Artists and Protecting Consumers Conference convened by the Australian Institute of Criminology and held in Sydney, 2-3 December 1999, pp 7–8.

[29]      Arts Law Centre of Australia, Submission 36, p. 3.

[30]      Arts Law Centre of Australia, Submission 36, pp 6–7.

[31]      Viscopy, Submission 44A, pp 11–12.

Chapter 10 - Enhancing the market for Indigenous art - II

[1]        Perkin, Corrie, 'Plunder of a painter's reputation', The Australian, 8 December 2006, p. 16.

[2]        The Rainbow Serpent, Submission 17, p. 2.

[3]        See Appendix 7. This is an example of a Certificate of Provenance from the Warlukurlangu Artists Aboriginal Association.

[4]        See for example Central Art Aboriginal Paintings, web site, Provenance, http://www.aboriginalartstore.com.au/provenance.php, accessed 21 March 2007.

[5]        Mbantua Gallery, Submission 24, p. 5. See also Ashleigh Wilson, 'Aboriginal art fraud rampant', The Australian, 9 March 2006, p.8.

[6]        Dr B Korman, Submission 64, p. 4.

[7]        Arts Law Centre of Australia, Submission 36, p. 7.

[8]        Arnold Bloch Liebler and the Jirrawun Arts Corporation, Submission 59, p. 5.

[9]        Arnold Bloch Liebler and the Jirrawun Arts Corporation, Submission 59, p.6.

[10]      Caslon Analytics, Caslon Analytics note indigenous marks, February 2006, p. 1. www.caslon.com.au/indigenousmarknote1.htm, accessed 27 February 2007.

[11]      Caslon Analytics, Caslon Analytics note indigenous marks, February 2006, p. 2. www.caslon.com.au/indigenousmarknote1.htm, accessed 27 February 2007.

[12]      Caslon Analytics, Caslon Analytics note indigenous marks, February 2006, pp 2–3. www.caslon.com.au/indigenousmarknote1.htm, accessed 27 February 2007.

[13]      Arts Law Centre of Australia, Trade Mark Protection and ICIP: How does Australia Fare?, www.artslaw.com.au, accessed 28 February 2007.

[14]      Caslon Analytics, Caslon Analytics note indigenous marks, February 2006, pp 4–5. www.caslon.com.au/indigenousmarknote1.htm, accessed 27 February 2007.

[15]      DCITA, Answer to question on notice, 10 April 2007 (received 24 May 2007).

[16]      NAVA, Submission 27, p. 8.

[17]      NIC, Submission 23, p. 3.

[18]      The Rainbow Serpent, Submission 17, p. 2.

[19]      Professor Howard Morphy, Committee Hansard, 9 February 2007, p. 76.

[20]      Arts Law Centre of Queensland Inc., Submission 45, p. 3.

[21]      Ross Stein, Arts Law Centre of Australia, Trade Mark protection and ICIP: How Does Australia Fare?, www.artslaw.com.au, accessed 28 February 2007.

[22]      Galerie Inuit Plus, Authenticity of Inuit Art: Our Guarantee, www.inuitplus.com/authenticity.asp?ID=2044, accessed 28 February 2007.

[23]      Ross Stein, Arts Law Centre of Australia, Trade Mark protection and ICIP: How Does Australia Fare?, www.artslaw.com.au, accessed 28 February 2007.

[24]      DCITA, Answers to questions on notice, 10 April 2007 (received 24 May 2007).

[25]      Te Manatu Taonga, Ministry for Culture and Heritage, Submission 84, p. 2.

[26]      Te Manatu Taonga, Ministry for Culture and Heritage, Submission 84, pp 2–3.

[27]      Te Manatu Taonga, Ministry for Culture and Heritage, Submission 84, p. 3.

[28]      Arnold Bloch Leibler and the Jirrawun Arts Corporation, Submission 59, p. 9.

[29]      Northern Territory Government, Submission 57, pp 19, 23.

[30]      Mr Anthony Oliver, Chief Executive Officer, Jirrawun Arts, Committee Hansard, 19 February 2007, p. 40.

[31]      Arnold Bloch Leibler and the Jirrawun Arts Corporation, Submission 59, p. 8.

[32]      Arnold Bloch Leibler and the Jirrawun Arts Corporation, Submission 59, pp 8–9.

[33]      Mr Anthony Oliver, Chief Executive Officer, Jirrawun Arts, Committee Hansard, 19 February 2007, p. 43.

[34]      Ms Marion Scrymgour, NT Minister for Arts and Museums, Committee Hansard, 20 February 2007, p. 6.

[35]      Mr John Oster, Desart, Committee Hansard, 21 February 2007, pp 31–32.

[36]      Mrs Cecillia Alfonso, Warlukurlangu Aboriginal Artists Association, Committee Hansard, 21 February 2007, p. 43.

[37]      Mr Michael Reid, Submission 2, p. 4.

[38]      Ms Robyn Ayres, Arts Law Centre of Australia, Committee Hansard, 23 February 2007, pp 81–82.

[39]      Mr Wally Caruana, Caruana Fine Arts, Committee Hansard, 9 February 2007, p. 31.

[40]      Mr Paul Sweeney, Papanya Tula Artists Pty Ltd, Committee Hansard, 21 February 2007, p. 14.

[41]      Mr Paul Sweeney, Papunya Tula Artists Pty Ltd, Committee Hansard, 21 February 2007, p. 16.

[42]      Mr Michael Kiley, ACCC, Committee Hansard, 23 February, p. 66.

[43]      ACGA, Information about membership, http://www.acga.com.au/membership.doc, accessed May 2007.

[44]      Art.Trade, Membership conditions for Art.Trade, http://www.arttrade.com.au/membership.htm, accessed May 2007.

[45]      Australian Indigenous Art Trade Association, Submission 19A, p. 1.

[46]      Australian Indigenous Art Trade Association, Submission 19, Appendix A.

[47]      Australian Indigenous Art Trade Association, Submission 19, Appendix A.

[48]      Australian Commercial Galleries Association, web site, Visual Arts Code of Practice, http://www.acga.com.au/Visarts_code_of_practice.pdf, accessed 15 March 2007.

[49]      Desart, Submission 49, p. 20.

[50]      NAVA, Desart and ANKAAA, National Indigenous Code of Conduct, Section 1, Introduction: Discussion Paper, 2006, p. 3.

[51]      Ms Marion Scrymgour, Minister for Arts and Museums, Northern Territory Government, Committee Hansard, 20 February 2007, p. 6.

[52]      Australian Indigenous Art Trade Association, Submission 19, p. 3.

[53]      Australian Indigenous Art Trade Association, Submission 19, p. 3, and Submission 19A, p. 2.

[54]      Ms Marion Scrymgour, Minister for Arts and Museums, Northern Territory Government, Committee Hansard, 20 February 2007, p. 14.

[55]      City of Melbourne, Annual Report 2005-06, 'Our performance', http://www.melbourne.vic.gov.au/rsrc/PDFs/AnnualReport/2005_06/AnnualReport2005-06Part2.DOC, accessed 15 March 2006; Japingka Indigenous Fine Art Gallery, 'Code of Practice for Galleries and Retailers of Indigenous Art', Submission 2, Attachment.

[56]      Japingka Indigenous Fine Art Gallery, 'Code of Practice for Galleries and Retailers of Indigenous Art', Submission 2, Attachment, p. 4.

[57]      Australian Indigenous Art Trade Association, Submission 19, p. 2.

[58]      Mr Martin Wardrop, Australian Indigenous Art Trade Association, Committee Hansard, 10 April 2007, p. 2.

[59]      Hon Joe Hockey MP, Minister for Financial Services and Regulation, Prescribed Codes of Conduct: Policy Guidelines on Making Industry Codes of Conduct Enforceable Under the Trade Practices Act 1974, Commonwealth of Australia, 1999, pp 3–4.

[60]      Hon Joe Hockey MP, Minister for Financial Services and Regulation, Prescribed Codes of Conduct: Policy Guidelines on Making Industry Codes of Conduct Enforceable Under the Trade Practices Act 1974, Commonwealth of Australia, 1999, p. 4.

[61]      Hon Joe Hockey MP, Minister for Financial Services and Regulation, Prescribed Codes of Conduct: Policy Guidelines on Making Industry Codes of Conduct Enforceable Under the Trade Practices Act 1974, Commonwealth of Australia, 1999, pp 7–8, emphasis in original.

[62]      Hon Joe Hockey MP, Minister for Financial Services and Regulation, Prescribed Codes of Conduct: Policy Guidelines on Making Industry Codes of Conduct Enforceable Under the Trade Practices Act 1974, Commonwealth of Australia, 1999, pp 14–16.

[63]      Mr Alec O'Halloran, Submission 48.

[64]      The committee does however note the valuable contribution of a number of Indigenous art curators – see for example Submission 42.

[65]      The committee does however note the valuable contribution of a number of Indigenous art curators – see for example Submission 42.

Chapter 11 - Indigenous cultural and intellectual property rights

[1]        IP Australia web site, www.ipaustralia.gov.au, Accessed 29 May 2007.

[2]        T Janke and M Frankel, Our Culture: Our Future – Report on Australian Indigenous Cultural and Intellectual Property Rights, 1998, p. 51. Hereafter referred to as Our Culture.

[3]        Other legislation includes the Patents Act 1990 and the Plant Breeders Rights Act 1994. These are not discussed in the paper as they do not relate directly to Indigenous arts issues. Other common law intellectual property rights include breach of confidence laws.

[4]        Our Culture, p. xvii.

[5]        Myer Report, p. 150.

[6]        T. Janke and R. Quiggin, Indigenous Cultural and Intellectual Property: The Main Issues for the Indigenous Arts Industry in 2006,), May 2006, p. 10. Hereafter referred to as the ICIP Paper.

[7]        ICIP Paper, p. 10; Our Culture, pp 47–48. Indigenous customary law is the body of rules, values and traditions that are accepted by the members of an Indigenous community as establishing standards or procedures to be upheld in that community.

[8]        Our Culture, pp 75–76; ICIP Paper, pp 11–12.

[9]        Ms Robyn Ayres, Arts Law Centre of Australia, Committee Hansard, 23 February 2007, p. 78. See also Mr Kim Willison, Artmark Australia, Committee Hansard, 11 April 2007, p. 50.

[10]      Arts Law Centre of Australia, Submission 36, p. 9.

[11]      Myer Report, p. 158.

[12]      T. Janke and R. Quiggin, Indigenous Cultural and Intellectual Property and Customary Law, Law Reform Commission of WA, 2005, pp 458–459. Hereafter referred to as Background Paper. See also ICIP Paper, pp 52–55.

[13]      Myer Report, p. 151.

[14]      Background Paper, pp 459–461.

[15]      Myer Report, p. 153.

[16]      NAVA, Submission 27, p. 10.

[17]      Our Culture, p. xxix.

[18]      Background Paper, pp 471–472; Our Culture, pp 63–64.

[19]      Background Paper, p. 473.

[20]      Background Paper, p. 475.

[21]      Background Paper, p. 475.

[22]      NAVA, Submission 27, p. 10.

[23]      Our Culture, p. xxx.

[24]      Our Culture, pp 68–71; Background Paper, pp 475, 477.

[25]      Background Paper, p. 477. The notion of the public domain refers to what is freely available for use and reproduction without the need to obtain permission from the intellectual property owner.

[26]      Our Culture, pp 70–71; Background Paper, p. 476.

[27]      Background Paper, p. 476.

[28]      Our Culture, p. xxxi.

[29]      ALCQ, Submission 45, p. 3.

[30]      Ms Tamara Winikoff, NAVA, Committee Hansard, 23 February 2007, p. 19.

[31]      Arts Law Centre of Australia, Submission 36, pp 14–15.

[32]      Our Culture, pp xxxvi-xxxviii.

[33]      Our Culture, p. xlv; NAVA, Submission 27, p.10; Viscopy, Submission 44A, p. 19.

[34]      DCITA, Submission 50, pp 9–10.

[35]      DCA, Submission 18, p. 8.

[36]      DCA, Submission 18, p. 8.

[37]      Arts Law Centre of Australia, Submission 36, p. 11; NAVA, Submission 27, p. 9.

[38]      Background Paper, pp 466, 468.

[39]      Myer Report, p. 152.

[40]      Myer Report, p. 158.

[41]      Myer Report, p. 152.

[42]      Background Paper, p. 468; ICIP Paper, p. 13.

[43]      ICIP Paper, pp 14–18.

[44]      See, for example, Background Paper, p. 470.

[45]      Message Stick ATSI web site, Indigenous Communal Moral Rights Bill Seriously Flawed: Arts Law, http://www.abc.net.au/message/news/stories/s1702624.htm, Accessed 29 May 2007, See also ICIP Paper, pp 14–18.

[46]      Ms Tamara Winikoff, NAVA, Committee Hansard, 23 February 2007, p. 19.

[47]      NT Government, Submission 57, p. 22.

[48]      Attorney-General's Department, Correspondence, 24 May 2007.

[49]      Arts Law Centre of Queensland, Submission 45, p. 3.

[50]      Arts Law web site, Indigenous Communal Moral Rights Legislation, http://www.artslaw.com.au/_documents/files/ICMRLetterAndExecutiveSummary2006.pdf; see also Arts Law Centre of Queensland, Submission 45, p. 3.

[51]      ICIP Paper, p. 19.

[52]      Attorney-General's Department, Correspondence, 24 May 2007.

[53]      Attorney-General's Department, Correspondence, 24 May 2007.

Chapter 12 - Resale royalty

[1]        R. Myer, Report of the Contemporary Visual Arts and Craft Inquiry (Myer Report), June 2002, p. 170.

[2]        Myer Report, pp 158–170.

[3]        Myer Report, p. 161.

[4]        Myer Report, pp 162–170; 382–385.

[5]        Myer Report, p. 165.

[6]        Myer Report, p. 166.

[7]        Clare McAndrew and Lorna Dallas-Conte, Implementing Droit de Suite (artists’ resale right) in England, The Arts Council of England, http://www.artscouncil.org.uk/documents/publications/325.pdf, accessed March 2007.

[8]        DCITA, Proposed Resale Royalty Arrangement: Discussion Paper, 2004, pp 7–8, http://www.dcita.gov.au/__data/assets/pdf_file/12024/Proposed_Resale_Royalty_Arrangement_Discussion_Paper.pdf, accessed March 2007. Hereafter 'DCITA Discussion Paper'.

[9]        DCITA Discussion Paper, pp 7–8, 24–25.

[10]      Caslon Analytics web site, www.caslon.com.au, Accessed 29 May 2007.

[11]      R. Kirstein and D. Schmidtchen, Do Artists Benefit from Resale Royalties?, 2000, p. 3.

[12]      DCITA Discussion Paper, pp 22–23. See also Henry Lydiate, Artists' Resale Right: First Year Report, ArtLaw, 2007, http://www.artquest.org.uk/artlaw/resaleroyaltyright/30971.htm, accessed March 2007.

[13]      DCITA Discussion Paper, p. 8.

[14]      Caslon Analtytics web site, www.caslon.com.au/droitprofile, Accessed 29 May 2007.

[15]      Ms Brenda Croft, Senior Curator, ATSI Art, NGA, Committee Hansard, 9 February 2007, p. 61. See also Ms Tamara Winikoff, Executive Director, NAVA, Committee Hansard, 23 February 2007, p. 23.

[16]      Michael Reid, '2007 Art Market Trends', Michael Reid [newsletter], Feb-Mar 2007, p. 6.

[17]      Georgina Adam, 'French Government's €100m plan to boost failing art scene', The Art Newspaper, 14 December 2006, http://www.theartnewspaper.com/article01.asp?id=535, accessed March 2007.

[18]      Georgina Adam, 'Christie's will charge new levy to buyer, not seller', The Art Newspaper, 2 March 2006, http://www.theartnewspaper.com/article01.asp?id=194, accessed March 2007.

[19]      Henry Lydiate, Artists' Resale Right: First Year Report, ArtLaw, 2007, http://www.artquest.org.uk/artlaw/resaleroyaltyright/30971.htm, accessed March 2007.

[20]      DCITA, Proposed Resale Royalty Arrangement: Discussion Paper, 2004.

[21]      DCITA Discussion Paper, p. 37.

[22]      DCITA Discussion Paper, p. 37.

[23]      DCITA Discussion Paper, pp 37–38.

[24]      DCITA Discussion Paper, p. 38.

[25]      DCITA Discussion Paper, pp 28–35.

[26]      DCITA Discussion Paper, p. 30.

[27]      DCITA Discussion Paper, p. 33.

[28]      DCITA Discussion Paper, p. 17.

[29]      Australia Council, Submission 9 to DCITA inquiry, Attachment A; Viscopy, Submission 32 to DCITA inquiry, p. 6.

[30]      Access Economics, Discussion Paper on Proposed Resale Royalty Arrangements, July 2004, p. 8.

[31]      Australian Copyright Council, Submission 10 to DCITA inquiry, p. 3.

[32]      Arts Law Centre of Australia, Submission 4 to DCITA inquiry, p. 3.

[33]      Sotheby's Australia, Submission 30 to DCITA inquiry, pp 1–2.

[34]      Mr B. Gregory et. al., Submission 20 to DCITA inquiry, pp 12–13. The submission represented Annandale Galleries, Utopia Art Sydney and Sherman Galleries. See also Brenda May Gallery, Submission 12 to DCITA inquiry, pp 12–13.

[35]      Access Economics, Evaluating the Impact of an Australian Resale Royalty on Eligible Visual Artists (hereafter Evaluating the Impact), October 2004, p. 1.

[36]      Access Economics, Evaluating the Impact, pp 17–34.

[37]      Access Economics, Evaluating the Impact, p. 2.

[38]      Access Economics, Evaluating the Impact, pp 2–3.

[39]      Attorney-General, the Hon Philip Ruddock MP, and Minister for the Arts and Sport, Senator the Hon Rod Kemp, 'New Support for Australia's Visual Artists', News Release, 9 May 2006.

[40]      Attorney-General, the Hon Philip Ruddock MP, and Minister for the Arts and Sport, Senator the Hon Rod Kemp, 'New Support for Australia's Visual Artists', News Release, 9 May 2006.

[41]      DCITA Discussion paper, p. 39.

[42]      The Australia Council, Submission 38, p. 3.

[43]      WA Department of Culture and the Arts, Submission 18, p. 6.

[44]      NAVA, Submission 27, p. 5. See also Ms Tamara Winikoff, Executive Director, NAVA, Committee Hansard, 23 February 2007, p. 19.

[45]      Arts Law Centre of Australia, Submission 36, p. 13. See also Queensland Government, Submission 58, p. 20; WA Department of Culture and the Arts, Submission 18, p. 6.

[46]      Caruana Fine Art, Submission 31, p. 4. See also Mr Wallace Caruana, Committee Hansard, 9 February 2007, p. 27.

[47]      T. Janke and R. Quiggin, 'Indigenous Cultural and Intellectual Property', May 2006, pp 24–25, Attachment to Australia Council, Submission 38.

[48]      NAVA, Submission 27, p. 5.

[49]      Viscopy Ltd, Submission 44A, p. 13. See also Ms Hetti Perkins, Senior Curator, ATSI Art, NGA, Committee Hansard, 9 February 2007, p. 61.

[50]      Janke and Quiggin, p. 26.

[51]      Mr Paul Johnstone, Director, Cross Cultural Art Exchange, Committee Hansard, 20 February 2007, p. 39; Ms Cathy Cummins, Manager, Waringarri Aboriginal Arts, Committee Hansard, 19 February 2007, p. 25.

[52]      Viscopy Ltd, Submission 44A, p. 13.

[53]      Mr John Walker, Submission 80, p. 2

[54]      Mr John Walker, Submission 80, p. 1.

[55]      Mr John Walker, Submission 80, p. 2.

[56]      Mr John Walker, Submission 80, p. 3.

[57]      Mr Paul Johnstone, Director, Cross Cultural Art Exchange, Committee Hansard, 20 February 2007, p. 39.

[58]      Mr Anthony Oliver, CEO, Jirrawun Arts, Committee Hansard, 19 February 2007, p. 45.

[59]      Mr Kevin Kelly, Manager, Red Rock Art, Committee Hansard, 19 February 2007, p. 37.

[60]      Katrina Gunn, 'Resale royalty rights: possible models for Australia', Research Note no. 21 2005–06, Parliamentary Library, Canberra.

Chapter 13 - The permit system and Indigenous Art

[1]        Department of Families, Community Services And Indigenous Affairs, Discussion Paper, 'Access to Aboriginal Land under the Northern Territory Aboriginal Land Rights Act – Time for Change?', October 2006 (Hereafter 'Permit Discussion Paper'), http://www.oipc.gov.au/permit_system/docs/permits_Discussion_Paper.pdf, accessed on 8 March 2007.

[2]        Mr Djambawa Marawilli, Chairperson/Executive Committee Member, Association of Northern Kimberly and Arnhem Aboriginal Artists, Committee Hansard, 20 February 2007, p. 19. See also Ms Apolline Kohen, Arts Director, Maningrida Arts and Culture, Committee Hansard, 20 February 2007, p. 44. See also Maningrida Arts and Culture, Submission 51, p. 4.

[3]        Yirrkala Dhanbul Community Association Incorporated website, http://www.yirrkaladhanbul.nt.gov.au/home/about_us/permit_system, accessed 12 March 2007.

[4]        Aboriginal Land Act (NT) 1992, section 11.

[5]        Permit Discussion Paper.

[6]        See also Ngaanyatjarra Council Submission, December 2006, pp 8–10. The Ngaanyatjarra submission provides detail of both the legislative framework and practical procedures by which their permit system operates.

[7]        Aboriginal Communities Act 1979.

[8]        Building on Land Rights for the Next Generation. Report of the Review of the Aboriginal Land Rights (Northern Territory) Act 1976, August 1998. http://www.austlii.edu.au/au/journals/AILR/1999/6.html#Heading36, accessed 12 March 2007, In particular see chapter 14 on ‘permits and access’.

[9]        Building on Land Rights for the Next Generation. Report of the Review of the Aboriginal Land Rights (Northern Territory) Act 1976, August 1998.

[10]      ABC News Online, http://www.abc.net.au/worldtoday/stories/s731220.htm, accessed 12 March 2007.

[11]      Department of Families, Community Services and Indigenous Affairs, Access to Aboriginal Land Under the Northern Territory Aboriginal Land Rights Act – Time for Change?, October 2006.

[12]      Department of Families, Community Services and Indigenous Affairs, Access to Aboriginal Land Under the Northern Territory Aboriginal Land Rights Act – Time for Change?, October 2006, p. 4.

[13]      Department of Families, Community Services and Indigenous Affairs, Access to Aboriginal Land Under the Northern Territory Aboriginal Land Rights Act – Time for Change?, October 2006, pp 5–6.

[14]      Department of Families, Community Services and Indigenous Affairs, Access to Aboriginal Land Under the Northern Territory Aboriginal Land Rights Act – Time for Change?, October 2006, pp 6–7.

[15]      Press Release, Central Land Council, 1 June 2006, http://www.clc.org.au/media/releases/2006/permits.asp, accessed 12 March 2007.

[16]      Ngaanyatjarra Council submission on the Brough Discussion Paper, December 2006, p. 12.

[17]      Mr John Oster, Executive Officer, Desart, Committee Hansard, 21 February 2007, p. 28.

[18]      Mr John Oster, Executive Officer, Desart, Committee Hansard, 21 February 2007, p. 28.

[19]      Mr Djambawa Marawilli, Chairperson, Executive Committee Member, Association of Northern, Kimberley and Arnhem Aboriginal Artists, Committee Hansard, 20 February 2007, p.19.

[20]      Ms Marion Scrymgour, Minister for Arts and Museums, NT Government, Committee Hansard, 20 February 2007, pp 7–8.

[21]      Ms Annette Cock, Warlayirti Artists Aboriginal Corporation, Committee Hansard, 19 February 2007, p. 55.

[22]      Mr John Ioannou, Committee Hansard, 23 February 2007, pp 116–17.

[23]      Ms Belinda Scott, Submission 1, p. 3; Professor Jon Altman, Submission 11, p. 8; Australia Council, Submission 38, p. 3; ANKAAA, Submission 63, p. 6.

[24]      Mr Claude Ullin, Committee Hansard, 11 April 2007, p. 49.

Chapter 14 - The future of the market for Indigenous art

[1]        Northern Territory Government, Submission 57, p. 29.

[2]        Mrs Cecelia Alfonso, Warlukurlangu Artists, Committee Hansard, 21 February 2007, pp 45–46.

[3]        Ms Jill Gientzotis, National Association for the Visual Arts, Committee Hansard, 23 February 2007, p. 30.

[4]        Ms Jill Gientzotis, National Association for the Visual Arts, Submission 27, p. 11.

[5]        Mr Paul Johnstone, Cross Cultural Art Exchange, Committee Hansard, 20 February 2007, p. 34.

[6]        Mayke Kranenbarg, Painting Authenticity, Aboriginal art and knowledge in an intercultural space (Warmun, Western Australia), Cultural Anthropology, University of Nijmegen, June 2004.

[7]        Ms Stephanie Hawkins, Northern Territory Government, Committee Hansard, 20 February 2007, p. 6.

[8]        Dr Diana Leeder, Department of Natural Resources, Environment and the Arts, Northern Territory, Committee Hansard, 20 February 2007, p. 10.

[9]        Mr John Odgers, Austrade, Committee Hansard, 9 February 2007, p. 25.

[10]      T. Pascoe, Improving Focus and Efficiency in the Marketing of Aboriginal Artefacts, Report to the Australia Council and Aboriginal Arts and Crafts Ltd, June 1981.

[11]      Mr Paul Johnstone, Cross Cultural Art Exchange, Committee Hansard, 20 February 2007, p. 40.

[12]      Ms Apolline Kohen, Maningrida Arts and Culture, Committee Hansard, 20 February 2007, p. 46.

[13]      Mr Kevin Kelly, Red Rock Art, Committee Hansard, 19 February 2007, p. 36.

[14]      Mr Claude Ullin, Committee Hansard, 11 April 2007, p. 44.

[15]      Mrs Pamela Linklater, Committee Hansard, 19 February 2007, p. 4.

[16]      Mr John Odgers, Austrade, Committee Hansard, 9 February 2007, p. 38.

[17]      Mr John Odgers, Austrade, Committee Hansard, 9 February 2007, p. 38.

[18]      Dr John Moriarty, National Indigenous Council, Committee Hansard, 9 February 2007, p. 46.

[19]      Northern Territory Government, Submission 57, p. 28.

[20]      Mr Paul Johnstone, Cross Cultural Art Exchange, Committee Hansard, 20 February 2007, p. 33.

[21]      Austrade web site, 'Austrade Services', http://www.austrade.gov.au/Austrade-services1396/default.aspx, accessed 8 May 2007.

[22]      Mr Patrick Donaldson, Austrade, Committee Hansard, 9 February 2007, pp 32–33.

[23]      Mr Patrick Donaldson, Austrade, Committee Hansard, 9 February 2007, pp 32–33.

[24]      Mr Patrick Donaldson, Austrade, Committee Hansard, 9 February 2007, pp 32–33.

[25]      Mr John Odgers, Austrade, Committee Hansard, 9 February 2007, p. 37.

[26]      Warlayirti Artists, Submission 10, p. 3.

[27]      Ms Apolline Kohen, Maningrida Arts and Culture, Committee Hansard, 20 February 2007, p. 45.

[28]      Professor Howard Morphy, Committee Hansard, 9 February 2007, p. 71.

[29]      Ms Brenda Croft, National Gallery of Australia, Committee Hansard, 9 February 2007, p. 59.

[30]      Cross Cultural Art Exchange, Submission 16, p. 5.

[31]      Dr Diane Mossenson, Australian Commercial Galleries Association, Committee Hansard, 23 February 2007, p. 9.

[32]      Mr John Odgers, Austrade, Committee Hansard, 9 February 2007, p. 33.

[33]      Mr Patrick Donaldson, Austrade, Committee Hansard, 9 February 2007, p. 33.

[34]      Mr John Odgers, Austrade, Committee Hansard, 9 February 2007, p. 25.

[35]      Mr John Odgers, Austrade, Committee Hansard, 9 February 2007, p. 38.

[36]      Mr John Oster, Desart, Committee Hansard, 21 February 2007, pp 28–29.

[37]      Mr John Oster, Desart, Committee Hansard, 21 February 2007, p. 29.

[38]      Northern Territory Government, Submission 57, p. 30.

[39]      National Association for the Visual Arts, Submission 27, p. 11.

[40]      Ms Hetti Perkins, Art Gallery of NSW, Committee Hansard, 9 February 2007, p. 53.

[41]      Mbantua Gallery, Submission 24, p. 3.

[42]      Ms Jill Gientzotis, National Association for the Visual Arts, Committee Hansard, 23 February 2007, p. 21.

[43]      Ms Apolline Kohen, Maningrida Arts and Culture, Committee Hansard, 20 February 2007, p. 43.

[44]      Maningrida Arts and Culture, Submission 51, pp 4–5.

[45]      Mr John Odgers, Austrade, Committee Hansard, 9 February 2007, p. 36.

[46]      Mr John Odgers, Austrade, Committee Hansard, 9 February 2007, p. 36.

[47]      Dr Chris Sarra, Australia Council for the Arts, Committee Hansard, 23 February 2007, p. 90.

[48]      Papunya Tula Artists Pty Ltd, Submission 14, p. 6.

[49]      Aranda Aboriginal Arts, Submission 83, p. 14.

[50]      Ms Hetti Perkins, Art Gallery of NSW, Committee Hansard, 9 February 2007, p. 53.

[51]      Lauraine Diggins Fine Art, Submission 26, p. 4.

[52]      Mr John Odgers, Austrade, Committee Hansard, 9 February 2007, p. 38.

[53]      Dr Diane Mossenson, Australian Commercial Galleries Association, Committee Hansard, 23 February 2007, p. 6.

[54]      Ms Hetti Perkins, Art Gallery of NSW, Committee Hansard, 9 February 2007, p. 53.

[55]      Ms Lydia Miller, Australia Council for the Arts, Committee Hansard, 23 February 2007, p. 91.

[56]      The Hon. Alexander Downer MP and The Hon. Warren Truss MP, Joint Media Release, Budget 2007–08, 8 May 2007.

[57]      DFAT, Members of the Australia International Cultural Council, http://www.dfat.gov.au/aicc/paca/members.html, accessed May 2007.

Appendix 6 - Resale royalty arrangements - major proposals

[1]        The Australia Council, Submission 9 to DCITA inquiry, p. 1.

[2]        NAVA, Submission 23 to DCITA inquiry, pp 8–12.

[3]        Viscopy, Submission 32 to DCITA inquiry, pp 7–9.

[4]        Desart, Submission 14 to DCITA inquiry, pp 2–3.