Third edition

Manage an art centre in Central Australia. It’ll change your life! THE DESART ART CENTRE GUIDEBOOK Third edition

Manage an art centre in Central Australia. It’ll change your life! THE DESART ART CENTRE GUIDEBOOK

WELCOME ABOUT THIS Werte! Welcome to your new job in an GUIDEBOOK Aboriginal art centre. Desart has a million stories to share This book has been made to help you from our 25+ year history! This in your new job. There are stories about guidebook has been collated from the how to do your job, where to go for Desart archives and the expertise of help, and problems new workers in art Desart and member art centre staff and centres have and how to solve them. artists, past and present. We talked with It also includes important information Desart directors and staff, art centre about working the right way with us on directors and staff, industry peers and our country, staying happy and healthy, colleagues, friends and supporters and keeping safe. about what to include: the key message is that you are not alone. You have Kele. resources and people at your disposal. Contents Publisher: Desart Inc. 11/54 Todd Mall (Reg Harris Lane), Alice Springs, NT, Australia Art centre team 1 PO Box 9219, Alice Springs, NT 0871, Australia Art centres 2 Copyright © Desart Inc. and contributors as credited, 2018 Welcome 7 All rights reserved. Apart from any Fair Dealing as permitted under the Australian Copyright Act, no part of this publication may be reproduced in whole or part without prior written permission from Desart and the relevant copyright holders. Desart 9 Second edition 2012, text by Desart (Michelle Culpitt) and credited contributors. HISTORICAL CONTEXT 12 This third edition, 2018, text by Desart (Karin Riederer) and credited contributors, including: ADVOCACY 14 Jon Altman, Robyn Ayres & Clara Edwards (Arts Law Centre of Australia), Sally Clifford (Matrix on Board), Copyright Agency, Michelle Evans, Delwyn Everard, David & Margaret Hewitt, SERVICES FOR MEMBERS 16 Maggie Kavanagh, Cara Kirkwood & Robyn Frances-Higgins, Indigo Holcombe-James, STRONG BUSINESS PROGRAM 17 Blythe McAuley, Remote Area Health Corps, Gabrielle Sullivan (Indigenous Art Code), Warakurna Artists, Yarrenyty Arltere Art Centre, Jane Young (Desart Chairperson). ART WORKER PROGRAM 17 Publication coordination: Karin Riederer with Desart Strong Business Program staff. SAM DATABASE 19 Editor: Karin Riederer MAJOR DESART EVENTS 20 Designer: Tina Tilhard Illustrators: Tina Tilhard; Slade Smith, Art Engineers THE DESART TEAM 26 Printed in Australia by Ligare Book Printers Art centre operations 29 Note: This publication contains names of deceased people, 1. CULTURE 33 with the permission of their families. 2. COUNTRY 55 Artists’ names and spellings are as determined by their families and art centres. 3. ART 57 4. PEOPLE 67 5. BUSINESS AND ADMINISTRATION 90 6. COMMERCIAL (MARKETING 105 AND SALES) Desart is kindly supported by: 7. FINANCIAL 120 8. POLITICAL 129 9. SOCIAL 136 10. BUILT ENVIRONMENT 137

Desart is assisted by the Knowledge bank 145 Australian Government through the Australia Council, its arts Index 152 funding and advisory body. Help! 156 ART CENTRE TEAM 1 ART CENTRE TEAM Art centre managers Today around 100 Aboriginal art workers are employed in art centres in the In the early days of the Aboriginal art Desart membership. These positions are and craft movement – the 1970s and usually funded by the Ministry for the 1980s – there were barely a dozen Arts – a result of industry advocacy and art centres in the remote outposts of the 2007 Senate Inquiry into Australia’s Central Australia, doing business by fax Indigenous visual arts and craft sector machines, radio headsets and carbon that recommended the Commonwealth copy receipt books. Staff from outside convert welfare-funded positions in art these places were employed to work centres into properly funded jobs. with artists as art advisors. Over time, with increasing arts administration, shifts in government Directors policy, a growing arts and tourism The majority of art centres in the Desart industry and the incursion of membership are corporations registered commercial compliance, these with the Office of the Registrar of positions became equal parts business Indigenous Corporations (ORIC). They management, arts advisory and market have a rule book that sets out the mediation: art centre managers. It is purpose of the corporation, what it is a pivotal role that has an enormous able to do and how it must be managed. impact on an art centre’s success or The governing body of most art centres failure. It involves organising, planning, is a board of directors, appointed by motivating, mentoring, innovating members. Art centre directors are and leading – under instructions active strategic leaders and decision- and delegation from the art centre’s makers with an important job: they are directors or governing body. the stewards of the art centre. The art Most art centre manager positions centre manager reports directly to the are currently funded through directors about art centre business. Commonwealth Government programs. Artists Art workers Aboriginal artists are why the art Art workers are Aboriginal people centre – and your job – exists. Many art employed by the art centre. They assist workers and directors are also artists. with the day-to-day running of the art centre. Art workers are generally from within the community and have often worked for many years at the art centre, Narelle Holland, Emma Sanderson and Pamela Hogan and have ‘shown the ropes’ to several (Papulankutja Artists) at the Desert Mob MarketPlace 2017. Image: James Henry, Desart. art centre managers. 2 ART CENTRES 3

ART CENTRES A day in the life of art workers will be getting their kids ready for school. JANE YOUNG, DESART CHAIRPERSON an art centre … In a remote Aboriginal community on So, I have an hour to pull it all together: When I was small, I travelled all around any given day, an art centre manager roll all the canvases in bubble wrap, with my mother and father to Granite heads out of their front gate armed with slide them into their cylinders and get Downs Station, Alice Springs, Todd a long list of things to do. A manager’s them to the plane. No point in stressing. River Station and Oodnadatta. When best-laid plans often go awry. A desert Just do it. the Little Flower mission moved from chill of –3° keeps everyone in the Arltunga to Santa Teresa, my mum put The mail plane departs overhead with community snugly submerged under me in the dormitory with the older girls our precious cargo en route more than towers of blankets piled ten-high. there and that is where I grew up in the 15000 km to New York City. It is just 1950s. My mum, Agnes Abbott, is from I arrive at the art centre … after 9 am. I gaze towards the expansive blue sky: red dust billows and throws Santa Teresa, and my father is a Western A note from the community’s office is Ararrnta man from Hermannsburg. small stones about, one catching me taped to the door: Mail plane arriving at on the cheek bone. I drive back to the I have lived all over Central Australia 9 am today. It’s 8 am. and now I live at Hidden Valley in Alice art centre, picking up some artists on Springs with Agnes and our family. Tearing the note away from the door – the way. An arts journalist from a major half the new paint job comes with it – I national newspaper arrives at the art I have travelled around and visited a lot Jane Young, artist with Tangentyere Artists and Desart Chairperson. Image: Alex Craig, Tangentyere Artists. enter the art centre and look to the pile centre. I calmly support directors, artists of art centres, even on Thursday Island. of canvases on the studio floor where and interpreters through the interview I have seen Aboriginal people working the story, tell us the stories about I had been sitting with our art worker and photo shoot, trying to keep out of in a lot of art centres, working together everything. I remember all the stories Janice the night before, until it got too the way of the journalist and the story. with whitefellas and artists. Before, there the old people told us. Now we have cold and the three bars on the radiator The journalist departs. Static and were no art centres; then, in 1949, only got the new generation. They tell stories heater were a useless glow. We got the feedback echoes out from a loudspeaker: Ernabella Arts. Now new art centres differently. photography and cataloguing done, are coming up everywhere. Whether a community consultation on a new Some people say that art centres were but I hadn’t entered the consignment Aboriginal people have an art centre or government policy is about to begin, set up by white people and are for note into the SAM (Stories Art Money) not, they still have their culture. followed by a BBQ. white people. To me that’s not true. database or completed the exhibition Aboriginal people feel strong with Some people don’t know the difference contract. Several hours and sausages later, artists and art centre workers are exhausted culture. between an art gallery and an Aboriginal Probably a couple of hours work and art centre. Number one – Aboriginal by the consultation and retire home Before white people came to Australia, always easier with a second person to art centres belong to us, to Aboriginal to decipher the body language and Aboriginal people painted on the ground double-check and read out catalogue people. Art centres are places where you demeanor of the government visitors. and in the caves. Aboriginal people used numbers. can paint, people come and talk story, I make myself known to the ‘govie’ to tell stories on the ground too. That’s a lot of people come together. It’s a Janice would soon be on her way to mob and offer a tour of the art centre. how they kept their culture strong. The happy place for everyone. We don’t have Alice Springs as a medical escort for her One of the art centre directors joins art today is strong from that. Our stories violence in our art centres. You can feel cousin and I didn’t want to humbug the group. They have been up all are told to the outside world, who don’t comfortable to sit down and talk about her – we worked until 7 pm last night. night with a community conflict and a know about Aboriginal culture. art and culture or if you have a problem. Alice Springs is a ten-hour drive if you chest infection, sat patiently through When I was little my aunty and my The art centre is for the community, not go flat-out, but there are always places the consultation and now they are mum’s grandfather told us bedtime for private people. Art centres do all to stop along the way; a quick stop at graciously answering questions: stories. We used to just sit around kinds of work and programs to support the roadhouse could take an hour when ‘So how many artists work here?’‘How and listen, my grandfather would sing families and culture. friends and family are there. The other long does it take to do a painting?’ 4

‘Do you have any exhibitions?’ I’m glad my phone is charged up, and we activate the recording function to The director answers with a proud and take down the story and document playful smile, ‘Uwa, one’s opening up in the work. Older artists talk in language New York next month.’ and the younger girl, who carried the He patiently explains the importance of canvas, interprets. Everyone agrees the Tjukurrpa (law) after which the art that this work will be the centrepiece centre is named. for a group exhibition. The wonky car crawls back down the road. The canvas Meanwhile the art workers select is catalogued and tagged, rolled up paintings and we work together to around a cardboard tube and placed secure sales. They issue receipts, on the exhibition shelf with a new certificates of authenticity and artists’ label, beginning the curation of a new biographies, and wrap the paintings up. exhibition – a good job for Janice when The government mob are as impressed she comes back from Alice Springs. as we are that our internet is working well enough to be able to use the By now it’s 4 pm – lucky there was a EFTPOS and SAM, and we throw in a few BBQ at the community meeting. Time colour catalogues from our last show to check the emails that usually tumble at Raft Artspace for good measure. The down the screen: 20, 30, 40 competing director and I stand together on the priorities. Not today – there’s now a verandah as the government mob go glitch with the internet connection. It the way of the journalist, fishtailing will have to wait until tomorrow. Now, up the track to their next consultation. back to that list of things to do … Some days the traffic in and out of the

community is never-ending. There isn’t even a moment to head back inside. A clapped-out 2WD car, every wheel rotating at a different angle and momentum, no windscreens, and a Hawthorn emblem painted on the bonnet, shudders and shakes to a stop. It’s the art centre matriarch arriving from her homeland nearby. Adults and kids tumble out. A young girl carefully carries a canvas. The old woman has a glint in her eye – it’s something special. The canvas is unravelled across the floor with a flourish, an astonishing collaborative artwork. Everyone sits TOP Eunice Napanangka Jack from Ikuntji Artists. around and admires the work, soaking Image: Rhett Hammerton, Desart it up. The old lady pokes me in the ribs BOTTOM Isobel Major, Art Worker at Papunya Tjupi. and everybody laughs: it’s a great work. Image: Rhett Hammerton, Desart. 6 WELCOME 7 The art centre’s role in in London and Paris. Other art centres WELCOME exhibit under the flickering fluoro community tube and hip-hop soundtrack of the ‘Art centres are important community places. They are innovative and vibrant Art centres are dynamic places of cultural local community hall. Art centres are a creative spaces where culture is kept expression, empowerment, non-welfare positive part of Aboriginal communities strong, passed on between old and based income, local leadership, choice, that the general public rarely sees. young, and places where Aboriginal safety, health and wellbeing. Art centres Art centres are community-oriented people can share our arts and culture uphold artists’ rights and work closely places that offer artists and art with the world.’ with Arts Law – Artists in the Black, workers training, curatorial jobs, Copyright Agency Ltd and the Indigenous language projects, trips to country, You have joined the Desart family! Art Code. professional development, access to new Here are some welcome messages and technologies and travel across Australia tips from art centre directors and staff Some art centres return more than and the world to exhibitions and art across our membership. $1 million per year to the community fairs. through art sales, licensing and product – Philip Watkins, Desart CEO sales. Other art centres are groups Art centres are often the central point in returning small amounts of profit, a community for employment and for enough to support local cultural events. experimentation and creation – not only Some art centres show their work at the in art-making, but in Aboriginal business ‘Be happy, safe, feel welcome in your Museum of Contemporary Art in Sydney, management, leadership, cross-cultural new job and always show respect for or under the lights and shine of galleries engagement, agency and expression. Aboriginal law, culture and country in communities.’ Tuppy Ngintja Goodwin and Philip Watkins at Desert Mob Marketplace 2017. Coming home from a bush trip, Yuendumu. ‘It’s important for art centres to keep Image: James Henry, Desart. Image: Desart. running for our artists and to make it a safe and trusting environment – to look ‘Have a meeting with staff first thing after our artists, as well as our art, the so everyone can introduce themselves way they deserve to be looked after.’ together and let you know about the community. Let them know about ‘Aboriginal people have a different yourself, too.’ way of life to people in the city. This is sometimes hard for new people to ‘Listen to directors, artists and art understand. It’s important to respect workers.’ our different way of life and accept ‘We will want to make arrangements things the way they are. You might need with everyone to introduce you and to “manage” in a way that is different to show you our country and to tell you what you are used to, in order to be a the stories for it. We will teach you good manager out here.’ where you can and can’t go, and we will teach you about bush tucker and bush ‘Be open to learning: use your one medicine.’ mouth/two ears in proportion! Take time to listen, there is much to learn ‘When you’re doing your job good way, and new concepts to embrace.’ everybody’s happy. You will know.’ 8

Desart

Desart is the peak industry body that and South Australia are members of provides support services to Aboriginal Desart. Collectively, the membership art centres in Central Australia. represents over 8000 artists from 16 Incorporated in 1993 to advocate distinct language groups, and employs for the independence of remote art more than 100 Aboriginal art workers. centres in the region, we are a united voice for our members, advocating Desart is directed by an Aboriginal for better operational environments, board of ten directors elected from the and supporting artists to exercise their art centre membership. Two members artistic, cultural, social and economic represent each of the desert regions: rights. We offer our members unique Central Desert, Barkly, North West, APY opportunities to market their art and Lands, Ngaanyatjarra West. grow and diversify their audiences, and The Desart office is located on Arrernte we deliver substantial programs that country, in Mparntwe (Alice Springs), and encourage culturally safe art centres Desart directors and staff, and artists, with good governance and ethical arts business specialists and project business practices, and exciting careers workers travel about 200000 km a year for artists, art workers and art centre on dusty, corrugated, red-dirt roads and managers. Ilawanti Ken of Tjanpi Desert Weavers giving an artists’ sometimes in tiny planes to support talk at Desert Mob 2017. Image: James Henry, Desart. More than 40 art centres across the and work for our remote member art Northern Territory, Western Australia centres. 10 Desart ART CENTRE LOCATIONS 11 12 Desart HISTORICAL CONTEXT 13 HISTORICAL CONTEXT Aboriginal people have always traded and missions that were set up in remote art and objects – pearl shells from the Australia bought and sold Aboriginal Dampier Peninsula were traded all the art and craft. Some missions exported way into the desert. Aboriginal people art to their stores in Melbourne and traded with people in and from Asia Sydney, to generate income for their hundreds of years before whitefellas activities. came to Australia. Even convicts and The first community art centre in Aboriginal people in Sydney traded with Australia was established at Ernabella in each other after the invasion of the the late 1940s by the Methodist mission, continent. although the term ‘art centre’ was not It is very important for new art centre used at that time. staff to learn and understand the impact In 1949, Arnhem Land art, the first and legacies of the history of where exhibition to attribute individual people they are working. Make it your business Tjunkaya Tapaya weaving in the Ernabella craft room, c.1964. by name to artworks – not simply as Image: Bill Edwards; Bill Edwards Collection, AI0180251, Ara Irititja. to find this out and to reflect on your ‘Aboriginal’ or by ‘tribe’ – opened at place in this context. Here, because of Australia’s first commercial gallery, the limited space, we offer an overview of David Jones Art Gallery in Sydney. It the emergence of the Indigenous art was curated by famous anthropologists a text including an introduction by thousands of kilometres away in industry in Australia and what led to the Berndts. The time and place of this surrealist Andre Breton.1 Papunya, the Western Desert art Desart’s inception. step forward is critical: the veil of the movement began to emerge and, in In 1965, Australia’s first national tourism The Aboriginal arts industry in Central ‘outback’ was being lifted to tourism, 1972, Australia’s first artists’ cooperative report recommended the establishment Australia has an epic and tragic history: the pastoral industry was opening up opened: Papunya Tula Artists. of an Aboriginal arts industry. Six years station life and the pastoral industry, to transportation, the first commercial later, the federal government sponsored In 1973, in the early years of the era the location of one of the biggest tourist galleries were emerging and Aboriginal the establishment of a retail/wholesale of self-determination, the Aboriginal attractions and cultural icons in the art began to be attributed to individual marketing company, Aboriginal Arts Arts Board (AAB) was formed, chaired world, the impact of the missions, the ‘artists’. & Craft Pty Ltd (which traded for some by Yirrkala’s Wandjuk Marika. The AAB fame of Albert Namatjira, the violence In 1951 Czech surrealist artist Karel 20 years). This was the genesis of the coordinated exhibitions and market of the frontier, atomic bomb and Kupka made his first visit to Australia. art centre model – a government- opportunities for art centres, both weapons testing, the pain and loss of Perhaps he saw Aboriginal shields funded ‘art advisor’ pricing, buying, domestically and abroad, and oversaw the stolen generations, the birth of the and artefacts for the first time in transporting and marketing art in funding for professional development Aboriginal art movement, the self- the home of photographer Axel remote communities. for Indigenous artists. determination policy, and the site of the Poignant. Kupka returned in 1956 to Northern Territory Emergency Response Meanwhile, in 1968, public servant Dr In 1987, the Association of Northern and Milingimbi, Arnhem Land, and three (the ‘Intervention’) into Aboriginal H.C. Nugget Coombs lobbied for and Central Australian Aboriginal Artists more times to Milingimbi until 1973: communities. established the Australian Council (ANCAAA), a lobby group of sixteen collecting, documenting and culturally for the Arts. Shortly afterwards and art centres, fought to maintain their The first Aboriginal art made for appropriating Aboriginal art and museums and the general market was artefacts. He put together an exhibition collected by anthropologists and taken that he named Dawn of Art, and toured 1 See ‘The Collector: Karel Kupka in north Australia’ by Nicholas Rothwell, The Monthly, October 2007 away to be studied. Many trading posts it throughout Europe, together with https://www.themonthly.com.au/issue/2007/october/1281338813/nicolas-rothwell/collector ; Dawn of Art: painting and sculpture of Australian Aborigines, Karel Kupka, Angus & Robertson c1965; ‘Some People are Stories’ by Djon Mundine in No Ordinary Place: The Art of David Malangi (ed. Jenkins), NGA 2004, 28–42. 14 Desart ADVOCACY 15

independence from government control. Association for the Visual Arts (NAVA) to The result was a major review of the lead development of a code of conduct industry through the Commonwealth for the industry. This evolved into Government: ‘The Aboriginal Arts and the Indigenous Art Code. Associated Crafts Industry’, 1989 (often referred to as advocacy (including by Desart) resulted the ‘Altman Report’). in a parliamentary inquiry into the sector in 2007. We continue to push for better Central Australian art centres separated growth opportunities for the sector. from ANCAAA to form Desart and to lobby and advocate their importance, So, the Aboriginal art centre movement independence and significance to has its origins in the same set of politics Australia’s identity. Top End artists and struggles as Aboriginal land rights formed the Association of Northern, and self-determination. Today, cultural Kimberley and Arnhem Aboriginal Artists authority, agency, authenticity and (ANKAAA – now ANKA) based in Darwin. ethical practices, and maximum return Other entities sprang up, supporting to the artist are core foundations and regional and remote Indigenous artists priorities of art centres and Desart. elsewhere in Australia. Art centres are important cultural enterprises, providing culturally Desart has consistently advocated for appropriate avenues for people to earn public policies, budgets, legislation and a living. Desart continues to ensure educational campaigns to better protect that the cultural authority of Aboriginal and support an ethical Aboriginal arts On the Fake Art Harms Culture campaign trail, artists in Central Australia is respected industry. Escalating unethical business • improved protection for Indigenous L to R: artists Eunice Porter, Nerida Giles and and the significant place of their art practices in the 2000s – including Cultural Intellectual Property Martha Ward, and Warakurna Artists’ Manager (and the structures that facilitate it) Jane Menzies. Image: Indigenous Art Code. ‘carpet-baggers’ in Central Australia are widely understood, supported and • career opportunities for Aboriginal – coincided with a global art market celebrated. artists and art workers. high, and prompted the National We seek input from our art centre We initiate and participate in activities members on important industry issues, to market Aboriginal art, educate ensuring that our responses to issues and diversify the audience for it, and reflect the voices and priorities of their promote the local and global benefits of DESART ADVOCACY artists. For example, the development art centres, often working with industry Desart takes its remit of speaking with research that commits to community of our submission to the 2017 House and government partners. We produce a united voice on behalf of its members benefits alongside potential for broader of Representatives inquiry into the the annual Desert Mob Symposium and very seriously. We aim to change evidence-based industry gains. growing presence of inauthentic Desart Photography Prize, and organise minds and influence people to achieve Aboriginal and Torres Strait ‘style’ art commemorative exhibitions and special Highlights of Desart’s advocacy better opportunities for Aboriginal and craft was informed by feedback and events such as the Lingiari Art Award. work include: artists, targeting existing and proposed comments from a membership survey We work to open up the international legislation, and policies and programs • Fake Art Harms Culture Campaign specifically on this issue. realm, too. of governments. We work with our art (Indigenous Art Code) We serve on industry boards and centre members and other Aboriginal • Aboriginal and Torres Strait Islander advisory committees (e.g. the Darwin peak bodies and organisations to Art Economies research project Aboriginal Art Fair and TARNANTHI address industry-wide and cross-sector • government support and funding that festival), and we introduce our members issues, and we support rigorous ethical better addresses the sector’s needs to ethical marketing opportunities. 16 Desart ART WORKER PROGRAM 17 SERVICES FOR ART CENTRE MEMBERS STRONG BUSINESS PROGRAM The principle of ‘culture first’ is • HR support to recruit, orient and As its name implies, the Strong Business Desart’s Strong Business Program is fundamental to Desart’s work, retain art centre managers, employ Program supports art centres to run divided into seven support streams. championing the futures of Aboriginal and support Aboriginal art workers, strong, healthy businesses. We work 1. Human Resource support art centres as envisaged by their and build a culturally secure, happy closely with art centre managers, artists. This includes embedding and legally compliant workplace. coordinators, and directors to help them 2. Resources developed specifically for art centres in Central Australia ethical and culturally secure practices • free professional development do their jobs well so that artists can get and processes across the industry, programs and support for art centre on with creating art of the highest quality. 3. Individual manager coaching promoting local solutions to local sessions managers and directors We encourage you not to neglect problems, and attracting diverse and • support and free accredited and non- anyone’s professional development, 4. On-site board governance support better investment in artists and their art accredited training for Aboriginal art including your own, and to jump on- programs centres. Desart works to enhance career workers board for the opportunities that we 5. Legal support for art centres in pathways for artists, art workers and co-design and flexibly deliver. This partnership with Arts Law art centre managers. • access to IT technical support might be one-on-one coaching, • funding and fundraising information 6. IT services and technical support Aboriginal-governed and owned art upskilling in financial planning etc. 7. Employee Assistance Program centres in Central Australia pay a small • access to a register of experienced We have lots of information and (EAP) confidential counselling and annual fee for full membership to independent interim art centre experience on hand and we manage support. access Desart’s suite of services and managers, business specialists, membership benefits, including IT opportunities, including the Strong bookkeepers, artists and trainers Our remit encompasses all these things technical support. We’re also the go-to Business and Art Worker programs. • access to independent legal advice and more, so if you need help with team for Desart’s annual major events: Alongside this, we manage SAM anything that’s not directly related to • audits of infrastructure needs the Desart Art Centre Conference, (Stories Art Money), an online artwork art workers or SAM, ask us. (You can, of • invitations to the annual Desart Art and Desert Mob (in partnership with management system that Desart course, talk to us about those things, Centre Conference Araluen Arts Centre). These significant developed for art centres. SAM is used too.) opportunities are explained in the Major by most art centres within Desart’s • eligibility to participate in the annual Desart Events section that begins on p. 20. membership, as well as many art Desert Mob Exhibition, Symposium centres elsewhere in the country. and MarketPlace • photography workshops and Our team designs and prioritises invitations to enter the Desart ART WORKER PROGRAM Desart’s annual programs to anticipate Photography Prize and meet the needs of our members. This stream of Desart’s service supports are the people who make art centres • equitable travel subsidies to Desart’s We source input face-to-face and via Aboriginal art workers within Desart’s breathe life. We are the ones who hold major events and training opportunities surveys and call-outs. We also draw on membership. stories, song, dance and culture. We work for our people.’ our collective industry expertise and • regular member communications, Art workers bring to their art centre extensive national and international including a quarterly newsletter and expert knowledge of their community, In order for more local Aboriginal people professional networks to identify and monthly e-blasts and how things are done culturally. to be actively involved in all facets of deliver relevant new opportunities, and • a free, confidential counselling and Some also bring local language skills. their art centres, we need to get things find better ways to do things. If ever coaching service 24/7 for all art centre These things assist them in their work right for art workers now, so we can there’s something more or better you staff. with artists, elders and managers. show young people their career and think we could be doing for artists and Associate members can access all of Award-winning artist Robert Fielding training pathway alongside strong their art centres, please tell us. these services (some may incur a fee), began his art career as an art worker community role models. Aboriginal Desart offers its full member art centres: with the exception of Desert Mob. with Mimili Maku, and he says, ‘We art workers and their families are 18 Desart SAM (STORIES ART MONEY) DATABASE 19 likely to live most of their lives in their Desart’s Art Worker Program offers art SAM (STORIES ART MONEY) DATABASE communities, and they are the future workers a customised program that managers of their art centres. includes: SAM (Stories Art Money) is an online management of the art centre, including artwork management system that payments to artists. It has unique When people feel connected and part of • accredited training (four weeks Desart developed for art centres. Desart and flexible reporting capabilities that something outside of themselves and per calendar year), co-designed by owns the software, which is now enable you to access reliable data to their art centres, they are better able Desart and Batchelor Institute and used by most art centres within its monitor the art centre’s sustainability, to engage within their learning space. delivered in partnership, leading to membership, as well as most Aboriginal and use with the art centre’s directors, We connect art workers with their Certificate 1 in Business, Certificate and Torres Strait Islander art centres and for strategic and operational colleagues in other art centres and with 1 in Access to Vocational Pathways across Australia.. planning, business cases, funding arts professionals and organisations in and Certificate 1 in Skills for applications, and reports and acquittals. the wider industry. Vocational Pathways SAM is the administrative tool that you and the art centre’s art workers will use Check out the SAM section on pp. 93–5 In many communities in Central • non-accredited training, including every day: to catalogue and label art for more information about SAM, Australia, art centres are one of only a workshops in photography and the works, document their provenance, do including free SAM training for Desart few Aboriginal-owned and governed SAM database, usually delivered sales and consignment transactions, members, how to get the best out of the employers – and in some places they onsite at the art centre issue certificates of authenticity and database, and how to trouble-shoot. are the only local employer. One of the • information about workplace rights artist biographies, control the art most important ways you can secure and obligations centre’s stock, and facilitate online the future of the art centre is to invest • support to develop career pathways purchases. SAM integrates with in its Aboriginal art workers. The Desart Sandra Brown using SAM at • curatorial workshops financial software (MYOB, QuickBooks Art Worker Program team are here to Mwerre Anthurre Artists (Bindi). and Xero), so you’ll use it for financial help you do that well. • industry engagement partnerships. Image: Rhett Hammerton, Desart.

Desart’s Joeanne Silverton delivering SAM training to Art Worker Beth Inkamala, at Hermannsburg Potters. Image: Desart. 20 Desart MAJOR DESART EVENTS 21 MAJOR DESART EVENTS Vincent Namatjira from Iwantja Arts opening In addition to its regular workshops and learnings, and to discuss and work Desert Mob 2017. Image: James Henry, Desart. training sessions for members, Desart towards solutions to pressing issues. invests in several major events in Alice You can expect to join in conversations Springs. about local concerns, relevant policy decisions, legislative changes, and Check your calendar and lock in these global trends. You will be able to meet annual dates now: face-to-face with funders and other Desart Art Centre Conference: the week decision-makers, and strengthen leading up to the Easter long weekend your networks so that you’re better supported once you’re all back at the art Desert Mob: early September centre. Desart Photography Prize: advised annually. Desert Mob

Desart subsidises member art centres’ The annual Desert mob event is travel and accommodation costs to presented in partnership by Desart and promote equitable access to these the Araluen Arts Centre. It began its life events. When you’re developing and as the Central Australian Aboriginal Art monitoring the art centre’s budgets, aim and Craft Exhibition in 1991. In 1997, the to factor in travel costs (including travel exhibition was renamed the Desert Mob allowance) for a group of staff, directors Art Show. Since then it has become, and artists to attend. simply, Desert Mob. It is an exhilarating (some say exhausting!) event. There’s nothing else like it and it has a well- Desart Art Centre earned reputation as the annual Conference showcase of the best of current art practice in Central Australian Aboriginal This is an annual two-day event for art art. Artists and staff representing their centre managers, directors, artists and art centres bundle into their troop art workers. It’s a great opportunity carriers and hit the roads to Alice to connect and engage with each Springs from Western Australia, South other and with Desart staff, guest Australia and the Northern Territory speakers, and staff of government to participate in the three-day Desart agencies and supporting organisations. Mob program. Gallery representatives, It is an excellent platform for peer-to- journalists, art lovers and collectors peer learning and access to industry travel from around Australia and consultants and experts. the world. It is a great opportunity The conference program is designed to establish networks and nurture to offer art centre staff and directors commercial relationships, and it is the culturally safe spaces to celebrate and annual highlight of many art centres’ share their successes and experiential schedules. 22 Desart MAJOR DESART EVENTS 23

Desert Mob 2017 opening at Araluen Arts Centre. Bobby West Tjupurrula presenting about the Tjungunutja exhibition Image: James Henry, Desart. at the Desert Mob Symposium 2017. Image: James Henry, Desart.

The exhibition is unique in that artists or a new medium, style, project or hours beforehand and the rush when for artists, and directors and art and art centres choose the works they narrative. the doors open is the stuff of legends. workers. exhibit at the Araluen Arts Centre, Araluen emails its Desert Mob Exhibition Desart contacts art centres in March/ and familiar in that it has been held Desert Mob Symposium – contracts to Desart-member art centres April to see who would like to present annually in Alice Springs for over 25 Stories from the artists and selects artwork to be featured in at the Desert Mob Symposium. We offer years. The event includes the Desert the exhibition catalogue around April The Desert Mob Symposium literally a fee and professional development Mob Symposium, and an affordable each year. invites Aboriginal artists onto the stage for presenters. Presenters also have marketplace. at Araluen Arts Centre to tell stories an opportunity to rehearse at Araluen In May, catalogue artwork has to be about their work and their art centres. the day before the Symposium. Desart Desert Mob Exhibition delivered and stories are commissioned, They present to a receptive audience, curates the program, which includes and by early July participating artists The highly regarded Desert Mob including lots of their colleagues and guest artists. Excellent company is and art centres submit their list of exhibition is facilitated by the Araluen family members. guaranteed! (Past guests include Reko Desert Mob artworks and certificates of Arts Centre. Participation is open Rennie, Jonathon Jones, Julie Gough, authenticity. The deadline for delivery of This Desart initiative was the first of its only to members of Desart and is by and artists of Bábbarra Women’s Desert Mob artwork is late July. kind in Australia. It offers audiences a invitation. Each art centre curates a window into the Aboriginal art centre Centre.) small exhibition revealing the best of The exhibition opens on a Thursday world and the artists at its centre, and The Symposium is a free, ticketed event recent work by its artists. As an art evening in early September, with proud it is a fantastic forum for connecting for which registration is essential. centre manager, you might support celebratory speeches and performances, artists with existing and new audiences Desart caters a Symposium lunch that is art workers to curate their art centre’s and a feast for artists and art workers. and for building the art centre’s public free for artists and art centre staff. show and maximise this exhibition Enormous queues of keen collectors and profile. It also continues to be a great opportunity to launch emerging artists buyers form at the doors of the gallery training opportunity in public speaking 24

Desert Mob MarketPlace L to R: Jackie Williams, Leslie Rigot, Ribnga Green, Geraldine Nowee and Frances Nowee from The Desert Mob MarketPlace is the go- Warlayirti Artists at Desert Mob MarketPlace 2017. to market in the nation for affordable Image: James Henry, Desart. Central Australian Aboriginal art and products. It is a large indoor/outdoor centres are encouraged to host popular market, usually with around 30+ art workshops for visitors and buyers. centres selling. This event takes place Keep your energy levels up with food on the Saturday of Desert Mob. and coffee available from stalls and the This marketplace is an excellent café in the grounds of Araluen. avenue to sell smaller or discounted artwork. There is an upper price limit, distinguishing it from the exhibition TIP: It is the job of the art centre market. The art centres that sell the manager to be strategic in the most are those that offer affordable selection of works for the Desert Mob and easily transportable works. Plan Exhibition and MarketPlace. Remember your stall well with the art workers not to confuse your markets: so you have an energetic sales team if you’re planning on offering heavily at the ready with all the right tools discounted works by artists who also – and remember that people love an feature in the highly regarded Desert Mob Exhibition or in concurrent shows Pamela Hogan, Art Worker from Papulankutja Artists at Desert opportunity to meet and talk with Mob MarketPlace 2016. Image Jeremy Blincoe, Desart. artists and art workers. Participating art in Alice Springs, think again. 26

Desart Photography Prize THE DESART TEAM Since 2012, Desart’s professional The Desart team is a resource that development programs have collectively has extensive experience included popular photography working with Aboriginal communities, workshops delivered by professional primarily in the arts. We are all photographers. The workshops are passionate about the arts and putting usually held in community and culture at the centre of what we do. We they focus on the technical aspects value learning and sharing knowledge, of photography. Art workers (and and we’re continuing to build our managers) can acquire new skills in expertise and better help bring about photography that are essential to positive changes. Our accumulation fundamental art centre activities. of corporate knowledge working For art workers, there is the bonus of specifically with art centres in Central cross-overs to artistic practice. Australia is gleaned from over 25 years in operation. Desart staff are directed by The annual Desart Photography Prize a full Aboriginal board of directors, who was proposed by art workers at Desart’s represent the membership. conference in 2011. It celebrates the art of photography by members and Contact us – our program teams are art workers of Desart’s membership. here to assist you over the phone, email The prize exhibition is staged in Alice or Skype, and we can make on-site Springs. Opportunities for curatorial visits during critical times. skills development for art workers are There are no stupid questions – you integrated with the prize. don’t know what you don’t know. Winners of the Desart Photography Prize include Rosearanna Larry (Ikuntji Artists), Rhonda Dick (Tjala Arts) and Now let’s take a close-up look at the art Robert Fielding (Mimili Maku Arts). centre operational model: What is it? Desart Photography Prize shows have How does it work? been exhibited beyond Alice Springs at Alcaston Gallery in Melbourne, the Darwin Aboriginal Art Fair, and in South Korea.

Winner, Desart Photography Prize 2016: Traditional Inma (The Dance of Many Tribes) by Rhonda Unrupa Dick. Image courtesy: the artist and Tjala Arts. 28

Tilau Nangala painting at Papunya Tjupi. Image: Rhett Hammerton, Desart.

Art centre operations

Art centres are complex businesses The ten operational areas of an art with competing demands across a centre: broad base. Managers sometimes • Culture feel as though they are expected to be: art experts, salespeople, • Country community development specialists, • Art admin dynamos, mediators, social • People welfare providers, graphic designers, • Business and administration accountants, mechanics and more! • Commercial (sales & marketing) How do you balance the key areas • Financial of an art centre business? • Political Splitting the business into ten areas • Built environment may help – Desart program staff work with this framework.2 • Social.

2 This approach has been adapted from Cornelia and Jan Flora’s work on community capital. See Rural Communities, 5th edn, CB Flora, JL Flora and SP Gasteyer, Westview Press, 2016. Art centre operations 31

Think about a big tree growing under All areas intersect and impact each the art centre. There are two healthy other: branches on the tree: the government • commercial reputation affects and the market. Eight roots grow finances up from culture and country deep underground. The tree provides shelter • political power can affect the built to the art centre and keeps it secure. environment Each of its roots can grow strong • art affects economy. through consistent leadership, taking up Add your own key areas if they don’t fit opportunities and good management. into the ten described. Use plain English Alternatively, these roots may wither to describe them, but don’t change through not managing risk, ignoring technical terms so that they lose their problems, becoming uprooted from meaning. After enquiring about each culture and country, and from working area, label them red, yellow or green the wrong way. like traffic lights. Green symbolises Desart uses this planning approach to ‘go’, yellow ‘waiting’ and red means frame conversations with directors and ‘stopped’. Then list: staff about art centres. We explore each • the most important things to do area one at a time and ask a range of questions: • who is responsible • how you will know it has been done. What does this area mean at the art centre? This creates a work plan and usually takes a day or two. What does it look like?

Where or to whom do you go to find out more information on this area? (For example, the chairperson for culture, the accountant or bookkeeper for a money story, or a gallery for feedback on art.) How do you know what work you need to do in this area? What will have an impact? What hasn’t worked? What is better practice? What do other art centres do?

1 2 3 4 5 6 7 8 9 10 Culture Country Art People Business & Commercial Financial Political Social Built Admin environment

The traffic light system inspired by Graeme Andrews of Nexia 32 Art centre operations CULTURE 33 1. CULTURE Culture first. The first art centre In addition to bush trips, actions operational area is culture. Culture, along in this key area might include: with country, is the foundation of art supporting an organisational culture centres. Culture and country underpin that recognises Aboriginal ways everything. of knowing and authority, using governance processes that foreground How do you assess the art centre’s local languages, working with young success in this area? people so knowledge can be shared ‘It is up to directors and elders to define intergenerationally, documenting this area at the art centre.’ artworks to the highest standards, and including Indigenous Cultural They said it. Leave it up to your directors Intellectual Property (ICIP) clauses in to find a way. Encourage and support contracts. them to tell you. Explore with them how to embed a ‘culture first’ approach to the The directors and artists will shape your art centre’s operations. learning and knowledge of their culture. The rest of this section offers guidance ‘Trips to country are the most important on working and living on Aboriginal art centre activity in this area.’ country with Aboriginal people in Central Australia. Tjarlirli artists’ bush trip, 2015. Image: Nyssa Miller, Tjarlirli Art.

Basic annual calendar for many art centres that are members of Desart. 34 Art centre operations CULTURE 35 Cultural safety: Please help propel an ancient culture to new individuals, what are our shared • What power do I have in this role? check your bags! national and global art markets…and values? How does it change in different this is wonderful. It is, after all, why the • How can we work together on our contexts? What actions can I take to CARA KIRKWOOD AND art centre directors have employed you. shared values whilst being regardful ensure this is equitable? ROBYN FRANCES HIGGINS However, how you go about this is what of difference? • How am I contributing to power matters most. Imagine you’ve stepped onto a plane Cultural differences and similarities are imbalances in the industry? Whose and you are going on a trip to a place Engaging in the principles of cultural important to identify through engaged voices are being heard and whose are that is foreign to you. Your belongings safety3 will, over time, create better communication. Working to continue being left out? Whose needs are being are in a small but very full backpack. It relationships and truer progress. to develop your skills in both verbal met and whose are sidelined? is crammed with all the ideas, thoughts, and non-verbal communication with • Who are the most important people in As explained above, the departure point experiences, emotions, biases, privileges, a focus on listening and observing this process/decision/activity? for culturally safe practice is critical disadvantages, and status that you’ve so (more so than telling and showing) is (Am I getting in the way?) self-reflection. This process helps us far accumulated in your life plus those instrumental in strengthening your to develop an increasing awareness • Is a power imbalance affecting attached to you by association from professional practice in this context. of how our own worldview and consent or agreement in this decision- your families, broader communities consequent actions may affect others Ask yourself these questions: making process? and societies at large. In fact, in this and their own cultural identity. • Am I taking action with consent? deceptively ‘heavy for its size’ bag, you • Am I genuinely trying to understand Am I remembering that consent and will be carrying things that you forgot Ask yourself some of these questions: another’s point of view with curiosity, agreements are not always fixed, are you even packed and things you didn’t not judgement? • What cultural norms do I bring to my conditional, and that these decisions even know you owned. life and expect from others? • What am I assuming? Am I making need to be revisited regularly? sure that I ask rather than presume? All these things will have a profound • Do my expectations belong here? Recognising that language, processes impact on you and everyone you work • Am I generalising what I have heard • How are my norms and expectations and structures are influenced by cultural with in your new role at a remote art and understood from one person and affecting my thoughts, behaviours bias can assist you in decolonising your centre. We all have such a bag (this is our applying it to the whole community and actions? And in turn, how are practice as much as possible. In your cultural identity) and – like any airport without foundation? these affecting those I work with? work as an art centre staff person, you security check will tell you – it is vitally • Who am I enabling to make decisions? will straddle a lot of worlds and will • What are the differences between important to know what is in your own Myself, the board of directors or need to maintain a precarious balance my cultural experience and identity bag when you travel to other people’s artists? between them. countries. and those of the people who have employed me? • What is going unsaid? What is not Ask yourself these questions: This may all sound obvious, and of being made space for? What am I NOT • Do our cultures need to look and be course on one level it is, but it is also the noticing? • Why am I doing this job? Because the same? (If you’ve answered ‘yes’ I want meaningful work? Because most critical thing to be aware of in your • How is power impacting on effective to this question, pick up your heavy I aspire to sharing a vision? To feel work. communication in this context? backpack and go home, immediately good about myself? To be the ‘expert’, When you step off the plane, with – no, we are not joking.) Taking the time to further develop ‘hero’ or ‘convert’…? understanding of historical, social your eyes wide, you will be eager to • Between cultures and indeed • What processes, structures and and political contexts and how power languages am I giving preference to operates similarly and differently in and enabling through my work? Do each new context will assist you to they reinforce domination or control 3 Cultural safety is a concept that came from the health sector and was developed by Maori health minimise power imbalances in your of one cultural group over another? professionals in Aotearoa. Cultural safety is activated through principles. These principles (in bold work. throughout this text) have been adapted from Health Care and Indigenous Australians: Cultural Safety • How am I working with my employers in Practice (2nd edition), Taylor & Guerin (2014, p.15), as summarised from the work of Maori academic Ask yourself these questions: to contest dominant cultural ways Irihapeti Ramsden. 36 Art centre operations CULTURE 37 of thinking, behaving and acting to Cultural protocols Words and terms to start challenge the sector to decolonise? bad news – somebody has passed (Think of the ways interpretation, There are many Aboriginal cultural you listening away representation, and appropriation of protocols, so don’t think that you can Tjukurpa (Tjukurrpa, Jukurrpa, Altyerre) big mob – a lot of (big mob of money, First Peoples’ art occurs.) learn about a complex knowledge is a Central Australian word for the big mob of kids) system in a few weeks – or a few years. law and belief system of Aboriginal How much am I enabling the cultural Read the information that follows. Be people. Tjukurpa embodies the binding business – law and ceremony authority of community to thrive and yourself (everyone makes cultural faux connections of language, religion, how much am I imposing a way of being camp – a group of homes or someone’s pas), be discreet and be aware of your philosophy, family and human behavior that I think should be occurring? Finally, place (Hidden Valley Town Camp; own behaviours and those of people that are to be observed in order to whether your practice is culturally ‘I am stopping at Betty’s camp.’). around you at all times. live harmoniously with one another safe or not is determined by those you cheeky – mischievous, aggressive, and with the natural environment. work with, and it is time and context For your work, read and use the dangerous According to Tjukurpa, there was a time specific. You will never be signed off as Australia Council’s Protocols for Working when ancestral beings, in the form of gammon – pretending, kidding, ‘culturally safe’. There is no script. There with Indigenous Artists: see www. humans, animals and plants, travelled joking, fake is no checklist. There is no certificate. australiacouncil.gov.au and Arts Law’s widely across the land and performed Yet this is an opportunity to engage information sheet about the rights of growl – scold remarkable feats of creation and meaningfully and expansively with Aboriginal people for protection of their destruction. humbug – see the explanation below others in your work. It is relevant to traditional and cultural knowledge all contexts and professions and is a and materials (Indigenous Cultural Another important word is ‘country’, lingo – Aboriginal language useful tool for continuing to develop Intellectual Property): https://www. which refers to land generally, but also old man / woman – refers to very old self-awareness and build increasingly artslaw.com.au has the more specific meaning of ‘place or senior people or people who have equitable and meaningful relationships. of belonging’. Country as a word and passed away; e.g., ‘that old man / Engawala women preparing for a women’s ceremony. concept is very important for you to woman from Alice Springs’. Image: Waltja Tjutangku Palyapayi. understand – it is where people are shame, shame job – causing from and connected to in the deepest embarrassment (by pointing someone sense of the word and it holds both out, saying their name loudly etc) languages and Tjukurpa. sorry business – ceremony and rituals associated with death Humbug toy – not real (toy teeth = false teeth) Level 1 Humbug can be as innocent as gently harassing artists for their painting asking for something: ‘Could I humbug money. you for some water?’ or ‘Could I Level 3 humbug you for a cup of tea?’. Humbug can mean violence and Level 2 harassment, for example, ‘I get too Humbug can be annoying and much humbug at home’ or ‘I get frustrating – asking for something too much humbug from drinkers’. unreasonable such as access to a Humbug of this nature can have tragic vehicle or money, over and over again. consequences. Humbug can be family members 38 Art centre operations CULTURE 39 Don’t take it personally everyone. If you break a rule once, DESART CULTURAL ORIENTATION GUIDE you’re worth hunting and will be Work ethics and personal values are humbugged for months. It will also This cultural orientation guide4 is culturally competent, and being able to not tied together intrinsically in many cause conflict if you break a rule for one specific to working within an Aboriginal do your job successfully in Aboriginal Aboriginal communities. People do not, person and then say no to the next.’ community and covers areas such as communities, is to: generally, seek to be thanked or valued – Manager, Spinifex Arts Project personal conduct, appropriate methods through their job and may not value the • be self-aware of communication and cultural factors same in their art centre manager. you need to consider when you are • be respectful Community members are unlikely to say: Am I an alien? working in an art centre. • be observant and willing to learn ‘Wasn’t it great the way Jim stayed in ‘You might feel like you are in the Remember: there are no hard and • ask for advice and use it. and worked over the weekend at the art middle of nowhere, but other people fast rules. Every cultural group and centre? He’s a really hard worker!’ have lived their entire lives in that community is different. The key to being They may be more likely to think: place. Seek counsel from Anangu ‘Poor Jim, he must be lonely and have no about the way things work, it can be comforting to know that someone one to go bush with.’ Keith Stevens painting at Piltati Rockhole for the Painting is across everything to do with the on Country project, 2016. Image: Leopold Fiala, Tjungu Palya. Or maybe even: community and country around you.’ ‘What is Jim doing at the art centre – Manager, Papunya Tjupi all the time without the artists there? Maybe he’s stealing money!’ Many art centre managers have used the expressions: Conversely, often in communities there is no differentiation between the ‘I feel like an alien.’ personal and work. Your private space ‘I feel like I’m on another planet.’ and work space need to be defined by ‘I feel as though we are having two you. For example: completely different conversations.’ ‘I don’t talk about money story at home, Working in a remote Aboriginal just at the art centre.’ community can be an experience akin to ‘You know I don’t do humbug on the travelling overseas to work in a foreign weekend.’ country in a small community. You are This is, of course, for you to manage in someone else’s country. Take the – the verandah at the art centre time to learn the ropes. Learn from the manager’s house can be a great forum art centre’s members and the Desart for discussing art centre business and Cultural Orientation Guide that follows. getting to know each other, and learning about culture. Alternatively, you could use the chairperson’s front yard or do this only at the art centre. It is about finding a balance and being consistent with your boundaries. ‘Be consistent. Make clear rules with the artists and board. You can be generous but it must be the same for 4 We thank and acknowledge the Remote Area Health Corps for allowing us to use and adapt parts of its Cultural Orientation Handbook for our sector. We’ve also added to it ourselves. 40 Art centre operations CULTURE 41 Your first days working at staff of other community and Aboriginal Working within the communities in name, despite the organisations in the area, too. If people lack of voluntary association among an art centre haven’t been introduced to you, they Aboriginal community members. In many cases, when the Even other Aboriginal people who travel might not feel comfortable to come to Imagine if you lived in a community artificial infrastructure provided by to different regions have to be aware of the art centre or might not interact with of 2000 people, many of whom were legislation, regulations and religious the cultural protocols that apply to the you. your family by blood and marriage. You evangelism was removed, nothing was particular community they are in. Your also had a kinship relationship with the substituted in its place. Understanding The Council Office is usually the central first days in an Aboriginal community other people in the community, and this as the basis of many Aboriginal point of information in the community. are important: first impressions can could call every Indigenous person in communities will help you understand Make sure you meet the community influence your satisfaction in your the community family. In every level why certain situations have evolved, services manager (or whatever the job, as well as the satisfaction of the of communication and interaction, you and why certain issues seem extremely current term is for this government- people you are working with, and would deal with your family, 24 hours a difficult to resolve. appointed position). A good relationship can ultimately impact on professional day, 365 days a year. with this person and community office outcomes. Factionalism and politics staff is important too. Empathy and an understanding of Spend your first few days being cultural issues will help with your work In any small community, some family introduced to the members and staff here. All people are complex, all cultural groupings may be aligned and others of the art centre. Meet the chairperson groups are complex, and culture is not may be long-standing antagonists, often and directors first. They will make the the only answer or explanation for resulting in factionalism. Entrenched factionalism may not be remediable. right introductions to everyone in the Papulankutja (Blackstone Community), some of the issues and personalities Factions will not be readily identified art centre. Meet with the directors and Ngaanyatjarra Lands. Image: Desart. you will encounter. by a newcomer. Take care not to be It is easy to have an idealised notion of perceived as taking sides. Providing Aboriginal communities that includes particular services, funds or resources viewing community members as for one faction and not for others being united in purpose and action (even if unintentional) can result in and sharing a common culture. These community members assuming you are notions don’t accommodate the true aligned with a certain faction. origin and establishment of such communities. Many Aboriginal communities across Australia are the result of government policies that saw the displacement of Aboriginal peoples — from differing cultures and languages, many of whom were traditional enemies — from their traditional lands. They then experienced forced segregation on missions and reserves. Later government policies of self-management and self- determination resulted in such missions and reserves being granted a freedom of sorts, with limited autonomy. In this way, they were forced to become 42 Art centre operations CULTURE 43 The community’s expectations Living in a small community of you Some of the issues you may find The community expects you to perform hard to deal with might in fact be your role as an arts professional. related to remote culture, as opposed This includes dressing, speaking and to Aboriginal culture. Remote and generally conducting yourself in a rural Aboriginal communities have manner in keeping with the role, and the usual characteristics of small having the knowledge and expertise towns – community concerns and expected of your profession. You are gossip run rife. However, in Aboriginal also expected to be sensitive and communities these characteristics are empathic, and to recognise, honour and magnified as the spotlight is on all respect the vibrancy of another culture. outsiders. Assume that every action, whether private or public, is the topic of The following values serve as a sound community conversation. guide for cross-cultural communication: Adjusting to your role Spirit and integrity – a respect for the spirit and integrity of all cultures, Remember that you are there to do a communities and individuals. particular job, not to become a member Arrernte men performing at of the community. You may encounter Desert Mob Dancesite 2015. Reciprocity – full recognition of the Image: Hannah Millerick, Desart. situations where you wish to intervene, Understand cultural involvement and contributions of change or control matters, or act as you factors and how they stakeholders, a dedication to the might do in your usual environment. It feedback of meaningful results, and impact your work any way or doing something you are is important that you step back. the assurance of fair outcomes for Take the time to read and learn not sure about. communities and individuals involved. How you react and respond to about the Aboriginal community Kinship avoidance relationships are particular situations that are either you are working in: the language Respect – acknowledgement and important for you to understand – don’t beyond people’s direct control (living groups, kinships systems, historical affirmation of the inherent diversity that ask loudly, ‘Hey, Joyce, why won’t conditions, environment, poverty), or factors, demographics, services and exists within cultures and communities, you come here and sit next to Jimmy?’ related to cultural beliefs and protocols organisations and current issues and a commitment to inclusive Understand that there are some people (‘sorry’ business actions) may result in within the region. Develop a basic consultation and involvement. who can be near each other and some people feeling you are judging them or understanding of how to respond who can’t. Equality – the promotion of distributive betraying their trust in you. appropriately to cultural factors such as how birth and death are viewed and Aboriginal culture is gendered. If there fairness and justice, affirming the Consider the implications your actions dealt with in the community. is a topic or area for discussion that right of individuals, communities and may have on the community as a cultures to be different. is taboo for women, or for men only, whole. Respect the community’s Art centre members, especially senior people may say ‘I don’t know’ or be Responsibility – to ensure that all decisions and activities as much as people with cultural authority, are silent. Read this as a subtle indication to practice is transparent and accountable, possible. a source of great knowledge about stop asking. and will result in no harm to the the local community. Work towards individuals and communities involved. establishing trust and credibility – go There may be many reasons why out regularly and have contact with someone walks away or removes The community rightly expects you to community members so people get to themselves from a meeting or situation work with them in partnership. know you. Keep promises and always – be respectful, and don’t take it ask permission before branching out in personally. Art centre operations CULTURE 45

Papunya Tjupi artists and family dancing at Desert Mob Aboriginal kinship starting point: https://www.clc.org. Dancesite 2015. Image: Hannah Millerick, Desart. au/index.php?/articles/info/aboriginal- All people in all cultures have some kinship form of kinship system that governs their lives. Kinship encompasses the Where do you fit in? norms, roles, institutions and cognitive Maybe you don’t! processes referring to all of the social relationships that people are born into or If a non-Aboriginal person is around create later in life, and their expression. an Aboriginal culture for an extended period, they may be placed in the kinship Among Aboriginal people in Australia, network. Being given a skin name does this social structure links people and not mean you have been adopted in all aspects of country: everything has a the Western sense. And you certainly place and there is a place for everything. haven’t been initiated. You have though, The moon and stars, men and women, however inadvertently, taken a side in plants and animals, country and places community politics / relationships that are all assigned to the kinship system. might impact on your role as a member Storms, droughts and the like are also of the art centre’s team. To be placed manifest in the kinship system. Every within the kinship network means part of life and every interaction is sharing in the same way that you would governed by the rules and norms of in any other close relationship. But your kinship, and every plant, animal and part new kinship relationships may come of country is family to someone who with expectations that you’ll adhere to has a reciprocal responsibility to care for protocols such as those associated with it. Kinship governs who can be spoken avoidance relationships. to, who has to be avoided, who has specific responsibilities and obligations, who guides, who teaches, who marries Ask for and use advice whom, and who attends to ‘passing Always ask for advice in any situation away’ ceremonies. where you are not confident Don’t be discouraged by the complexity regarding the appropriate methods for of kinship. Understanding family proceeding. Ask: ‘What is the best way connections and how kinship functions for me to do this?’ People will always be in day-to-day life is enough. happy to teach you. Return the favour by ensuring you listen to the advice Learn how to appropriately work and put it into practice. When in doubt alongside the kinship system. Take about anything – no matter how small guidance from the chairperson of your or insignificant it seems to you – ask art centre, the Traditional Owners (TOs) someone: a director, art worker, artist, and custodians of the community and or other Aboriginal community member. the artists themselves. Read up – there should be resources at the art centre, and information about kinship on the Central Land Council’s website is a 46 Art centre operations CULTURE 47 Community events and • DO act politely and demonstrate an interest in people and the community initiatives through recognition – a smile, a wave, Attending, participating in and supporting a small sign. community events can help increase your • DO conduct your private life in a familiarity with community members, discreet manner. establish trust and credibility, and help • DO observe others when you get to know the community and communicating and take their lead, what’s going on. Always check first particularly regarding shaking hands with someone such as an Aboriginal and eye contact. art worker to ensure your presence at particular events will be appropriate and • DO ask for advice in any given welcome, and importantly, that it will not situation where you are unsure of be unwittingly offensive, or align you too what to do or how to act – people will closely with particular factions within the be happy to teach you. community. • DO NOT be impatient or raise your voice with anybody – particularly older people or children. Address community • DO NOT speak harshly to someone priorities who is drunk – speak to them in the Artists Mulyatingki Marney and Doreen Chapman Safety showing Martumili Field Officer Sanchia Scott It is important that as part of the same manner you would a sober how to collect lunki (witchetty grubs) at Yulpu, 2017. person. • Always take your personal safety and relationship and partnership you are Image: Emma Franklin, Martumili Artists. building with the art centre and the • DO NOT bad mouth or enter security as seriously as you would community, you give attention to the into gossip about anyone in the anywhere else. vary dramatically. The community issues they see as a priority, rather community. • Ask for advice on safe routes and where you are may reasonably expect than trying to address the issues you • DO NOT swear around anyone in the places to walk that won’t take you you to dress in a way that reflects your see as most urgent. This is essential to community. anywhere near sacred sites or other role as art centre manager. What you supporting self-determination. off-limit places. wear is particularly important when • DO NOT drink alcohol in alcohol-free with older members of the community, (dry) areas. • Be careful of dogs, but also be respectful of dogs as they are an and in the company of members of the Personal presentation • DO NOT use illegal substances. integral part of family life. opposite sex. and conduct • DO NOT assume that you know • Be careful moving around the Take note of what other people are everything. No one is fond of people A lot of art centre managers socialise in community at night: there may be no doing and wearing, and dress similarly. who talk too much about their the community, in a gradual way. The street lights. Drive slowly. For women, this doesn’t mean that assumed knowledge and try to ‘big best way to start is by joining people for you have to wear a bright floral skirt or note’ themselves. This is particularly • Always let other people know where a cup of tea. dress, but it may mean that you should the case in regards to assumed you are going. cover up your hips and knees and not Some general tips on conduct include: knowledge about Aboriginal peoples wear anything too tight. For men, footy and cultures. • DO treat people gently, both How to dress shorts are strictly for the footy field physically and emotionally. There are many places with cultures and and going shirtless can be perceived as • DO greet people respectfully and customs that might be different from having ‘no shame’ in mixed company. speak softly. your own. The customs and protocols of Long loose shorts and a top are good as Aboriginal communities across Australia bathers. 48

What to bring out bush which you are living and working. Some people say country only hears its own Desart and art centre staff will assist language. you with information about the accommodation facilities and shopping Languages and dialects of Central opportunities in the community. Most Australia include: Alyawarr, Anmatyerre, communities have their own local Arrernte (Central, Eastern, Western store stocked with popular food and and Southern), Kaytetye, Kukatja, items, and fresh groceries are usually Luritja, Ngaanyatjarra, Ngaatjatjarra, trucked in weekly. You might be able Pintupi, Pitjantjatjara, Wambaya, to buy coconut water, chickpeas and Warlmanpa, Warlpiri, Warumungu and tofu if there’s a demand for them. But Yankunytjatjara. you might not. If there’s something Nationally, Western Desert and Arandic you can’t live without, bring it with languages are in the top five Indigenous you. Some major stores offer a bush languages spoken at home. Remember order service – ask Desart staff for that, among older people especially, information. English may be a third or fourth Nyukumpa the jarntu (dog), in the art shed in Parnngurr Be prepared for weather extremes. Even language. Community, 2017, Image: Emma Franklin, Martumili Artists. though Central Australia is renowned Signing is a commonly used part of most for hot sunny weather most of the languages. Don’t assume the hand signals time, it can have very cold overnight you usually use mean the same thing in In some communities, shaking hands directly at them, to avoid making them temperatures and occasional drenching the community. You might unwittingly be is inappropriate for general greetings as feel uncomfortable. downpours. Pack appropriate clothing signalling you think someone is sexy or it has a specific meaning in traditional for the community, climate, and work. that something is boring! life, notably used during sorry business. Always greet people respectfully, and You’ll need to have suitable gear for speak softly but clearly. Take note Take the time to learn at least the basics To shake hands as a general greeting everything from bush camping to of appropriate terms of address for of the main language people speak. can shame an Aboriginal person. It is exhibition openings to ministerial people. If you are unsure, discreetly ask There is a growing body of excellent important to note that some Aboriginal meetings. someone else. learning resources and also language people will offer their hand despite it being inappropriate, as they may feel it school classes and summer intensives, Addressing people as Mr or Mrs and is expected of them. Aboriginal languages and there might be people in the using their family name only is seen as community willing to teach you and ‘Learn our language: listening, looking, Eye contact may also be inappropriate, being very respectful and will not cause others interested in learning. Be sure to speaking, reading. Tjukutjuku!’ and avoiding eye contact can be a sign the issues that using a first name can. negotiate fair payment. – Tuppy Goodwin, Mimili Maku Artists of respect. This is often misinterpreted For example, the first name may be the by non-Aboriginal people in authority same as that of a recently deceased Over 250 languages (and many more Communication as inattentiveness. Lack of eye contact person. In some communities, the dialects) were spoken before the may also be about power or lack of name of a deceased person, and others European invasion. The 2016 census Always observe others and follow their power, and due to factors common who share the same name, is not to be revealed about 170 of these are currently lead, particularly in regard to shaking to us all, such as personality, shame spoken for a certain period of time after spoken. As an art centre manager, you hands and eye contact. These protocols and distrust. Observe others and take their passing. In some communities, it will be working with many people for differ among cultural groups and even their lead. Take care to avoid staring at may be expected that you call people whom English is not a first language, Aboriginal people visiting other regions someone, particularly of the opposite by their skin name, as opposed to their nor the language of the country on watch and learn from others. sex. Look past the person, as opposed to first name. 50 Art centre operations CULTURE 51 Remember many Aboriginal people Make sure you understand what free, the chances are a person will neither Reciprocity and feel intimidated in dealings with non- prior, informed consent is and how turn up for a meeting nor carry out the Aboriginal people, particularly those in integral it is to people determining their duties in their job description. boundaries positions of authority. own futures: it is a collective right. Functional Aboriginal culture has a Use meeting processes that achieve basic commitment to sharing. It occurs Be aware of personal space. Distancing effective participation and make sure all Healthy relationships within the kinship network, and is yourself or getting too close may information relevant to decision-making typically seen in child rearing, food be misinterpreted as coldness, While it’s important to build effective is provided in a balanced way and that distribution, ceremonial obligations inappropriately intimate or pushy. The inter-cultural relationships, it’s likely it is easy for everyone to understand. and housing arrangements. No one gender of the person is an important not everyone will be your friend. Don’t rely on English; appoint and can be denied access to sharing. Each factor in how personal space is used. Conflict will inevitably arise even pay for an interpreter. Remember that within the best of relationships. Healthy person reciprocates so no one has If you start having issues with your supporting informed consent means relationships tolerate difference and the full responsibility to provide all communication, suggest a bush trip respecting when people deny consent. negotiate consensus and are able needs. Sharing brings with it associated – pile in the troopy and go and learn If people don’t agree, they don’t agree to cope with conflict because these obligations and responsibilities. about country. Step back and take a and if people need more time to make a relationships provide an environment It’s important that you act naturally and look at yourself in the picture. decision, then you must allow for this. that allow it to safely occur. How you adapt the protocols and etiquette you Silence respond to and resolve conflicts and know from your own culture. Think of disputes, not the details, is important. the way you would like to be treated For many Aboriginal people silence is Time – go with the flow See p. 83 for more information. in any of your own close relationships. a part of their communication style. We all work differently with different All relationships have boundaries. It Silence can be used as a form of respect, concepts of time. For older Aboriginal is all right to say ‘no’ in a respectful or contemplation, disagreement, or to Taking and using people especially, everything they do roundabout way. You could say: ‘let me allow time to reflect and consider. If might be in tune with their existing photographs think about that’ or ‘maybe tomorrow’. people aren’t speaking up, don’t assume responsibilities and obligations. Don’t take random happy snaps of Everyone’s boundaries are different, they don’t have an opinion or that their everyone and everything you see. and it will be very necessary for you concerns aren’t important or urgent. Allow for circular, time-rich processes. Be aware of sacred sites around the to define yours while living in the Take the time to contextualise art centre People may be quite happy to sit and, community that will be off limits community. Don’t feel guilty: setting work in a meaningful way. Don’t just aside from the occasional comment, to you. Taking photos of these sites boundaries is crucial to avoiding burn- assign to a new art worker the task there is no obligation to keep the without permission will be strictly out, and people are very resourceful. of writing a catalogue number on a conversation flowing. For those used forbidden. Taking photos of children frame. Sit together and step through to interactions that have a particular without the permission of parents or why artworks are catalogued. Engage social or professional focus, being able carers is a big no in any culture. Be Working with elders them in the full process, including to relax and accept such silences can be polite: always ask permission before Elders are people within the Aboriginal the cataloguing functions of the SAM difficult. The best way to deal with this you take photographs of people, homes community who have earned status Database. is to sit back and listen, learn to relax or campsites. Just as you might not like within that community for their with silences and tune into the speech Building good relationships takes a lot someone coming into your home and knowledge and experience. Elders patterns and idioms of the community. of time, energy and effort. Culturally, taking photos of your family and your are to be shown total respect. Old Informed consent Aboriginal people tend to work with belongings without permission, it is the age is considered to be the time for process, whereas Western culture has same for Aboriginal people. Check your wisdom. Children often go to older Don’t push for agreement or take become outcome-oriented. If requests contract, permit and the art centre’s people for advice, comfort, affection silence as compliance. Many meetings to do something fit into this order, policies (especially for social media) or storytelling. Elders have a very held in communities are frustrating – then they will be done. If there is no before you start snapping and posting. important role in Aboriginal families. model a better way at the art centre. understood meaning or purpose, then See p. 92 for more info. They are often the key decision-makers. 52 Art centre operations CULTURE 53 They teach important skills and of the loss through humour and tales Sorry business visibly demonstrating how much customs, pass on cultural knowledge of special memories – the love, jokes, respect and love you had for the and Law, and share personal stories. adventures and trials they shared. The awful statistics about Aboriginal deceased) Many Aboriginal people will travel great premature deaths and poor health will It is especially important to be • Wailing distances to attend funerals and will all too soon become a very sad reality respectful when working with elders. • A ‘sorry camp’ established away from be expected to do so even for deaths for you: people are often sick, suffer, usual living areas outside their immediate network. Not pass away. It is a tragic part of art Dying, death and to do so would be disrespectful and centre work. You will often be called • Quiet singing of ceremony songs result in shame. upon to receive and pass on to family • Hair cutting, which is done in the ‘sorry’ business condolence and tribute messages and sorry camp. Often the head is then Activities and services within the provide access to the computer to make covered when going about the Place of death community may be cancelled, a funeral booklet. community Many Aboriginal people feel strongly postponed or closed on the day ‘Sorry’ is the time of mourning following • Extensive use of sign language. about their place of death and who someone dies. If an artist from the art the death of an Aboriginal person. cares for them. They prefer to go home centre passes away, the directors may Any communication with a person The degree and intensity of mourning to die, to be on their own country and request that the art centre be closed in ‘sorry’ must be done through the ceremonies are in direct proportion with family rather than die in hospital for some days or weeks. Take direction kinship network. You may or may not to the esteem in which the person a long way away. A smoking ceremony from the directors. You may still be be expected to turn up to the sorry was held by the community and the camp and shake hands and show may be held within a place where allowed to work in a back office, but level of responsibility that person had. respect. Your directors or art workers someone has died and places they Aboriginal people may not. Pay due The mourning process is designed to will guide you. frequented, to cleanse and help the respect: it may be appropriate to help remember, let go of the memory and the family produce a booklet for the person’s spirit move on. The family of heal the grief of the community. ‘Sorry’ funeral service, write a euology etc. a relative who has died in the family can vary in time from days to months Traditional healers home may move out of the house, and Before the funeral, grieving relatives are or, less commonly now, years. may even go to another community. A traditional healer, such as a supported by the community to ensure In some communities, the name of the ngangkari, is a person who has a Death those most affected are looked after deceased is never mentioned again. In recognised skill of healing. This skill with enough to eat and enough sleep. others, it is not mentioned for a certain is often recognised at birth or during When a death occurs, the person is After the funeral, a similar network of period of time. This may also extend to childhood. Their skills are developed generally referred to in English as support and comfort is provided. Large others still living who share the same by an older healer, resulting in them having ‘passed away’. Traditionally, the groups may gather to look after those name. Images of the deceased (and their becoming a fully accredited healer in name of the deceased is now not to be who are grieving to divert them from artwork) may no longer be allowed their own right. The role is honoured used. It may be permissible to write the becoming too distressed and to ensure to be shown. In other communities, it and respected by community members. name down but not speak it. To refer they have what they need to cope in the is important to remember the person There is no condition – spiritual, to the deceased person to other family times ahead. frequently and to talk about and honour emotional, mental or physical – that members you could say ‘your father’, There may also be other ceremonies them. Specific family members are cannot be referred to a traditional ‘your brother’, ‘your uncle’, or whatever after a person has died. For example, responsible for making these decisions. healer. the relationship may be. Most language a further ceremony may be held a groups have terms that denote that The signs of ‘sorry’ (grief and mourning) year later. This may involve a smoking someone has passed away. Depending in a community may include: ceremony and the distribution of on where you are, you might hear clothes. In general, it is appropriate for • Firstly: a scream, secondly: hitting or Kwementyaye, Kumana etc. you to quietly acknowledge the loss for cutting oneself (related to the sharing While everyone is clearly grieving, it the family involved and express your of blood as both a means of sorrow is also often a time to divert the pain sympathy. and washing away of sorrow, and 54 Art centre operations COUNTRY 55 Dogs 2. COUNTRY Animal companionship is very ‘Country is a very important thing that You are on Aboriginal important for many Aboriginal spans across many different places, country people, and dogs have very important not just one. It is through country that traditional associations as hunters we will pass on our culture to future You are on Aboriginal country and you and guardians. Dogs are also central to generations, to keep culture strong. should be mindful of this fact wherever many important Tjurkurpa stories and We don’t have our history/cultural you are on the continent. Every place sites. knowledge recorded on paper, it is has a name that long pre-dates any within us, in us, in everything we do name in English or Latin and the state The environment, introduced diseases, and that is how we pass it on.’ and territory boundaries imposed on it. lack of access to veterinary health – Mr R. Douglas, former chairperson of services and other factors have led to In remote communities, you may need Desart and director of Tjala Arts, Amata general poor health of dogs on a lot of a permit in order to live and work there because it is Aboriginal land. Aboriginal communities, and they are For Aboriginal people, country is It is not public land: it is privately associated health risks to people. Some multidimensional and it has powerful owned by its traditional owners. You communities have visiting vets or dog agency: it is both a physical and a may need to organise permits for health programs. A particularly fantastic cultural landscape. The ancestral spirits visitors. You must be responsible for program set up by Gloria Morales of or beings who created and changed contractors, volunteers, friends and Warlukurlangu Artists for Yuendumu country and its features and plants family when they are on community is Aussie Desert Dogs. Check it out on and animals, also created Tjukurpa/ Facebook. Mack by Aileen Adamson, 2017, Greenbush Art Group. and surrounding country, ensuring Image: Araluen Arts Centre. Jukurrpa/Altyerre (Law), which is they behave in ways that will result in Dogs on communities can run in what regulates all beings and actions. mutual respect. packs more so than in urban and Respecting and honouring country and other environments. They can be quite supporting how people wish to engage Don’t assume it’s okay to go wherever dangerous, especially if you wander Cross-cultural resources with this fundamental aspect of life is you choose – seek guidance from the onto their turf – so be careful. of critical importance to the health and art centre’s directors and senior people Explore the Knowledge Bank at the vitality of the art centre. about this as soon as possible and • Learn the local way to ‘growl’ dogs. back of this book; the listings include follow their advice. Don’t wander about a link to the Remote Area Health Corps How to measure this area? That is up to • Carry a stick. randomly snapping photos or filming. Cultural Orientation Handbook, which is the directors on whose country the art • Approach people with caution when There will be places that you can and accessible online. centre is built and operates. They may their dogs are with them and ask: ‘Is want to talk about access to country. can’t go, places to walk and not to walk, that dog cheeky?’. The next section is about the centrality They may want to talk about visiting places to take photos and not to take As in the broader community, a dog is of country to Aboriginal people – not particular sites to see the artwork photos. Be especially mindful of where not just for Christmas! Be aware that if just for building a house, tourism or of their ancestors, to spiritually or sacred sites are in the community and you accept or take on a dog, you must mining, but for survival. Activating culturally inform their art practice, around it. Country is powerful and has be prepared to take the dog with you connection to country through or to source art materials. They may agency. If you do the wrong thing, you when you leave. The next art centre ceremony and other cultural expression, want to talk about tourism, research, are endangering both yourself and the manager may have their own pets or including art, keeps culture strong. land management, roads and mining. owners and custodians of that country not want to take on any canine friends Everyone’s country and everyone’s or particular aspects of it. that you have adopted. perspective is of value. Your job is to Take the time to learn about the country listen and take direction within the of the community you are now living parameters of your role. on: familiarise yourself with its habitat and weather patterns and its recent Carlene West painting at Tjitjiti in the Great Victoria Desert. 3. ART Martha McDonald painting at Papunya Tjupi, 2017. history so that you are better positioned Image: Spinifex Arts Project. Image: Rhett Hammerton, Desart. to understand the community’s Without art, what would an art centre strengths, concerns and priorities. Be be? The art of Central Australia has been keeping the art centre sustainable. Large open to learning about the culture that described as one of the most important art centres might produce thousands The operational areas of Culture and is part of country if people want to art movements in the world. of paintings, weavings, carvings, prints Country are your safety net. When share it with you but remember you and ceramics and also sell licensed work, remote life or community politics have a big job to do and you need to get products. They need to purchase all the get you down, go back here – to the ‘Making art is not just about money, it is on and do that. (Luckily, bush trips are materials, tools and machinery to make foundation – and reconnect. for culture and country.’ part of your job!) the artwork and they need to find a This section focuses on arts market for all that work. Important organisations: development. For commercial aspects, Each art centre is different. How can • Central Land Council such as pricing and exhibitions, see ‘art’ be measured? Maybe through www.clc.org.au pp. 109–10 and 114–16 respectively. ensuring and keeping track of: • Northern Land Council Artists who work with art centres might www.nlc.org.au make paintings, ceramics, carvings, • cultural authority • Ngaanyatjarra Council weavings, sculptures, photographs, • authenticity https://www.ngaanyatjarra.org.au/ digital art, textile art, glass...often in • sales addition to what they do in other genres • Anangu Pitjantjatjara • exhibitions of the arts – performing arts, literature Yankunytjatjara Council • reviews and more. http://www.anangu.com.au/ • awards The artists of an art centre might create • WA Dept of Planning, • painting the correct Tjukurpa just 200 paintings a year and make Lands & Heritage • quality of materials https://www.daa.wa.gov.au/land/ sure each one counts through profile • experimentation entry-permits/ exhibitions, commissions and prizes and awards that generate healthy income: • happiness of artists. 58 Art centre operations ART 59

Arts development Not every Aboriginal artist depicts culture and country – some don’t want to and some may not be culturally authorised to do so. Arts development is ongoing and never-ending. Support individual artists to develop their own distinctive styles and specialties and to explore different aspects of their artistic expression. Some considerations in this area: • What factors have influenced the best of each artist’s work? • Ask artists which workshops and projects they have enjoyed – and why.

Teresa Baker and Kani Tunkin of the Kanpi Women’s • Are there specific technical skills that Collaborative at the Pierre Arnaud Foundation in artists would like to learn or refine? Switzerland with their painting Minyma Tjutangku • Is there a concept or issue that artists Ruth Benson of Elliott prepares fabric Kunpu Kanyini, 2017. Image: Benji Bradley, Tjungu Palya. TIP: Test for technical ability, plus want to explore creatively? for eco-dyeing. Image: Yoannah Mynah, methods, tools and materials. Do Barkly Regional Arts. • Are there places on country that will artists need a technician to visit? There are many resources on art to inspire artists: sacred sites, ancestral Do you need to support an artist to guide you. See the Knowledge Bank artwork…? Plan some bush trips. think about different ways they might at the back of this book for resources express their subject or review a • Organise visits to galleries and about dealing in art. Take time to learn colour palette? cultural institutions for inspiration about and understand the art centre’s and to connect artists and art workers Materials and mediums sales history by reviewing the data in with the national and global art The choice and use of materials is SAM, generating relevant reports and world; contact curators to arrange a Valuing art is different to pricing art – an expression of the artistic idea. analysing the sales patterns. personalised tour. it is about criticism and it is a part of a This technical area requires ongoing history of art, and a history of dealing ‘Focus on working with the artists to • Tools and materials plus inspiration workshops and inspiration – in art. produce good quality paintings that will and execution equals great art. painting, ceramics, weaving, textiles, sell in the fine art market. Try not to printmaking, sculpture, photography At least once a year, pull together all get involved in local politics. Work with and video are some key disciplines for the work that has not sold for a long your executive to create a financially artists. Yarrenyty Arltere artists sew and time. Sit down with the directors and stable and sustainable business. Work embroider, artists with Tjanpi Desert ask: What does the unsold work have in with what they wish to achieve, such as Weavers combine native grasses and common? Look at the size, the subject saving for a second motorcar, or putting other materials to make sculptures and whether the work is damaged or money aside for trips to exhibitions.’ and installations; and ceramicists with not. Is there a pattern? Great art sells – Bronwyn Taylor, former manager of Ernabella Arts are constantly exploring itself, but the rest is hard work. Ninuku Arts (2006–2010) using different techniques and glazes. 60 Art centre operations ART 61

Think about conservation and value: invest in quality materials and take the time for correct preparation and proper storage. Good quality canvas and linen, paints and mediums, stretching and the use of standard stretcher sizes are all part of good painting studio practice. Be pragmatic about the art centre studio. Is there enough space to work with lots of different materials or is the studio better limited to one form of art making? Don’t just think it would be great to introduce a new art practice. Are artists interested, does the art centre have the capacity to expand, and an established market to sell to? When you introduce new materials to the artists, make sure you can sustain support for experimentation and development.

TOP LEFT Mary Katajuku Pan from Amata (SA) gathering minarri grass, 2017. Image: Rhett Hammerton, © Tjanpi Desert Weavers, NPY Women’s Council.

TOP RIGHT Danny Lopes of Chapman & Bailey (Alice Springs), ready to help art centres with framing and art supplies. Image: Rhett Hammerton, Desart.

BOTTOM LEFT Ernabella Art Worker Scotty Ken. Image: Stephanie Simcox, Ernabella Arts.

BOTTOM RIGHT Papunya Tjupi art centre’s paint room. Image: Rhett Hammerton, Desart. 62

Nyurpaya Kaika Burton with Linda Rive opening Desert Mob 2015 Adapted from a diagram presented by Claire Eltringham for Ninuku Arts, Desart Art Centre Conference, 2012. at the Araluen Arts Centre. Image: Hannah Millerick, Desart. Art centre operations ART 65 Residencies, exchanges, process and outcomes, willingness to commit, and how Indigenous workshops Cultural Intellectual Property rights Artists may want an arts facilitator to will be embedded and honoured in come to the art centre for access to the residency or collaboration. Make specialised knowledge in areas such as sure everyone is offering something ceramics, digital media, textiles. Artists meaningful and that you have the may also want to travel to other art capacity to properly support the centres, close to home or perhaps in art centre’s artists and art workers the Torres Strait Islands or Far North throughout the project. Put everything Queensland or the Kimberley. in writing; see ICIP on p. 96 and Collaborative projects on p. 97 and make Consider artistic expertise and cultural The stars of short filmNever Stop Riding, 2017, L to R: Payuway Mungkuri, use of Arts Law’s template contracts for authority within the art centre and Johnny Doolan, Peter Mungkuri, Vincent Namatjira, Michael Drover any such projects. and Kunmanara Andy. Image: Jackson Lee, Iwantja Arts. community before bringing in artists from other places. Perhaps speak with Reflect on creative initiatives in the the community’s school principal about region (and elsewhere), and consider Artists’ career centre, which is, in effect, an artists’ an ‘artist in residence’ program. their processes, partners, resources, cooperative. If a successful artist’s outcomes and benefit mix, and Put into practice the Australia Council’s development best opportunity to forge the career which party initiated the project. Protocols for Working with Indigenous This is one of the more complex aspects they want might come from exclusive Here are some from among Desart’s Artists: www.australiacouncil.gov.au. of art centre management. You need representation with a reputable membership: commercial gallery, talk to experienced Prioritise community-driven projects: to support artists at different stages • In Cahoots: Fremantle Arts Centre + colleagues first and seek expert advice organise brainstorming sessions with of their careers: emerging, mid and Martumili Artists with Claire Healy (including legal advice). Then discuss the directors and artists. Understand established. Help artists to identify and and Sean Cordeiro; Papulankutja pros and cons with the artist. the difference between engaging an extend their strengths. Talk with artists Artists with Louise Haselton; and about what is important to them and arts facilitator for technical expertise Managing an artist’s career and Warakurna Artists with Tony Albert, what they want to achieve. Discuss and embarking on a residency or protecting their interests is a huge and and others (2017) concepts, techniques, mediums. Ask collaboration. They can be understood important responsibility. Exhibitions, • Ngurra: Home in the Ngaanyatjarra what a successful career looks like to to be two very different things. commissions, awards, interviews, Lands: SA Museum + Warakurna them. What (and who) might help them books, magazine articles, product If the artists want to host an artist in Artists, Papulankutja Artists, Tjarlirli get there? Encourage artists to be bold, licensing, travel commitments and residence, plan the residency inclusively etc. (2017) but don’t impose your ideas on anyone, family pressures and obligations all and carefully. Artists from outside and make sure you are realistic about • Sculptural jewellery workshop: require sensitive and smart navigation. undertaking a residency have a lot to the art market, challenges and the art Yarrenyty Arltere + Ilka White (2017) The demands of being an art star can gain from the experience. For some centre’s resources – including your • What if this photograph is by Albert place an artist in real danger. Consider it is an entirely new experience that capacity to nurture talent and protect Namatjira?: Iltja Ntjarra Many opportunities and risks carefully. will open a whole new world to them each artist’s cultural and commercial (creatively and commercially). Always Hands Art Centre + Tom Nicholson + interests. ask: What is in this for our artists? TARNANTHI / AGSA (2017) Some artists working through TIP: Ensure artists have a will, set them What are the tangible benefits to the • Kerjasama: Asialink Arts + Artback NT art centres are already in another up for resale royalty, and investigate art centre, artists and art workers? Be + Tony Albert + Timoteus Anggawan stratosphere: they are famous. trust fund options to look after a clear about the parameters, everyone’s Kusno + Cemeti Institute for Art & This impacts the culture of the art successful artist into their old age. expectations about the creative Society + Iltja Ntjarra Many Hands Art Centre (2016) Art centre operations PEOPLE 67 4. PEOPLE Like a hit song by the Sunshine Reggae and learn from them. What is important Band, behind every artwork and to them about their art centre, their exhibition is a whole band of people – culture and community? What’s been directors, artists, managers, art workers, working really well? Is there anything volunteers, contractors… Human that’s not been working so well? It’s resources are integral: when the wrong usually okay to ask some questions people are in an art centre, the whole in this context but if you encounter place can go down and close very silence, don’t push it. Always keep in quickly. In this section, we look closely mind what is going to be the best for at the different people working at the the artists – and understand what that art centre. is from their perspective. The people area of an art centre’s Make sure that the admin side of the operations is primarily made up of art centre’s people is in order and artists, directors, the art centre manager get yourself up to speed with Federal and art workers. Your willingness and and State legislation that governs ability to build positive relationships employment. (The Fair Work website within and beyond the art centre is has lots of excellent resources and crucial to its success and future. Focus templates.) Check funding contracts that • Kuru Alala eyes open: Tjanpi Desert Tony Albert collaborating with Warakurna Artists, on relationships within the art centre, cover salaries so that you understand Weavers + Maria Fernanda Cardoso + Warakurna, 2017. Image: David Charles Collins, especially at the outset. and work to these aspects of the art courtesy Warakurna Artists. Alison Clouston, with Gold Coast City centre’s obligations, also. Three main points to remember are: Art Gallery (2009) The industrial award that covers all • Be self-aware • Canning Stock Route Project: FORM + art centre staff is the Amusement, Kayili Artists, Martumili, Papunya Tula • Meet together every week Events and Recreation Award 2010. Artists, Warlayirti Artists and more • Be open to learning: everyone works An Individual Flexibility Agreement (2006). better with a malpa (mentor). addresses variations. Contact Desart’s Strong Business Program regarding Managing people well is often said to be the currency of your art centre’s Expressing Tjukurpa/ the most difficult part of a managerial employment contracts, assistance with Altyerre role. And the most rewarding if you get updating job descriptions and to discuss it right. So, aim to do that! The directors pay scales. Recording and depicting Aboriginal have entrusted you with a position motifs and creatively expressing Check that all of the art workers have of power. Use it to build an art centre Tjukurpa is Aboriginal business. a current employment agreement and culture that encourages trust, honesty a copy of the National Employment and respectful relationships. If you’re Standards. This is a requirement of all doing your job well, you’ll be achieving IVAIS-funded positions. Sit down and the art centre’s goals and achieving a work through the paperwork with well-performing workplace. each staff member to make sure you Sit down with the directors and staff both share correct understandings of and artists of the art centre, and listen everything. Check art workers are filling 68 Art centre operations PEOPLE 69 out a timesheet every day and regularly This should happen informally at least Art centre people receiving a proper payslip. Work every two weeks, meeting to check together to create individual work plans and adjust individual work plans and MICHELLE EVANS*5 that will promote learning alongside expectations, and then a formal annual People are the most important resource achieving the daily tasks that need to review. Performance reviews of the of an art centre. be done in the art centre in order for art centre manager (probationary and it to meet its goals. Respect privacy annual reviews) are best conducted by Great art centres pay close attention and confidentiality, and encourage art art centre directors assisted by Desart to the many different groups of people ARTISTS that make up the organisation: the workers to obtain support, training staff or an external facilitator. Talk to ART WORKERS and advice via the Desart Art Worker Desart staff if you want HR support, and board, art centre workers, artists, AND ARTS Program. use the excellent resources on the Fair volunteers and community supporters. MANAGERS Work and the Australian Institute for Art centre managers are responsible for How to measure this area of the art paying attention to and facilitating the Indigenous Governance’s websites. BOARD OF centre’s operations? One important different ways these groups contribute aspect is regular performance reviews MANAGEMENT/ to the art centre. COMMUNITY DIRECTORS for every staff member. Performance TIP: It’s how we work that matters, reviews should be informative and Aboriginal communities are the strong not how much. constructive and focus on solutions foundation from which art centres key to art centre managers developing and areas for improvement. It is the spring. Art centres are responsible a solid foundation. The work of the manager’s job to manage the work to the community, through its art centre is best understood as a performance of art workers. board of management. Aboriginal two-way street. The art centre manager communities are a deep resource: for is charged with bringing management local knowledge; cultural expertise; and artistic knowledge. The artists /art protocol management; and the social/ workers / board and community bring family relationship networks. Art centre artistic, cultural and local knowledge. managers must develop independent The relationship is not about exchange relationships with the community per se. It’s about building knowledge within which they reside and work. together for the success of the art Relationships with key community centre. organisations, families and individuals Learning the local social norms and will work to provide you with cultural cultural protocols related to work in the identity and uphold the cultural art centre is essential. Relationships integrity of the art centre. with community members may Relationship building through open require long-term effort. Trust can be listening and reciprocity is important to earned through consistent, fair work. fostering trust and respect. Indigenous Indigenous expertise can be found in knowledge is built relationally. So, diverse organisations in the community, sharing information and operating in not just in culturally associated a transparent manner consistently is organisations. Understanding the

Eunice Napanangka Jack and Art Centre * Dr Michelle Evans holds an Associate Professorship in Leadership at Charles Sturt University and is Manager Chrischona Schmidt at Ikuntji Artists. the co-Founder and Program Director for Australia’s only Indigenous Business Master Class program, Image: Rhett Hammerton, Desart. MURRA, based at Melbourne Business School. 70 Art centre operations PEOPLE 71 relationships between organisations in management controls, mean that non- What makes a good art what is done here; and stories about the community and where authority Indigenous art centre managers may centre manager? our families. exists within and between these face some resistance. Establishing strong professional organisations is important. The members of Yarrenyty Arltere Art These very complex issues can mean networks with other art centre Centre at Yarrenyty-Arltere (Larapinta) Positional authority (being the manager) that non-Indigenous art centre managers is also important. Yes, you’re town camp in Alice Springs put together does not equate with being the managers feel like outsiders when all competing for a share of the same this list of top ten things that they think cultural authority in the community. living in Aboriginal communities. It is or aligned markets and funding, but make a good art centre manager. How you negotiate authority with the critical that these issues are thought you also share common concerns and board of management and with art through and spoken about with 1. Showing kindness to artists and aspirations: you’re the desert mob! The centre workers, volunteers and artists trusted colleagues. There are a lot of their families people at your art centre are family for the people at the neighbouring art is the most important leadership politics in the Indigenous arts industry 2. Encouraging and helping artists with centre. Everyone wants you to do your work art centre managers have to that stem from competition for, and their work do. Establishing very early on the control over, scarce resources. The job well and enjoy this period of your 3. Making new artists feel welcome boundaries of your obligations, the business of Indigenous art works off life. and comfortable about coming parameters of your expertise and the back of Indigenous culture. This can back, so the art program stays Managers and coordinators at other decision making will help establish cause serious tension for artists and strong art centres were all once new to the relational communication structures community members. There are many job, just like you. We asked them what 4. Help artists manage their money so for your work. The cultural authority unscrupulous people in the industry they think is most important when it is spent on good things for them vested in the board and the artists seeking to make a profit without care starting out. We couldn’t squish in all of and their families operates at a very different level to any for the personal or cultural impact this their excellent advice! Here are 25 tips, organisational or positional authority. may have. 5. Make sure there is a shopping randomly selected. You’ll come across Developing a process of negotiated afternoon for artists with no The art centre manager has a complex others elsewhere in this book. decision making with the board from transport role – running a not-for-profit business, the outset will be critical to your 1. Don’t let your personal politics get supporting the careers of artists and art 6. Helping artists talk to other success. Through these negotiated in the way of good art centre and workers, moving between management whitefellas about fixing washing relationships, art centre managers build artist management. This is really demands and cultural requirements. machines, getting power tickets, a strong foundation for the work their important. Put the artists first. Ask Mediating relationships and weighing getting firewood, etc. role has to do. yourself: What would I want if I was up competing demands is at the heart 7. Helping artists to feel healthy and the artist in this situation? One important issue new art centre of the role. Art centre managers become de-stressed by taking them on 2. Cultural safety and awareness. It’s managers need to be aware of is the experts at switching between the jargon swimming programs and bush like Neo in the filmThe Matrix: you high turnover of expert personnel of arts management and business, and trips, and by providing healthy go through a sort of rebirth, and it in Aboriginal communities. Many the talk of the community art centre. lunches and snacks in the art room takes about two years. You must communities are fatigued by having It is a demanding and completely life- 8. Holding meetings about what’s assume you know nothing and to to start over again with each new art changing role. happening in the art program, to be very open to having your brain centre manager. Community members understand where the art is going rewired, because that’s the only way may also be upset at losing friends and share feelings about getting you will do a good job. If you stay in or frustrated by the lack of capacity stronger the mindset you have now, you will development in the community 9. Keeping all photos of the artwork, leave within months. in order to manage their own art so artists can remember what they centre. All these factors, coupled with 3. Listen to and be guided by the have done after it has been sold the residue from colonisation and artists; it’s their art centre/ their more contemporary governmental 10. Listening to artists’ stories so people families/ their community/ their can be told about Larapinta and future. 72 Art centre operations PEOPLE 73

4. Don’t become a rescuer – this is not driven mad by it. Don’t try and beat empowering. As adults, everyone is it, surrender and work out how to responsible for the decisions they operate within it. make. 14. Reach out to other managers, 5. Make sure you keep your sense of nothing you are going through is humour. new. You are not alone! 6. It’s vital to have clear boundaries. Be 15. Develop a trauma-informed prepared to make mistakes but then approach to your work. [See p. 84.] learn for the next time. Be kind but 16. Forget about being accepted into don’t be a sucker! Well, be a sucker Aboriginal culture, and get on with sometimes but not all the time… the job. This is your best way of 7. Relationships – build them both forming strong relationships with internally and externally. Key to people. success. Especially with the artists. 17. Feeling overwhelmed, confronted, For them, it’s all about family. exhausted, homesick...can all be 8. Art centre work is hard work – every common when you first join this day, in your face, but martyrdom line of work. Don’t feel like you have just shortens careers and actually to pretend you’re not; talk to your undermines everything you should directors, colleagues and support be trying to do. Hopefully that is staff – they’ll get you through. about investing in stability for the 18. Wear a hat! people you are working with. If 19. You can only do so much in one day you burn out and abandon your especially if you want to stay. Learn position, then you are not helping to say MAYBE or LET ME THINK ABOUT anyone at all. IT...most people are willing to wait 9. Have a self-care plan. Use it! or they will find an alternative to the 10. Observe first, make changes later... urgent matter. what you think when you first arrive 20. Make sure you eat well and stay fit… often changes dramatically over the it’s important to keep healthy while course of time. living in the community. 11. Time, time, time, good things take 21. Take an interest in and really try Sandra Brown and Anna McCauley sorting time. to learn and speak the language paintings at Mwerre Anthurre Artists (Bindi). the studio sounds terrifying, it’s Image: Rhett Hammerton, Desart. 12. If the workload seems impossible...it (including hand signals). It really always beneficial and likely you’ll is! But everyone is in the same boat, helps build relationships – even if learn how to be a better manager even successful managers. Don’t everyone is always laughing at how and you’ll actually catch up on some 24. Don’t even bother trying to say one panic. Bring it back to the artwork. dumb you sound. admin work. thing if you are thinking another ... Ask yourself... ‘Is strong artwork you won’t get away with it, 22. If Desart has training, courses, 23. Learn the family relationships. Be being made?’ It’s a good way to EVER!! Aboriginal people are the mentoring, symposiums, anything impartial: as outsiders it is best simplify things. most intuitive, perceptive people I you and the artists and directors to treat all people the same and have ever met! 13. Being good at the job is about can participate in to develop, DO IT!!! not form family alliances or show embracing the chaos....not being Even though a few days away from favouritism. 25. ENJOY your time, it is a privilege! 74 Art centre operations PEOPLE 75 Professional conduct Meetings Aboriginal Interpreter Services. Ask our guide to working with artists – your chairperson to conduct meetings and always remember that the art The environment is unique, so as the ‘Have regular meetings and talk in their own language, with an English centre needs to function well for them. manager, remember your role as a about all the art centre’s business so interpretation for you. Without happy artists making great art, mediator and moderator. You are paid everybody knows what’s going on and the art centre is in big trouble. That’s to manage the art centre. You are not in can help with planning and decisions.’ why there is a whole section devoted to the community or at the art centre to do – Desart director Working with the art artists and their work. your own artwork (it is not a paid artist- centre team For info on working with directors, see in-residence position). Being on time to a meeting is an ‘Build and value your team. You can’t (primarily) the Governance information important and subjective cultural value. All employees must conduct themselves do it alone!! Work to and develop on pp. 130–3, which covers the important One group of people might value a in accordance with the following their strengths. Be firm but fair and let leadership responsibilities of directors meeting that started on time with a common-sense principles. Employees people know your expectations: people and your role in relation to your good agenda and accurate minutes. must: usually want to meet them.’ directors and the art centre’s corporate Another group might value a meeting • act honestly and fairly in all work- – Manager, Ernabella Arts governance. because the right people were there and related transactions and dealings with good discussion happened. When you arrive in the community and The rest of this section focuses on art others start your job as the art centre manager, workers and other people contracted to Silence is okay. Some people feel • treat other employees, contractors, set aside what you think you know, sit the art centre, including you! the need to fill a void with speaking. members, directors, competitors, and down with the artists, directors and However, silence is okay too – maybe all other people they deal with at art workers, and prepare to learn from people are waiting for the most senior work, with courtesy and respect them. Their art centre has been their person to make a statement, so that • act within the best interests of the art workplace much longer than it has they can follow. centre and its members been yours, and you are a guest in their community, on their country. • comply with all laws, regulations and Always provide interpreters. Let an Joanne Wheeler and Art Worker codes of practice applicable to the agenda or discussion point circulate in See the Art section on pp. 57–66 for Nadine Moseley at Tangentyere Artists. operations of the art centre, including: the community for a few days or weeks Image: Rhett Hammerton, Desart. • Office of the Register of Indigenous before the meeting. Don’t present Corporations (ORIC) emergencies and expect an emergency response. A common complaint from • Indigenous Art Code new staff is, ‘They are not responding, • Australian National Employment this is an emergency!’ An Aboriginal Standards artist in Darwin once replied to this • Work Health and Safety Act and by saying, ‘We’ve been in a state of related regulations emergency since you whitefellas got • equal employment opportunity here!’ and anti-discrimination legislation. Please talk honestly about the use of Your contract should cover conduct interpreters with directors to open relating to confidentiality, purchasing up dialogue. Even if people have artwork, intellectual property, use very good English language skills, of workplace equipment (including speaking in your own language aids vehicles) and commercial dealings. expression. Many communities have Maintain a professional approach to trained interpreters you can engage for your role at the art centre at all times. your art centre meetings – contact the 76 Art centre operations PEOPLE 77

Sabrina Kelly and Graham Beasley of Arlpwe Art Art Worker Tamisha Williams stretching Art Worker Terazita Turner-Young installing a show About art workers and Culture Centre at work at their Desert Mob canvas in the Martumili studio, Newman. at Tangentyere Artists. Image: Rhett Hammerton, MarketPlace stall, 2017. Image: James Henry, Desart. Image: Ruth Leigh, Martumili Artists. Desart. JANE YOUNG*6

There are a lot of art workers and people Why should art centres have Aboriginal come and they might be unfriendly, but and cooking for the nuns, the ironing, who want to work in art centres. I art workers? Some art centres don’t. you need to help them to mix in, show clean the brothers’ rooms and the church, started working with art centres more Is it okay only to have white people them how to be calm, show them and and look after the vegetable garden. tell them not to just go ahead and do than 30 years ago. People have been working in art centres? We need to My mum and dad worked doing fencing whatever they want. New managers doing all different kinds of art and craft work together. Art workers keep the and station work. Aboriginal people had need to slow down and let the art jobs. The art jobs at Santa Teresa – in art centre strong, they keep culture a lot of jobs and they didn’t get money workers tell them about their roles. the 1950s – included knitting, sewing, strong. It is important for Aboriginal for that. They were stockmen and cooks. embroidery, making dolls, small wire people to learn how to do all kinds of An art worker needs to stand next to Fifty years ago, in Santa Teresa, if a toys, toy windmills, and drawing with jobs because the manager won’t stay and get on well with the manager; married couple wanted a house they crayons coloured pencils. The first forever. If Aboriginal people know they can learn from each other. An art went out and got rocks to build their teacher of art and craft, at the mission what is going on, they can tell the new worker is also there to help the artists. at Santa Teresa, was Sister Edith who manager. The new manager might stay own stone house. People worked arrived in 1974. She taught pottery, for three years and then go, and we will Some art workers are senior men, like collecting the rubbish and then burnt it. copper work, macramé, screen-printing still be there. Art workers need to tell GB at Arlpwe Art & Culture Centre; We had Aboriginal electricians and they and leather-work. A few years later, Cait the new manager how it has been done some are young people, like Terazita at would turn the generator off at night. Wait came to teach a nine-week fabric- before, so they know. We need to know Tangentyere Artists. Some art workers There was a bakery and two Aboriginal printing course and stayed for five years. all the jobs because most people don’t are doing their first job. Some have had bakers. The nuns were teachers, but it At Keringke Arts Centre, Cait Wait trained want to live in the community forever. lots of different jobs. If people are happy was a bilingual school and the older art workers and then those art workers Sometimes it’s hard for art workers to and working together in the art centre, girls helped teach in Arrernte. There trained each other. Jobs were shared so stay and do their job because managers it’s a place where there is no pressure. were lots of chickens and pigs, and that the same person was not always come and go, you might not have a Art workers like their jobs because of people worked as farmhands. There doing the same thing and getting bored. supervisor. The new manager might the culture and stories – art worker jobs were Aboriginal health workers and can be great fun! they worked at the Alice Springs Hospital, too. They were really hard Old-time jobs were really hard. We used jobs. Now it is a modern world and we * Desart Chairperson and artist with Tangentyere Artists to clean the convent, do the washing have art worker jobs. 78 Art centre operations PEOPLE 79 Working with art workers Like art centre managers, Aboriginal art Art workers report directly to you, Cultivate a healthy workplace and workers’ industry qualifications and the art centre manager. Your job is to a happy and productive team. Art ‘It’s important for new art centre experience will vary widely. Remember support them to feel valued and secure workers are super important! Desart managers to understand the that for some Aboriginal art workers in their roles, supervise them day to day has lots of expertise, and our Art Worker importance of an art centre being open English may be a second or third and map out with them training and and Strong Business program staff for our artists and ourselves as art language (which is a positive for the art professional development that they can will help you work together positively workers.’ – Terazita Turner-Young, Art centre) and literacy levels will vary. meaningfully apply in their work. towards change where it’s needed. Worker, Tangentyere Artists (See Desart’s Art Worker Program on As Aboriginal people, art workers have pp. 17–8.) The essential role of the art worker is to: kinship relationships and obligations to • provide studio support to the artists members of their community. This can result in art workers: • provide administration support to the TIP: Talk to Desart Art Worker program manager • feeling obligated to share their staff about employment, training and • act as a bridge between artists and resources with family members professional development opportuni- the community, non-Aboriginal art • being unable to assist certain ties for art workers. centre staff and the wider art sector. From the Indigenous Governance Toolkit: http:// community members due to toolkit.aigi.com.au/toolkit/7-3-managing-staff. avoidance relationships and © Australian Indigenous Governance Institute. factionalism • being under immense pressure as a Working with contractors result of community expectations, There are a lot of art centre tasks for which in certain situations may be an art centre manager. With all the impossible to deliver on administration and travel, or if specialist • being the target for blame if expertise is required, some work might something goes wrong with the need to be outsourced. Some art centre money story at the art centre managers later become consultants! • needing to be away from the art Your art centre probably engages a centre to participate in funerals or bookkeeper or accountant and an ceremonies. auditor. Check that contracts are in You need to ensure you have mutual place so you know exactly what work understandings of their rights and the art centre is paying them to do. If responsibilities (see the list below). there are any gaps or you’re unsure, You must keep abreast of relevant seek advice from Desart or Arts Law employment legislation and relevant to amend the contract. If there is industry awards. Just like your own no contract, set about negotiating employment, that means up-to-date job one. It’s important this is in writing. descriptions and employment contracts, Desart maintains a service register timesheets, leave entitlements, pay slips, of experienced interim art centre and regular check-ins and performance managers, business consultants, reviews. You also need to ensure you bookkeepers, auditors, photographers, are fulfilling the obligations of the artists, builders, architects etc. Contact IVAIS funding contracts for art workers’ Desart’s Strong Business Program for salaries and conditions of employment. more info. 80 Art centre operations PEOPLE 81

No matter how busy and desperate relationships that you have with people to negotiate out-of-pocket expenses, art centre, and a functional jack and you are, take your time with all of the tendering for art centre work. provide reasonably comfortable two spare tyres on the troopy (though following. accommodation, make sure they’re that’s a good start!). Under Australian When selecting a consultant ask: covered by the art centre’s insurance legislation there is an obligation to: • Put major work such as business • Are they on the Desart Service policies, and effectively manage the plans or website redevelopments • provide safe work premises Register? volunteers. out to tender or do a select tender • assess risks and implement • Can your directors/artists/art workers accessing the Desart Service Register. For an understanding of what can be appropriate measures for controlling work with them? • Prior to appointing anyone, always involved, check out Warlukurlangu’s them • Can you work with them? volunteer info pack on its website, check references and seek out • ensure safe use and handling of goods and Volunteering Australia’s national examples of prior work, no matter • Are they in touch with the industry? and substances standards: see https://www. what word-of-mouth tells you. • Do they bring a fresh perspective? volunteeringaustralia.org. • provide and maintain safe machinery • Negotiate and agree on the scope of • What is their experience working with and materials work, milestones (quality control), Some art centres also host interns. organisations of the same size/type? • assess workplace layout and provide fees and terms of payment and Interns have their own structured • Are there any conflicts of interest? safe systems of work include these in the contract. and fixed requirements that you If you’re unsure what a reasonable • provide a suitable working • Produce a Letter of Offer and contract must support them to meet. They fee is, talk to Desart’s Strong Business environment and facilities (contract templates can be purchased can be fabulous too – but they’re not Program staff or your colleagues, and from Arts Law). volunteers. • have insurance and workers’ if you’re a member of the National compensation insurance for your • Be clear on intellectual property, Association for Visual Arts (NAVA), check employees. confidentiality and representation. its Code of Practice for scales of fees and Health and safety Four potential issues: wages relative to qualifications, which As an art centre manager, you need to Tangentyere Artists’ painting studio. Image: Rhett Hammerton, Desart. includes national industry rates for ensure that the art centre doesn’t create 1. The principal–agent (art centre– independent curators, workshops, arts health and safety problems for anyone, consultant) problem. Don’t outsource administrators, travel expenses and per including visitors. It is important to your agenda-setting and values. diems. induct and support staff, volunteers 2. Fees and accountability. A job isn’t and contractors and ensure a culturally cheap if it has to be re-done or can’t and physically safe work environment be used. Working with volunteers for everyone. The art centre also has 3. Ownership. Art centre directors are Taking on volunteers can be a a duty of care towards you, and you the bosses, and priorities can change. rewarding experience for everyone. A should discuss any concerns with 4. Risk exposure. Always provide a clear steady stream of volunteers from all the chairperson and directors as brief and put terms in writing. around the world have been helping appropriate. Talk to Desart’s Strong Warlukurlangu Artists’ since 2002. Other Business Program staff if you have Good contractors are worth paying art centres, including Ikuntji Artists, unresolved concerns. Remember that for but check that their qualifications take on volunteers from time to time, all Desart member art centre employees and quality of recent work stack up. depending on needs. Papulankutja can also access free independent Ask to see recent examples. Do not Artists had a whole family come and counselling over the phone, to help find simply employ your father, brother, help with a building project once. ways to better manage professional or sister or mother to do the business personal matters. plan or other work at the art centre. Volunteer involvement requires that That’s called nepotism and is a potential you and the art centre have the capacity Don’t think health and safety simply conflict of interest. Declare all and any to host volunteers well. You’ll need means having a full first aid kit at the 82 Art centre operations PEOPLE 83 Workers also have an obligation: to Dealing with conflict views and help people to define the comply with relevant instructions and issues and identify why they matter. not willfully endanger themselves or and disputes Focusing on personalities and emotions others. If it doesn’t affect the art centre, keep is not helpful. Step back. Explore the out of it, no matter how juicy or issue from all perspectives. It’s not The Safe Work Australia website has tempting. If it’s whitefellas against always essential that everyone agrees some useful fact sheets: https://www. whitefellas, how boring! Try rehearsing: but it is important that different safeworkaustralia.gov.au/. Links to ‘That sounds very challenging.’ Or: ‘Oh views are understood and sensitively the legislation relevant to different well, we don’t have those issues at the acknowledged. states and territories can be found at art centre.’ the Australian Government’s Business If there are personality-based conflicts, website: https://www.business.gov.au. If a conflict or dispute is affecting recognise that these may not be the art centre, you probably need to resolvable. Long and complex histories If you’ve never done a 4WD course, do something. Ongoing conflict and of trauma and grievances may be don’t assume you are a competent disputes in any organisation can be involved. It can be wise to invite an 4WDer, even if you’ve owned one. There a cause of high turnover of staff, and acceptable third party to offer guidance are things you’ve never thought of and be critical to success or failure. Bear or positively influence the situation. don’t know. Trust us on this. Budget for in mind though that Aboriginal and If the person continues to cause and do: Safe work practices in the art studio are important, as demonstrated by this art worker at Tapatjatjaka. Western approaches to dealing with significant disruption to the art centre’s • 4WD training Image: Tapatjatjaka Art and Craft. conflicts and disputes intersect but are activities, exposing anyone to risk of • first aid training. generally not the same. harm or making anyone feel unsafe, good tweezers are in the first aid kit in you might have to – with the backing of What do the directors, artists and art the troopy. In an emergency, if nothing your directors – take decisive action. The art centre’s approach to food else is to hand but you happen to have workers regard fair process to be? Make impacts everyone’s health in the a raw onion, use it to make a poultice to sure this informs the art centre’s code of Try to develop approaches that respect workplace. If you’re providing food and draw the splinter out. conduct and grievance policy. and reinvigorate cultural values and drink, make sure you provide healthy also work successfully to mitigate ‘When artists have a fight/argument, Mozzies can spread serious diseases risks and difficulties. And if the conflict food options. And look after yourself: be polite and talk with everyone in the such as Ross River virus (RRv), or dispute involves staff (including keep hydrated and don’t live on sweet room about keeping respect inside the Barmah Forest virus (BFv) and even yourself), attempts to resolve it should biscuits. Nobody wants to work with a art centre.’ encephalitis when they bite. Okay, so be documented and will need to follow hangry (hungry and cranky) manager. – Art Worker, Hermannsburg Potters those diseases are rare – but there’s no procedures set out in the Amusements, Two environmental dangers to watch cure. Mosquitoes do make appearances If conflict erupts in the art centre, draw Events and Recreation Award and meet out for: in the desert…so cover up when they’re on the art centre’s code of conduct other legal obligations. about and stock up on your repellant of Mulga (Acacia aneura) is a wood and diplomatically remind everyone choice. commonly used for making implements of it. Don’t do anything to inflame and favoured as firewood. But it is (This list could be a lot longer but we’re the situation. If there is physical risk, TIP: Read the disputes and complaints poisonous if it pierces your skin: the not including the really obvious things intervene only if it is safe for you to topic of the Australian Indigenous wound can quickly become infected to watch out for. Like sunburn. Heat do so, and preferably with the help of Governance Institute Toolkit. You’ll and you’ll need antibiotics. We know exhaustion. Cheeky dogs. Snakes. Wild members with the cultural legitimacy then be much better equipped to deal of an artist who had to be hospitalised camels. And bush fires. We’ll stop there. to do so. Remember you – and the with conflict and disputes when they because of a mulga injury. Don’t let that Don’t walk about in the dark without a directors – have a duty of care. arise: http://toolkit.aigi.com.au/ toolkit/8-0-dealing-with-disputes-and- be you or any of the art centre team! torch, though – put a torch app on your If there are issues-based disputes, complaints. Get some sturdy gloves and make sure phone and use it.) acknowledge the value of different 84 Art centre operations PEOPLE 85 The trauma story become angry and explosive, or sad So, what does all this mean for you? Sometimes we stuff up in our work. and withdrawn. The more we understand trauma, the If a staff member is underperforming, BLYTHE McAULEY* 7 more we can respond with empathy it’s your responsibility to support them In understanding the experience and understanding. It also helps us to to get on track, or to terminate their You’re an art centre manager, not a social of trauma for Aboriginal people it put things into perspective and not take contract. Make sure you handle this worker, but understanding trauma will is also important to understand things personally! fairly and within the letter of the law. help you understand the worries that transgenerational trauma. This is The Fair Work Ombudsman's website some of the people with whom you are trauma that is passed down from one has excellent information about due working and living among have. generation to the next, not only by Staff retention process, and good checklists and stories and through parenting but also Trauma is defined as: templates you can use. Be aware that epigenetically. That is, alterations are You’ve been employed by the art if directors are unhappy with your • A single, ongoing or cumulative made physiologically at a genetic level. centre’s directors because they believe work performance, they might seek experience which is a response to a Things such as addiction, depression you’ve got the right skills, attitudes assistance from Desart staff or other perceived threat, usually to survival. and anxiety are being linked to and qualities for the job. Map out a work plan for your first year, set it into independent people to assist them to That word ‘perceived’ is an epigenetic inheritance. a calendar and regularly check your manage your performance, too. Don’t important one as it helps us Trauma can affect people in lots of progress. Talk with Desart’s Strong let it get to that. Listen to what artists, understand why one person may different ways. Manifestations include: Business Program staff and your art workers and directors are telling you find an experience very distressing directors – book in your probationary and be responsive. and another won’t. It is all about • increased reactiveness, quick to anger performance review and your annual how the experience is perceived. or to flee review. Stay connected to your external • shutting down • It overwhelms our capacity to cope. networks and get in touch with art • sleep disturbance, nightmares This is an important point too as it centre colleagues in your region. helps us distinguish trauma from • poor memory, poor concentration Plan for professional development stress. With trauma, none of our • confusion and holidays. Be self-aware, have resources are working and we are • avoidance of places or activities boundaries and stay connected. Enjoy your work! overwhelmed by the experience. • using strategies such as increased We are left with only our survival alcohol and drug use to avoid Contact Desart’s Art Worker and strategies of fight, flight or freeze. thoughts and feelings Strong Business program staff to • It feels/is outside of our control. • difficulty forming and maintaining access professional development opportunities for yourself and other What is happening feels outside of relationships staff, and directors. Building on skills our control and our responses also • disconnection from family, country and knowledge to help do a job better feel outside our control. and culture always makes it more rewarding. • hypervigilance, always scanning the • It evokes a psychological and Support art workers and directors to be environment for threat physiological set of responses based productive, do training and professional on fear or avoidance. • fear development (and to use what they’ve For example, the way we respond • depression learned in their roles), and help them to the world is altered. We may • anxiety, panic. to enjoy their work, too. The Australian Indigenous Governance Institute website has great information about how to manage staff well. Read it now * Blythe McAuley is a psychologist and the manager of Therapeutic Services for the Australian Childhood and act on it! Foundation. The Australian Childhood Foundation is a not-for-profit organisation dedicated to supporting children and families devastated by abuse, family violence and neglect. Art centre operations PEOPLE 87 Professional development to get targeted support for specific workplace challenges. This format can SALLY CLIFFORD*8 be easier to get into a budget and be Lifelong learning for art centre realised, as it can be done in situ, with managers is important, whether no travel or locum manager required. you’ve been in the job three months or Desart offers a coaching program for three years. Here are some pragmatic new art centre members. approaches that can help you navigate Structured courses and PD programs: the challenges and ensure that your Accessing Desart’s PD programs and professional and personal skill set is opportunities is key here: no course growing in the job. cost, just travel and time. For other PD programs, which cost something, you Stay connected: It’s so easy, especially will need to make a decision. If you for very remote art centre managers, want/need the art centre to pay for it, to become disconnected and isolated you need to put it in the budget and from the professional networks that explain to and convince the board how larger towns and cities offer. Staying it will make the art centre stronger. connected doesn’t have to cost Ellé Misios (Chapman & Bailey) and Albie Tjakamarra Jack The alternative is if you have your own (Ikuntji Artists) engaged in a Desart studio skills professional anything, and may be as small as funds, you commit to paying your own development workshop. Image: Desart. committing to a monthly phone catch- PD each year because you can and you up with a previous boss, work colleague believe it’s that important. or old university lecturer. For those who are more experienced, it could involve There are also scholarships and grants getting onto an arts advisory board for PD. It’s worth getting on mailing linked to an arts organisation or funding lists and including these in your set body in a capital city, where you are of PD goals. Some great ones are the able to Skype/ teleconference into Australian Rural Leadership Foundation, meetings etc. Staying connected can Churchill Fellowship and the Australia also be as simple as having an annual Council Leadership Program. membership to something like ArtsHub Prioritise and commit: I often see (artshub.com.au), which offers a lot managers not doing PD, not because more than just job postings. they or the art centre can’t afford it Formal mentoring/coaching: Seeking but because they can’t prioritise it in out a regular session with a mentor who their schedule. If you’re struggling to can push and encourage you can ensure prioritise your PD, run this scenario: you keep on growing in the job. They Your time comes to leave the job and can also act as a scout for professional you think about what’s next. What’s the development (PD) opportunities. A professional skill set and networks you workplace coach is similar but more have to leverage off? work/task focussed and is a great way

Glenn Iseger-Pilkington (SA Museum), Pamela Hogan (Papulankutja Artists) and Kristabell Porter (Warakurna Artists) discuss the Ngurra project at the Desert Mob Symposium 2017. Image: James Henry, Desart. * Sally Clifford is General Manager of Matrix on Board and a former art centre manager. 88 Art centre operations PEOPLE 89 Recruitment Time to move on? service). Enter into an agreement for a advertising, shortlisting and interview recruitment service. processes. Desart will also assist you Before it’s time to move on, work Art centres are primary places of 4. From the time you resign and a to prepare well for handover to your with the directors and Desart’s employment for local Aboriginal people. new manager starts, it could be successor. Get the Desart handover Strong Business Program to develop If one of your art workers resigns, 10–12 weeks: four weeks’ advertising, checklist – it covers important aspects a succession plan. Make sure the art properly thank them for the good work phone interviews, referee and police of the art centre’s operations: centre always has a healthy recruitment they’ve done, and try to understand checks, face-to-face interviews, • procedures why they are leaving. budget. As systems change, update the selection, contracts, start date and • finances art centre’s procedures manual, and handover. If you need to recruit art workers, ask review it annually. • governance 5. You have worked hard; don’t leave artists and staff for recommendations, • assets and think about anyone in the And when it’s time for you to move on, badly. • staff and HR community you’ve talent-spotted. leave properly. Find your way home It takes a long time to recruit and it’s Promote the (Aboriginal-identified) again… • administration expensive, so start working with your job on social media and put up a flyer • working with artists and selling art Know when to hold ’em, know when directors straight away. If directors at the community store and on the to fold ’em, know when to walk away, want Desart to assist with recruitment • people networks. community noticeboard. know when to run. for a new manager, contact the Strong Now you have all your people working Make sure the position description (Lyrics from The Gambler by songwriters Business Program. The art centre pays together and the art is fabulous. It is and contracts are right first, and Lorenz Hart & Richard Rogers.) for recruitment travel and advertising time to make sure that the business is costs, and Desart helps review the following the law and proper process. that you understand the salary and This might seem premature if you’re job description etc. and manages the conditions you can offer, including newly appointed, but you know it’s leave entitlements and superannuation. time to move on when: Ellé Misios, Art Centre Coordinator, at work Be sure you’re able to clearly at Iltja Ntjarra Many Hands Art Centre. • you’ve lost your sense of humour Image: Rhett Hammerton, Desart. communicate the tasks required and your expectations. In the community, • you snap at people talk to CDP workers: is there someone • tasks that used to take five minutes who might love to have a real job with take an hour the art centre? Talk with schools and • you’re out of touch with close friends families, too – consider senior students • you’re always tired. you could head-hunt for art centre work. And if you have the capacity to It doesn’t matter if it’s been one year, offer work experience to students, talk two years or three, you know when it’s to the principal. This can be a great way over. Don’t wait around for one more project, one more exhibition, one more to open a pathway for someone suitable mortgage payment – when it’s time to and dedicated to join the art centre go, it’s time to go. So: team. You might be employing a future art centre manager! 1. Notify your directors. Talk to Desart’s Art Worker Program 2. Check the recruitment budget with staff if you need help, and make sure your bookkeeper. that you have a proper employment 3. Talk to Desart about its recruitment contract prepared and follow legislative service, discuss options with directors requirements for employing staff. (ORIC also offers a recruitment 90 Art centre operations BUSINESS AND ADMINISTRATION 91 5. BUSINESS AND ADMINISTRATION ‘It is important that Anangu run their manual up-to-date. It will help you and own business and know it’s their right. the art workers to go about your work Most art centres are not-for-profits – Desert Dialysis units and services in They have to be strong in running their confidently. And if an interim manager which in current business strategy Kintore and Ernabella, so families can own business in their own art centres.’ needs to step in, or when you decide to terms means they are purpose-driven now stay together for longer on their – Frank Young, Chairperson, Tjala Arts5 9 move one, you will be handing over an businesses. own country. excellent toolbox. Management of the business side of an Policies and procedures art centre includes its governance and commercial operations, which require Management essentials ‘There must be clear rules: the use a lot of administrative work. Some say of the phone, vehicle, art materials, opening hours, artist payments, what an art centre manager’s job is 60–80% administration. This includes critical 1. This guidebook. happens when there is sorry business. tasks relating to the proper governance This is done through talking, listening, 2. Active, well-informed directors. of the art centre, and everything taking time and letting everyone know.’ from writing funding applications to 3. Current art centre business plan – – Desart director chasing payments and ensuring artists use it and review goals, strategies The strictest policies seen at Desart and staff are paid. Administration and KPIs. are those set by the directors through mainly happens in the office and on a 4. Most recent art centre annual putting all their concerns on the table computer. report, with audited accounts. and making it policy. It’s all too easy to get distracted from 5. The art centre’s most recent Good policies and clear procedures the proper business of the art centre, balance sheet – go through it will increase the capacity to effectively especially the important longer term with the accountant. and efficiently operate a successful strategic work. This is especially so if art centre, ensuring sustainability, 6. All current funding agreements – the art centre is regarded as the most vitality and creativity. Get your list amounts, activities, KPIs and functional entity in the community hands on the art centre’s policy and reporting dates. – it can become the go-to place for procedures manual. If the art centre everyone to get all sorts of non-art 7. The art centre’s policy and proce- is part of a larger organisation, the business done. This is scope creep. dures manual – use it and update it. art centre will be subject to those Remember that you are being paid to do policies and procedures, as well as ones 8. Stories Art Money (SAM) Database: the duties listed in your job description. specific to the art centre’s operational www.sam.org.au Every time you stray, you’re outside of environment and activities. core business. Use your time and energy 9. The art centre’s Rule Book Desart has a range of high-quality, wisely and set clear boundaries. Don’t (its constitution) – find it at secure, relevant and accessible get distracted and miss a funding report www.oric.gov.au and make information relating to policies and deadline or ORIC’s deadlines for the sure you understand it. annual audit or date of the art centre’s procedures. Some can be accessed AGM. 10. Free confidential counselling or through the SAM database www.sam. coaching and support at any time org.au. If you can’t find what you’re That said, always listen to the artists. (a Desart membership benefit). looking for, call Desart program staff That’s how fantastic initiatives that for assistance. Keep the art centre’s ultimately make for a resilient art centre 11. The Desart team: happen. Think, for example, of the art phone (08) 8953 4736. auctions that have funded Western 5 Cited in Nganampa Kampatjangka Unngu, Tjala Arts (ed.), Wakefield Press, 2015, p. 74 92 Art centre operations BUSINESS AND ADMINISTRATION 93 Social media and photography Grants management expect honesty and community voices funding administrators is a great way and presence. Interview directors, to strengthen your relationships and If the art centre doesn’t yet have a social When you begin your new job at the art artists and art workers and transcribe improve your skill in this essential media and photography/film policy, centre, you will hear colleagues rattling how they describe meeting your Key management area, along with the art work with the directors and Desart to off acronyms. In the beginning, it Performance Indicators (KPIs). Where centre’s chance of success. If you need develop one. The directors will guide sounds like another language: ‘You need you need to provide data, generate support letters, give your supporters you on the level of photography, filming to talk to the dee cee ay about the eye reports using the up-to-date data in sufficient information, context and and online presence with which they vase, eye ell ay, and the ee sub. Go see your SAM Database. Use photos in time to discuss and prepare an effective and the community are comfortable. oz ko in Sydney or ay bee ay at pee em reports, or short movie clips if that’s letter. (Desart requires five business They might want to specify sacred see in Canberra.’ acceptable to funders. days.) places that should not be approached or photographed. Taking and using photos Got it?! Don’t worry, it won’t take Keep abreast of fundraising of children will require the permission long before you are talking the same opportunities: relying on government Stories, Art and Money of their parents or guardians – and some language! funding is not a sustainable financial (SAM) Database funders will include a clause about this Establish and build professional and strategy. If Desart’s regular funding The art centre’s main administrative tool in the art centre’s contract. Reference productive relationships with the art e-blasts are not landing in your inbox, outside of its document filing system the Australia Council’s relevant media centre’s funders. Call and introduce sign up for them, and also subscribe to is very likely the online SAM Database. protocols. Be aware that filming and yourself to their project officers in relevant government and philanthropic (It’s used by over 80 art centres around photography in communities and your first weeks. Funders are key agencies’ alerts. If there is critical Australia.) So it’s important that surrounding regions may also require stakeholders: you probably wouldn’t infrastructure for which the art centre you have or set up a user name and special permits depending on things have your job without them! needs funding, make sure Desart staff such as the intended usage. It is good know so that they can direct you to password in SAM, learn how to use SAM practice to include a clause relating Review any project funding and its any potential funding programs or well, understand how it integrates with to the art centre’s social media policy timelines and always attempt to sources or – especially if multiple art financial software, and budget for the and filming and photography protocols negotiate a variation if things are not centres have similar needs – build a annual support fee: http://sam.org.au. going to plan. Remember funders want in letters of offer or contracts so that case to lobby for funds on your behalf. As part of your induction to the job, you to succeed. Don’t be afraid to speak everyone’s clear about what they can (See Financial Strategies on pp. 122–4 for you might have done some SAM with them. And be sure to publicly shoot and post. information on fundraising.) training. If not, contact Desart’s SAM acknowledge them at every suitable Program Manager to discuss training Research opportunity – minimal obligations Many funders offer constructive opportunities so you can get up to around this are usually specified in feedback to grant program ideas and Desart endorses research projects only speed quickly. Screen sharing for initial funding agreements. draft applications, and some hold with the approval of its directors. We training is possible, which means workshops and webinars on how recommend you develop a research Keep a simple spreadsheet or table of you can schedule it into a work day to secure funds – how to build and policy with your directors. The policy all your funding agreements, reporting at the art centre. And you (and art present your business case, how to might require researchers to provide dates, amounts and key performance workers) can learn at your own pace write funding applications etc. The a plain English proposal that you can indicators. Keep a folder of photos, with the online SAM video tutorials National Association for Visual Arts present to the directors. It might define feedback, comments, relevant data, and and information in the SAM Knowledge (NAVA) has useful information online what the directors or community’s media to include in your reports. Base: http://feedback.sam.org.au. If about grant writing – and dealing research priorities are and what their you encounter any problems, technical Government and other agencies with rejection. Make the most of all understandings of community benefits support is available during business understand that art centres are busy the expertise on offer. Funding and are. Get on the front foot. hours. (Email: [email protected]) places. They don’t expect things to be investment (government, philanthropic, written to a PhD standard but they do corporate) is always competitive and SAM is really versatile, so make the want you to be clear and concise. They limited, and learning how-tos from most of it. You’ll use it to catalogue 94 Art centre operations BUSINESS AND ADMINISTRATION 95

and label artworks, document their SAM needs a good internet connection. provenance, do sales and consignment If you are concerned about your internet transactions, issue certificates of speed, access Desart IT technical authenticity and artist biographies, support to find out how you might control the art centre’s stock, promote improve the speed. (See p. 156.) artworks to customers, facilitate online Remember SAM is only as good as the purchases if the art centre has an data that you put into the system. So online store, and aspects of financial ensure you are cross-checking and management of the art centre, including updating your information regularly. We payments to artists. With SAM, you recommend a monthly check using the can also generate reports to help you SAM 10-Point Checklist. track and analyse the art centre’s sales performance, individual artist’s sales, production outputs and much more. SAM caters for multiple users in any location with internet connection. This means different staff can use SAM simultaneously and you can enable various security levels for each person accessing the database. You can also use the database offsite at market stalls, galleries and exhibitions for ease of sales transactions and digital creation of certificates of authenticity. This is your guide, Sam, in the SAM training videos at www.feedback.sam.org.au 96 Art centre operations BUSINESS AND ADMINISTRATION 97 Top 10 legal issues for art 3. Copyright and moral rights Check out Arts Law’s information sheet must comply with these until the end of on ICIP for more background knowledge. the agreement. centres Copyright is the ‘property of the mind’. It stays with the artist even once an 5. Contracts Art centres that use consignment ROBYN AYRES AND CLARA EDWARDS* artwork has been sold, unless the artist agreements should also understand 10ARTS LAW CENTRE OF AUSTRALIA Don’t be scared of contracts: they are chooses to sell or ‘lend’ the copyright to how the Artists’ Resale Royalty Scheme a useful tool for being clear about 1. Governance and the someone (see no. 6: Licensing). works and sign-up artists to a collecting your intentions and plans. Arts Law Indigenous Art Code society such as Viscopy. Copyright is a way to generate money can review agreements and has lots of A well-run arts centre needs a strong during the lifetime of an artist and template agreements available on our 8. Debt Collection and the Personal board or committee that has a good beyond, so it should not be given away website, including an art centre and Property Securities Act working relationship with the centre lightly! Art centres can teach artists how artist agreement. manager. important this asset is and make sure Make sure that galleries you deal with Before you go ahead with an all copyright permissions are in writing. are reputable. To protect yourself and Part of the good governance of art arrangement make sure you know artists, and to ensure payment when centres is to make sure you are Moral rights protect the integrity of the what you are signing – things might works are sold, you should enter into a compliant with the Indigenous Art artist and their artwork. For example, get messy otherwise. Arts Law has also written agreement – Arts Law has some Code, which sets simple ethical if anyone changes the way an artwork started a ‘talking contracts’ project that great resources on its website. A gallery standards of best practice. looks without the permission of the is designed to make it easy for artists should return unsold works as soon as artist, they might be able to claim and art centres to understand what You can read more about the Indigenous possible after any exhibition. If a gallery damages or ask for an apology. they are signing up to. Art Code on Arts Law’s website, or the does not pay, send a letter of demand Code’s: https://indigenousartcode.org/ You do not have to register to get 6. Licensing and get any unsold works returned. copyright or moral rights – it is 2. Employment issues What is licensing? It’s like ‘lending’ your The Personal Properties Securities Act automatic as soon as you create your copyright to someone. It means that (PPSA) can protect artists. Make sure you Happy employees and good processes artwork! anyone who wants to use an artist’s register in order to retain ownership of are essential to a positive, safe 4. Indigenous Cultural work has to pay a fee (usually) and work if the gallery goes out of business workplace. The best way to make sure Intellectual Property agree to the artist’s requests for how (there’s more info about the PPSA on you have a healthy workplace is to: to use the work. For example, licensing pp. 101–2 and Arts Law’s website). Understanding and respecting ICIP is an • understand your workplace health can be used if an artist wants to give essential part of the way every good art 9. Collaborative projects and safety obligations permission for someone to reprint their centre does business. • understand your legal obligations artwork on a fabric or on merchandise. Collaborations happen often in the arts ICIP is a way of recognising the and between artists working on short- regarding unfair dismissal and Again, it’s important to get any licensing traditional stories, techniques and or long-term projects. Use contracts to discrimination agreements in writing. knowledge that has been passed manage the various relationships and • be upfront about all of the rights and down through culture. It is not 7. Consignment agreements and the ownership of copyright and artworks. obligations of employees currently recognised by Australian or Resale Royalty Scheme You can also use contracts to define • use employment contracts to be clear international law but you can still make who does what, and to ensure the Consignment agreements are used about all of the above. it a part of your work by bringing it artists and art centre are being fairly when an art centre wants to sell into contracts and following cultural paid for their contribution. an artist’s work. For galleries you Seek HR assistance from Desart or protocols in all dealings with artists and show with regularly, use an umbrella Arts Law has a collaborations toolkit access Arts Law’s legal advice services. artworks. consignment agreement. The art centre on its website that you should refer has certain obligations – such as making to when planning and entering into sure the artwork is not damaged – and collaborations. * Robyn Ayres is CEO and Clara Edwards is a solicitor, Arts Law Centre of Australia 98 Art centre operations BUSINESS AND ADMINISTRATION 99

10. Wills They are also champions of Aboriginal culture. The artists expect it and The cultural and legal issues that arise their elders demand it. The art centre when an artist passes away can be manager stands at the bulwark of very sensitive. It is always simpler if a over 65 000 years of Indigenous will is in place because it sets out the culture, charged both to protect it and wishes of the artist in relation to their simultaneously to secure a strong copyright, artworks and estate. Strict financial return in a sophisticated laws known as ‘intestacy’ apply in each domestic and international commercial State and Territory and these will be art market. To say this is not easy is applied if there is no will. an understatement. The manager Arts Law has a detailed toolkit on each represents the artists and the art centre State and Territory for dealing with in negotiations with galleries, collectors, wills. Arts Law also provides a free will institutions, funders, media, corporates drafting service for Aboriginal and Torres and, in a creative sector constantly Strait Islander artists. evolving and exploring new and diverse multi-platform and cross sector creative The most important thing to remember: collaborations, increasingly also other get legal advice! The Arts Law Centre of artists and arts organisations. Most are Copy, copy, Australia website has free information keen to engage with the world’s oldest sheets on legal issues, template copyright! living culture, and believe themselves agreements and legal advice services. respectful and culturally adept, but Visit www.artslaw.com.au and www. see the creative and commercial aitb.com.au; phone (02) 9356 2566 / opportunities through the prism of their 1800 221 457. own creative and commercial needs. Image: Still from Arts Law’s video Protecting Your Copyright, produced by CAAMA. They can be dismissive of, or struggle to Featured painting: Kukula McDonald, Black Cockatoos, Bindi Mwerre Anthurre Artists. engage with, issues that do not neatly Indigenous Cultural fit into the known spectrum of standard Intellectual Property + commercial terms. If you have a legal question about copyright, collaborative projects I often get asked by managers: ‘How do we secure a commercial outcome DELWYN EVERARD* 11 contracts or any other arts law issue, talk to that addresses the issues of cultural I am in awe of Desart’s art centre protection in the way our artists Artists in the Black. managers: they are small business expect?’. I would start with the operators, curators, community Australia Council’s Protocols for Working (02) 9356 2566 | 1800 221 457 (toll-free) workers, financial advisors, drivers, with Indigenous Artists. It should be logistics experts, tour guides, cooks, mentioned as a baseline in every MOU www.artslaw.com.au | [email protected] linguists – and so much more – all rolled or contract. Remember though that into one role that is a 24/7 commitment. it is a set of principles rather than a

* Delwyn Everard is founder and principal of Everard Advisory and former director of Legal Services at Arts Law. 100 Art centre operations BUSINESS AND ADMINISTRATION 101

handbook. So, how can managers and communication around these that the creative collaboration would be ground rules around taking photos, enshrine those principles of respect, issues is ‘In Cahoots’, which combined enriched if set within a cultural prism using social media, community input, control, communication and integrity the energies of six different remote of respect, control, communication and respecting the role of the art centre into a contract or working arrangement? and regional art centres, their artists integrity. manager and staff, acknowledging that and staff, seven independent artists every creative engagement involved Six different collaborations, six separate You can choose your business and working in different disciplines, and a an expression of culture, and that residencies and six separate contracts creative partners carefully. That’s public exhibiting institution. Logistically every sharing of story or technique all directed to a single exhibition always good advice but not always and culturally challenging, it engaged or country is a privilege that comes sounds complicated. Erin believes that enough. This is particularly so in the artists from every State and Territory with responsibility. These ground rules critical to its success was that, ‘from creative collaborative space where of Australia over a two-year process were given equal importance with the the onset, In Cahoots was led by the despite mutual artistic respect, each resulting in an exhibition that opened at standard contractual terms around Aboriginal art centres, with their artists creator is often primarily focused on the Fremantle Art Centre in November copyright ownership, money, expenses, selecting and inviting an independent their own creative journey and practice 2017. timing and insurance. and may not appreciative the different artist into their community to make a perspective of their co-creators or may Curator Erin Coates and I started new body of work with them’. The documents created for ‘In Cahoots’ working together at an early stage by have been adapted by the Arts Law assume that the creative concerns So why involve a lawyer at all – mapping the anticipated values and Centre into templates that can be used are the same. For example, a number why not just have really open and outcomes of each of the stakeholders for other projects and are available on of art centres have found that non- transparent conversations about – not just those who might need to the Arts Law website: https://www. Indigenous artists routinely document culture between all the players at the sign contractual documents. This was artslaw.com.au/. their creative process on social media beginning? In my view, the formality of an approach effectively used by then without appreciating that it may not be enshrining these fundamentals in the manager of Martumili Gabrielle Sullivan appropriate to share their extraordinary written contract provided a gravitas and in connection with the We Don’t Need first experience of a remote community weight that forced both the exhibiting Personal Property a Map project. We focused not just on with the world. This can also be true institution and the independent the participating artists but the entire Securities Act of other visitors including volunteers artists to take this issue seriously art centre community which would If you consign artworks to a gallery, and academics. The art centre’s and deeply consider it before the host the visitors, the elders, the young there is a risk of losing all of the artists can be unwilling to tell the collaboration commenced. It ensured people seeking learning and mentoring artworks if the gallery goes out of visitor that they are uncomfortable or that everyone was provided with the opportunities and what the community business. Manage this risk by registering where the boundaries might be – but same information and invited to ask sought from a wider engagement with ownership of consigned artworks to won’t hesitate to hold the manager questions at the beginning. As one the Australian public. We discussed legally protect artists’ security interests accountable later. In this situation, some manager commented: ‘It created a clear with the art centre managers the against other creditors. artists fail to engage or engage in a way process around some of the ways as to mentoring opportunities that might that subtly undermines and affects the ‘how’ culture must be respected. The The instrument for this is the Personal emerge for art centre staff and arts integrity of the collaborative process. contract contained concrete examples Property Securities Register (PPSR), workers and how a process that Even worse is the situation when the for the visiting artists and provided created under the Personal Property facilitated trips to country benefited artists only fully understand at the me with documented milestones and Securities Act 2009 (Cth). It has been in each of the art centre’s artists and staff, conclusion of a project that it will be benchmarks I could use. The contract force since 2012. The Arts Law website the visiting artists and the curatorial used in a way they regard as culturally gave me the confidence to raise these has useful information customised for team differently. This framework helped inappropriate – and it is too late to issues without embarrassment.’ Aboriginal artists and art centres. make changes. They hold their manager both of us to develop a broader process responsible for that failure of process. and infrastructure for the whole project The contractual framework (developed To begin, it’s good to create an account – curatorially for Erin and, for me, in through extensive consultation with so you can track the art centre’s An example of a successful developing a contractual platform that Erin and ‘road-tested’ with Mangkaja registrations. You need to create a collaboration enriched by transparency started from the fundamental premise Arts) built into the collaborative process registration for each gallery or dealer 102 Art centre operations BUSINESS AND ADMINISTRATION 103

(‘grantor’) to which you consign art This is in a different league: but art

work (you don’t register individual centres are an easy target for scamsters Art Worker Marisa Maher and Coordinator consignments). Describe the art broadly due to the relatively high turnover in Ellé Misios at Iltja Ntjarra Many Hands Art Centre. (for example, ‘Indigenous art works’) staff. Salespeople sometimes call with Image: Rhett Hammerton, Desart. and register for a relatively short period such authority and assure you that this (Arts Law recommends seven years). It is the way it has always occurred, the costs less than $10 per registration. way that the last manager did it, etc. It isn’t, so don’t fall for the scams! Two For further information, visit the PPSR classics are: website and the ‘How to register’ page at http://www.ppsr.gov.au/ForBusiness/ • printer cartridges (overpriced) Howtoregister/Pages/default.aspx. Or • business directory listings (of no call 1300 007 777 or email: enquiries@ value and not government endorsed). ppsr.gov.au. Pressure on artists Risks and scams to sell direct An all too common high risk for art In the NT, most government employees IT hardware and software centres is unsustainable debtors. Don’t are governed by clauses in their As a Desart member, you have access homework, and look at more than be lazy with your gallery dealings. contracts that instruct them to support to our IT Service and Support program, the initial cost. Many communities Ensure the trading terms are in Aboriginal enterprise and buy from art which offers capped technical support. have partnerships and relationships writing (use Arts Law’s templates for centres. To promote the role of the art If you have technical issues or want to with private schools and academies. exhibition contracts and for art work centre in the community: be sure the art centre’s internet setup is Consider approaching them for quality consignment). Follow-up on consigned • build a mutually beneficial the best it can be, help is available via IT donations. We know of at least one artworks (use SAM’s consignment relationship with key staff at the phone or email during business hours. art centre that, through the social skills functions). Don’t leave artworks to miss of its directors, was donated new Mac school, clinic etc. If the art centre needs to upgrade its their market and become a liability: if computers and iPads, all set up with • host art centre open days/nights IT gear, we recommend you check the gallerist hasn’t sold them within the software, desks and chairs. specified timeframe, take action: either • organise artists’ talks out the Connecting Up Discount program for discounted and donated negotiate a sale to the gallery for floor • consider offering a locals’ discount as computer equipment, smartphones and stock or ensure the work is returned so part of the art centre’s pricing strategy TIP: Keep the art centre’s asset register that you can re-allocate it and achieve a accessories (new, but also refurbished, • plan a stocktake sale up to date and talk to your bookkeeper sale for the artist. including Apple) and software licences about depreciation. • have a Christmas sale. (including MYOB and Adobe Charity). As in any commercial sector, not all Don’t rely on rules and the big stick Connecting Up deals are available dealers are equal. Don’t keep dealing to make people buy at the art centre only to eligible not-for-profits; most Email etiquette with galleries that don’t pay, and art centres qualify. See https://www. instead of doing a private deal. Get their Ask yourself, ‘Would a phone call don’t enter into any new commercial connectingup.org/. (This program used support in other ways. For example, if be quicker and clearer?’ The 2000- arrangements without investigating to be called DonorTec, and your art you have a visiting linguist, perhaps word email – it’s okay to write it, a gallery’s credentials and reputation. with language speakers they could give centre might already be registered.) Check with the Indigenous Art Code: is just don’t send it! Emails should be a talk at the art centre on sign language Don’t waste art centre money. Cheap short, concise and to the point – the dealer a member and who else do – and host a community event. they represent? Talk to your industry computers, printers and cameras don’t one or two paragraphs; otherwise, colleagues, too. deal with heat and dust. Do your consider a document on letterhead as Art centre operations COMMERCIAL (MARKETING AND SALES) 105 6. COMMERCIAL (MARKETING AND SALES) Australian art dealer Michael Reid • In its own dealings, is the art centre believes that a good artist is market- meeting its obligations under the minded (not market-oriented).612It’s an Indigenous Art Code? important distinction. What do you • What does being creatively and think? commercially successful look like to If marketing and sales isn’t already a the artists – and how can you support large part of your world, it’s about to them in this? be. You are charged with championing • Are the goals for activity generated the work of the community’s artists. If income in the business plan you can’t sell their artwork, they don’t achievable and the strategies still get paid, and the art centre will go optimal? under. To be successful at marketing and selling, you need to be fair and ethical Indigenous Art Code and smart and savvy. You need to be knowledgeable about the art market GABRIELLE SULLIVAN and you need to be a good negotiator. The purpose of the Indigenous Art Code an attachment. Write every email as Manager Cecilia Alfonso and customer at Don’t rush in and sign up with the is to establish standards for dealings Warlukurlangu Artists’ gallery. Image: Desart. though it will be on Facebook or read gallery you used to work at or do a between dealers and artists to ensure: out at the Desart AGM. Remember, it licensing deal that confers no ongoing • Talk to Desart for useful international is unprofessional to forward emails benefit to the artist. There are so many • fair and ethical trade in artwork trade and industry contacts and act as intended just for you. And note that factors at play and the best thing you • transparency in the process of an intermediary for the artists. emails sent at 3 am or 8 am on Sunday can do at the outset is allow yourself promotion and sale of artwork • Make sure that the local consulate morning don’t send the message that time to learn about and build your • that disputes arising under the Code general or embassy know you are you are committed to your job: they knowledge and your relationships with are dealt with efficiently and fairly. send the message that you are not coming. the artists and their existing supporters, coping. • Double-check all medication dealers and buyers. For detailed information on the Code requirements with the clinic and visit https://indigenousartcode.org/. Marketing is primarily about connecting double-check everyone has their You will find the constitution of the receptive individuals with the artwork. International travel medication when they get in the Indigenous Art Code and the Code itself. If a receptive individual is also cashed- troopy. If you are lucky enough to have the up, kerching!, you might make a sale. How is the Code useful to your art opportunity to travel overseas on art • Make sure artists are comfortable and This commercial realm connects closely centre and to you as a manager? centre business, here is some advice so happy. with aspects of business management. Ask the Code questions about members you can be dazzling with jetlag! • When travelling overseas you are We don’t want to get hung up on where • It will be hard work. Artists may be representing not just the art centre the boundaries lie; but consider these If you have any questions that relate to homesick and worry for country and and community, but the Aboriginal questions: galleries, dealers or other businesses family and miss their favourite foods. art industry as a whole. Do it with with whom your art centre is working, integrity – international travel is a • Line up opportunities – talk to Desart: bonus of the job. we have networks of galleries, journalists, academics and friends 6 http://www.theaustralian.com.au/arts/visual-arts/michael-reid-on-the-commercial-realities- overseas. of-art-collection/news-story/9dcb37ee5465c65da375dda66699568f Creative Tension podcast, The Australian, 6 March 2017 106 Art centre operations COMMERCIAL (MARKETING AND SALES) 107

or thinking of working, you can contact Complaints The Code website Contact the Code CEO, the Code for advice. We can tell you if Gabrielle Sullivan: 0438 637 862 or If you have concerns about a dealer The website lists all Code members. the dealers are members of the Code [email protected] member of the Code, call or email Members appear on the map and in the and for how long they have been the Code. Most issues can be dealt list view. Clicking on a member will take https://indigenousartcode.org/ members, and discuss any concerns with quickly; others might take more you to the member’s profile, directing you might have. For example, you might negotiation. you to the member’s website, social have an outstanding consignment media platforms and other contact that the gallery is refusing to return or Some issues will require the Code details. difficulty with overdue invoices not to refer you to another organisation being paid. such as Arts Law or the Australian You can create your own profile by Competition and Consumer Commission uploading images. You can also create In 2016 the Code revised the code (ACCC). The Code works with both of profiles for individual artists. member application process. We these organisations and can put you in now ask dealer members to provide There is a function that allows you to touch. comprehensive information about their make connections with other Code business, demonstrating that they are There are some issues that do not have members. The idea is that you create adhering to the Code. any clear solution. Unfortunately, much a profile for your art centre and your of the poor practice in the selling of member artists, and the dealers with Interest in Code membership has Aboriginal and Torres Strait Islander art whom you work. increased as a result of the Fake Art is immoral and unethical but not illegal Harms Culture Campaign. There are now and there is not always a satisfactory numerous dealer members who do not resolution of issues raised with the sell original artwork but are licensing Code. product and merchandise. Being a member of the Code lets consumers The Code needs art centres and other businesses like museum and The Code is only as strong as its gallery shops and tourist information members. It is important that the art centres know you are a signatory to centre voice is strong within the Code the Code and that your artwork and membership. Being a member means product is authentic Aboriginal-made you can vote at annual general meetings and licensed product. on important matters including things Using the Code logo like changing the constitution to make the Code work better. If your art centre is a Code member, you can use the Code logo on your website, Art centres are dealers, too. Art centres packaging and labelling, and SAM act as agents for their member artists automatically gives you the option to and it is important that art centres – like print a Code-compliant certificate. private dealers and galleries – adhere to the Code. Note: Some businesses using the Code logo may not be members: they might have been members of the Code previously. It is difficult to monitor this. To confirm a business is a Code member, check the Code website or call or email. 108 Art centre operations COMMERCIAL (MARKETING AND SALES) 109 The art market Pricing with art workers and interested artists. Get online and compare other artists’ There is insufficient space here to cover Pricing is not difficult, but so many art CVs and price points to those of your the complexity of the contemporary art centres have difficulties with it. If an art centre. Review price lists from other market so we’re just touching on the art centre overprices artwork, it won’t shows such as the Telstra Awards, and basics. As the manager, you’ll influence sell. Artists understandably become from galleries where a show has sold the positioning of each artist within the frustrated by a lack of sales, and the out, too. Compare these with your own market. It’s important to consider the sustainability of the art centre will pricing, and don’t forget to talk to other spectrum of market sectors and your be at risk if works are not selling. The art centres in your region about price different distribution points. monetary worth of artwork is only points. what someone will pay for it. Your market sectors might include: Models and methods If you want to sell an artwork, price it to • community members, including sell. In the past, some art centres, under Establish what pricing model and teachers and health workers the pressure of hype and popularity, method the art centre uses (this • tourists and travellers after have let their prices soar and literally should be in the art centre’s policy and affordable, transportable works, priced themselves out of the market. procedures manual). The pricing model small or larger Art prices are not like property prices might be cost-based, demand-based or • keen collectors and dealers – they are not variable. You can’t sell competition-based. purchasing mid to high-end works a painting for $12000 in February and Some art centres, with the support perhaps every year or two then a similar one for $4000 later in the of their directors and artists, use • serious collectors and dealers buying year. a method of set-sized artworks work at the top of the market (the so- Dallas Gold, director of RAFT Artspace. Do your homework: look at what combined with a pricing matrix called ‘taste makers’ Image: Rhett Hammerton, Desart. prices an artist’s work has sold for in that ranks artists from high to low • commercial galleries operating across the past. Where was the market sitting according to agreed definitions. Or a matrix that works across a range of the market spectrum generally the only way is up. Take care at that time? What can it bear now? mediums and categorises artworks • curators of institutions building public not to saturate the market: this can What does the artist think their work collections and exhibition programs. exert downward pressure on prices. is worth? Why? How much do you from ‘small + affordable’ up though ‘tourist + transportable’ to ‘emerging + Be informed about the art market and think it is worth and why? Use your See Exhibitions on pp. 114–6 and the collectable’ and ‘famous + collectable’. stay in touch with the staff of the art experience, knowledge, instinct and Knowledge Bank section. These approaches can propel artists to centre’s principal galleries – knowing professional connections. Think about strive to move up a level and thus be about, understanding, and working the career prospects of each artist, their able to increase their income. Apply effectively in the market is a key aspect buyers and collectors, and be mindful of TIP: commonsense to any method: if a work of the art centre manager role. Keep an managing the art centre’s stock levels, is terrible or exquisite, adjust the pricing eye on the secondary market: auction • Subscribe to ‘ARTNews’: too. Always talk privately to the artist accordingly. sales influence perceptions of value – http://www.artnews.com/ about the pricing of their artwork. Don’t those of serious collectors especially. • Watch auction prices. raise prices just because something is Another common method is a simple selling well. Some market sectors will formula combined with appraisal and The ‘market’ along with the ‘state’ • Talk to your top galleries all the time. be very price sensitive. good judgement. You start with either (or government) are the two main the retail price or the artist payment. external influences on art centres. The Desert Mob Exhibition is a perfect Commercial and trading rules govern opportunity to look at and compare Let’s say an emerging artist you’re keen the art market: the art market is not an your pricing with that of other art to promote at a scheduled exhibition adjusting market – once you set a price, centres. It can be a good activity to do finishes a really stunning painting. 110

You’ve done your homework and decide Marketing and publicity it would sell at $9500. Look at the art centre’s plans and Retail price minus the gallery’s 40% budget. Is there a marketing plan and commission as stipulated in the a marketing budget? Most art centres exhibition contract*: have very limited marketing budgets $9500 – 40% ($3800) = $5700 and little data about who their market Minus the art centre’s 40% is. Learn about your social media commission** (for overheads audience, and learn (using SAM) what including paint, canvas, electricity, you can about your primary sales fuel, teabags etc.): market. Then make every dollar and $5700 – 40% (2280) = $3420 minute count by targeting an increase in sales or greater exhibition opportunities Payment to the artist = $3420. or value-adding to your brand. If art Note that, as in the above formula, centres in your region are working generally no GST is applied to the cooperatively on marketing initiatives selling price. There are, however, two (for example, APY Art Centre Collective, important exceptions. Western Desert Mob Collective), make the most of this. 1. In the rare case of an artist being registered for GST. This is because the Marketing undertaken in haste can outlay all your profit before you have Winner of the 2017 Hadley’s Art Prize, artist is the seller; the art centre and have a negative impact – bad t-shirts, made it. Some successful art centres Peter Mungkuri, Ngura Wiru (Good Country); the gallery are acting as the agent an awful logo, an expensive pixelated Iwantja Arts. Image: Jessica King. don’t have a website. Maybe all you only, charging a commission for advertisement, a website that is not user-friendly. These are all negative need is a landing page to direct people facilitating the sale. cost? Always ask for a discount and a marketing outcomes that may damage to your social media. If you have an 2. If the works (usually relatively small bigger and better ad. the art centre’s brand. online store, block in time to keep it items such as weavings, jewellery, fresh and regularly check that all the • Publicity – getting a great exhibition bookmarks etc.) have been purchased A key concept for limited marketing important links are functional. review or a great story told via by the art centre upfront. budgets is the ‘opportunity cost’ of • Exhibition openings, art fairs and national media that goes viral can be strategies: finances, and also staff and markets – do a full budget and a the best promotion of all. Be pro- artists’ time. full cost–benefit analysis before active. Build your media relationships: host arts writers and reviewers. Learn * Make sure the exhibition contract is clear on Promotional channels that you will committing. how to write a brilliant media release whether or not the gallery’s commission is inclusive need to be across include: • Desert Mob – the Desert Mob and how to develop and pitch an idea of GST. If the commission is 40% including GST Symposium is a well-attended, (in which case the gallery is actually charging a • Social media – this is probably the for a feature story or article. And…go subsidised platform for artists to tell commission of only 36.36%), then your calculation best way to broadcast what you are back to the first point in this list! should be 40%. If the commission is 40% plus GST, marketing. If you’re going to do one their stories and connect with their then you will need to deduct 44%. And remember a thing, use Instagram. And if you’re audience. Use it! small gallery with a relatively low turnover might TIP: Would spending $3000 on a going to do two things, also invest • Advertising – check the reach and not be registered for GST. magazine advertisement have more or in getting some great photos that readership (print and digital) to make less impact than travelling to Sydney to ** Some art centres, with the documented include artists. See the social media sure you will get value for money. approval of directors, charge a 50% commission, promote the art centre face-to-face at tips on pp. 112–13. Will you be talking to your existing usually as a short-term strategy to help get the art an exhibition opening? centre into a stronger financial position. • Websites – keep it simple: don’t market or potentially reaching a new one? Have you factored in the design 112 Art centre operations COMMERCIAL (MARKETING AND SALES) 113 Social media – how to 2. Use your analytics! If you switch people talked about how they would up in the algorithm, improving reach make it work your Instagram account to a business hear about an artist and want to see and visibility. account, you can see who your more of their work, but if they didn’t 4. Industry research says including faces As part of her PhD at RMIT, Indigo followers are, where they’re based, know which art centre they were in photos can increase their reach by 13 Holcombe-James* partnered with the when they’re most active and which from, it was tricky. Using names as up to 60%. If you have information to Araluen Cultural Precinct and Desart to posts are the most effective. You can # builds up an archive for each artist get out that is particularly important, look at the use of digital/social media use this info to cater your posts. For that is directly attributed to them, think about using a photo that in the lead-up to and during Desert example, if your purchasing market and can help buyers find out more. includes people in it, like an artist with Mob 2017. She interviewed art centre is mostly based on the east coast, If you’re using # to build a their painting etc. managers, industry stakeholders, and you know that your Instagram following (like #aboriginalart, 5. Fix broken links. It sounds obvious... curators and visitors to the gallery. Here followers have a similar demographic, #contemporaryart, #australianart), but regularly check the links on are her top tips for art centre managers, it makes sense to try and post photos put this in a comment rather than the the art centre’s website and fix based on her preliminary findings. that are relevant to them when caption. If you’re using # to create an Facebook/Instagram/Twitter account they’re likely to be active (perhaps 1. According to curators and buyers, archive for your artists, keep that in links that are broken. This will help between 5 and 7 pm AEST during their Instagram is the platform they use the caption to increase visibility. increase online visibility. commute). to connect with art (as opposed to @tag institutions or curators or Facebook or Twitter). Government staff 3. Instagram # and @strategies. Use public identities into photos (or artists’ names as #. In interviews, and funding bodies favour Facebook. captions) that are directly connected LEFT Judith Inkamala Pungkarta and Rona to them. For example, if you have Rubuntja Panangka of Hermannsburg Potters an exhibition at a gallery, tag the delivering a ceramics workshop at the National * Indigo Holcombe-James researches how cultural platforms use digital media. She doesn’t have a gallery account and the curator’s Gallery of Victoria. Image: Hermannsburg Potters. creative bone in her body and is deeply jealous of those who do. She is currently interested in how account. Increasing engagement with RIGHT Betty Chimney and Betty Muffler factors like remoteness, age and access can inform digital participation. If you want to chat about how influential accounts drives your post from Iwantja Arts at Desert Mob 2017. your art centre uses digital/social, get in touch via [email protected]. Image: James Henry, Desart. Exhibitions and know of the emerging talent at your to print fabric for their costumes, sending any artwork. Considerations commissions art centre. Encourage acquisitions and artists from the APY Arts Collective are: commission, insurance, freight and discuss opportunities for showing collaborated on a vast commission handling, and (if it is headed overseas) Exhibitions are a primary commercial works that are already in collections. for the Australian War Memorial, customs declaration and exporting area. Most art centres work closely with If you’re strategising for acquisitions and Yarrenyty Arltere Artists were regulations around art made from a select group of commercial galleries and profile, consider Artbank, too, participants of the 21st Sydney Biennale. natural materials. Do a cost–benefit on an annual exhibition program; artists which intersects with the commercial If you want to reach a new audience, analysis before making any exhibition- then work towards those commitments. and non-commercial sectors and rents think beyond the visual arts and associated travel or public program Always respect the art centre’s out artwork in its collection to clients: Indigenous sectors. commitments – but don’t undervalue commercial gallery relationships. http://artbank.gov.au/. the benefits to artists and staff of If the art centre produces 50 absolute Reputable, successful galleries that connecting face-to-face with their Program a mix of solo and group shows, ‘gun’ works a year, you need to make represent Indigenous artists and art market and the broader art world. a mix of mediums, and a diverse them work really well for the art centre, centres are integral to the art centre, geographic spread. Maybe include giving them the most exposure and best providing informed curatorship, one or two international exhibitions. placement that you can. documentation, sales, promotion and LEFT Pamela Taylor and Beryle De Rose beginning Or pitch for a biennale, commission marketing. These relationships directly Don’t over-commit: keep it manageable a commission. Image: Walkatjara Art. or visual arts festival. Mix it up across impact the art centre’s turnover, the for the artists, staff and yourself. Allow the Indigenous arts sector and broader RIGHT Peter Mungkuri at the Art Gallery of SA artists’ income and their careers. Aim time and do what you can to enable (TARNANTHI) with Kulata Tjuta, APY Art Centre contemporary arts. Be strategic and for positive, long-term partnerships. good art to be made. Collective, 2017. Image: Rhett Hammerton, plan carefully. Tjanpi Desert Weavers Iwantja Arts. Have state and regional public galleries were part of the 2015 Venice Biennale, On the admin side, always make and cultural institutions on your radar. the Aboriginal Women’s Choir sure that an exhibition contract is in Make sure curators and collectors commissioned Tapatjatjaka Artists place and signed by all parties before 116 Art centre operations COMMERCIAL (MARKETING AND SALES) 117 A medium-sized schedule for an art The top 12 things Yarrenyty Arltere Art Resale Royalty Scheme If you have any questions about the centre might look like this: Centre thinks about for an exhibition: scheme, contact the Copyright Agency The Resale Royalty Scheme started on 9 visual arts team on 1800 066 844 January – New York City, group show 1. Making sure the work is really good. June 2010, introduced by the Australian or [email protected]. More February – Brisbane, group show 2. Telling people about the art centre so Government to collect and distribute information: www.resaleroyalty.org.au . they know why it is so important. resale royalties to artists across Australia. March – Darwin, emerging artist show 3. Feeling proud that people want to Copyright Agency Limited was chosen to April – Perth, group show buy the work. run the scheme. As of October 2017, over Licensing $5.6million has been generated by the May – Melbourne, solo show 4. Understanding that it takes time for COPYRIGHT AGENCY the money to come home. scheme and 64% of the artists receiving June – Paris, group show royalties are Indigenous. The Copyright Act gives visual artists 5. Working together – laughing, telling and other creators legal rights to control What is resale royalty? When an artwork July – Sydney, commission stories, drinking tea – to make good certain uses of their content by others. – a painting; limited edition photograph, art for the exhibition. It protects their work from being copied August – Darwin, Aboriginal Art Fair video work or print; weaving, sculpture, 6. Being proud of each other’s work. without permission, and when they September – Desert Mob carving, etc. – sells a second or further 7. Going to the exhibitions and talking want to allow it to be copied, it can be time for over $1000 through a gallery, to people about the art and our art used to earn money. October – Adelaide, regional show auction house, art centre or art dealer, centre. November – Hobart, solo show the artist is entitled to receive a 5% When someone wants to copy, share 8. Taking photos of the exhibition and royalty. So if an artwork sells a second or reproduce one of your artist’s works, December – Christmas show in looking at them afterwards – seeing time for $1000 through a gallery or they’ll need permission (a licence) from community how nice the artwork looks. auction house, then the artist will be the copyright owner. The licensing 9. Making money to buy good things. entitled to receive $50. Key features of process allows the copyright owner and 10. Thinking about why we make this the scheme are that: the person who wishes to reproduce Exhibition tips from Warakurna Artists: the works the opportunity to work art. • it applies to resales of existing and • Allow enough time for artists to together and agree on the way the work 11. Managing commercial relationships. new works can be used, including conditions such create high quality works. These are extremely valuable – art • it applies to a range of original as payment, production quality and • If you get new gallery requests, check centre managers are trusted and artworks, including limited edition acknowledgement. out the gallery with the Code and employed to nurture and maintain prints authorised by the artist your colleagues at other art centres. these relationships for the benefits The copyright owner is usually the • it does not apply to a private sale from Think also about the brand alignment of the artists and art centres. These artist. If the copyright is given to one individual to another of the gallery to the art centre. relationships are emotive and time- someone else (this is not usual), the • If you have to cancel a show due consuming – the ‘bread and butter’ • all resales of $1000 or more must be artist will no longer receive payments if to sorry business or matters out of of the art centre. reported the work is copied. Copyright lasts for your control, it’s unfortunate, but 12. Reputation. • a royalty is not payable if the person the lifetime of the artist plus 70 years. who is selling the work acquired it it’s not the end of the world, and not The types of uses you might be asked to before the start of the scheme your fault. It’s better to have a high- licence include reproducing an artwork (9 June 2010) quality show of amazing works than as a poster, in a book or magazine, a poor show. • a royalty is not payable on resales adapting it for use on clothing or • Your last show is what people under $1000 merchandise, street banners, rugs, remember. • the scheme will be extended to homewares, stationery, advertising, artworks from countries that have building hoardings, and making an similar schemes. artist’s work of art available online. 118 Art centre operations COMMERCIAL (MARKETING AND SALES) 119

Things to consider has useful resources on copyright and as you wish or you can leave it all to Resale Royalty Scheme), contact the licensing. Or you may prefer to use them - the choice is yours. Simply refer visual arts team on 1800 066 844 or Having made the decision that the maker a licensing agent such as Copyright any requests and they will ensure [email protected]. is a good match for the art centre and Agency. Check if the art centre is already the artwork is reproduced to a high the proposed use fits comfortably with a member of Copyright Agency: contact standard, correctly attributed, fairly paid how the artist would like to see their Working with the media 1800 066 844. and protected by a licence agreement. work used, the most important thing From time to time, the media will to do is to put the licence agreement in Requests for free uses Viscopy has agreements with state contact you for comments, interviews writing to avoid problems later. Things to and national galleries and museums, On occasion, you may be approached and information. Who is the art centre’s consider include: auction houses, publishers and other by individuals or organisations to use no. 1 spokesperson? Organise media organisations, which means registered • Who is the agreement with and are artists’ work for free. They will ask you training for directors and staff. Ask the artists receive payment for the use there any third parties involved? to sign a form to waive fees: a non- journalist what angle they will be taking of their work. As part of a worldwide exclusive licence, copyright clearance, and who else they’re talking to. If it’s • What is the artwork or selection of network of visual arts management image reproduction permission, royalty a phone interview, let the journo know works to be used and for what uses/ organisations, your artists may also free licence, licence release deed, deed you will be recording the interview too – products? receive licence fees for the use of their of agreement or waiver. We recommend it can help keep a story straight. Have • Specific quantities, time frames and works internationally. you consider every request carefully key messages and statements prepared territories in which the use can take as the artist is entitled to receive fees Copyright Agency is a not-for-profit and statistics at the ready. Think about place for reproductions of their artwork, organisation. There is no fee to join. To the most difficult questions that might • Negotiate a suitable fee and payment whether from a private corporation, cover the cost of the licensing service, be asked. Good media coverage impacts schedule public gallery and museum, or any an administration fee is deducted from on public opinion and adds value to the • Requirements for attribution and use organisation or individual. If your artists the income generated for artists. art centre’s brand. of the copyright notice are Copyright Agency members they For more information on Viscopy Now that your administrative and legal may already be receiving income via a • Avoid any vague or undefined terms licensing, the fee structure or any of issues are in check, get your money licence agreement with the requesting such as ‘promotion’ and ‘non- the services Copyright Agency provides story straight – maintain all your party, and these payments will not commercial’ uses to visual artists (they also manage contracts, make accurate records of continue if you sign a new agreement • Are they required to obtain your the statutory licensing schemes for transactions, and hence keep the art for free use. approval before any alteration is made Government and education and the centre economy sustainable. to the work? Viscopy licensing • Do you require approval and final Viscopy licensing is the Copyright samples? Agency’s dedicated licensing service • How complex is the agreement and for visual artists. Copyright Agency will you need a lawyer? works with art centres and their artists Don’t go into an agreement that doesn’t providing licensing services that respect feel right. Seek expert, professional help. the artistic and cultural value in works of art. The Viscopy licensing team are Managing licensing requests experts in rights management, with The licensing process can be simple experience across a wide range of uses or difficult: licensing requests vary and products from postage stamps widely. Depending on your expertise to building facades, and can handle Talking to the media is a great way to connect the artist and resources, you may wish to handle everything for you. They will work with a wider audience. Image: Tapatjatjaka Art and Craft. licensing requests yourself: Arts Law as closely with you and the artist/s 120 Art centre operations FINANCIAL 121 7. FINANCIAL Bookkeeping, accountants Make sure that your accountant or and auditors bookkeeper is available to talk you To be clear about commercial centre is vital. Never pretend that you through any financial issues. administration, finance and economic understand something that you don’t. Maintain your audit trail – test it weekly! activities, it helps to think about their Always ask your bookkeeper, accountant Your relationship with your accountant location: and auditor lots of questions. The figures or bookkeeper is paramount. Especially TIP: Financial management of the art in themselves are not enough: analyse in dealing with debtors: make sure centre is high pressured. Reporting the • commercial – in the marketplace, with them so you understand all aspects and that you follow up money due from money story to directors is a challenge. customers can manage any risks in a timely way. clients every month with statements. Make sure that the accountant pro- • administration – in the office and on Know how to read a balance sheet and If you have issues securing payment, vides plain English notations with your the computer a profit-and-loss statement. If you don’t talk to the Indigenous Art Code and reports. • finance – money transactions, at the know, watch a clip on YouTube, ask consider employing a debt-collecting bank and office, with customers and your accountant to walk you through agency. Remember how your financial artists step-by-step, come to a Desart financial software is integrated with SAM: make • economic – in the marketplace, management workshop or do some sure SAM is up-to-date, including artist with customers, with artists, with online tutorials. payments and entering paid invoices cross-checked with the art centre’s bank government: production, distribution, A lot of managers have a hard time account (use the SAM checklist on p. 94). consumption, all of it! wrapping their head around how and The difference between finance and when to apply GST. It’s important to get economy is that finance relates only to this right. The Australian Taxation Office Donations $ $ money: cash in and cash out. Economy has useful information: www.ato.gov.au. The Art Centre business model relates to the exchange of anything that Two sides 1) Artists 2) Art Centre has value. Balance sheet A balance sheet gives a picture of the DGR Account Special Financial management financial health of the organisation: $ Projects • assets – ownership of items that can Here’s a simple formula for financial Donatable Gift Other funding that be converted into cash Art Sales/ Recipient Status requires its own bank analysis of the art centre: debtor account, if stipulated payments • liabilities – items for which you are Banking and reporting to x number of artists paint y number committed to make payment Directors, Wages Art materials of paintings per year at an average of to Government, • accumulated surplus – total assets ART CENTRE Electricity z value = total revenue. to the Tax Office 2 Phone less total liabilities plus current year SAM – stories, art, money OPERATING Rent On a 60/40 split, 60% is paid to the artist profit arts database ACCOUNT GST Car/Fuel on the sale of the work and 40% to the • profit-and-loss statement art centre to operate the business. • revenues and expenses for a specific 1 ARTISTS’ On average, if x = 30, y = 20 and z = period of time ACCOUNT transfer Art Centre commission, GST, (money held in trust) Grant $ $500, total annual revenue = $300 000 • shows whether the art centre made non-art-sales (books, freight) weekly per year. Artists’ income would then or lost money during the period be $180 000 and art centre operational pay artist pay artist pay artist • revenues – cash inflow; other Interest $ contributions (pre-tax) would be enhancements of assets $120000. • expenses – cost outflow; loss of This is a recommended art centre accounts set-up. Diagram inspired The financial management of the art assets; liabilities. by a Desart professional development workshop presented by Tim Acker. 122 Art centre operations FINANCIAL 123 Financial strategies which the art centre needs funding, respective arts and cultural policies Creative Partnerships Australia has a make sure Desart staff know so that and funding. Check out the funding remit to create opportunities for art and The art centre’s revenue is most likely they can direct you to any potential programs offered by your State/Territory investment, bringing arts, donors and a mix of funded and activity-generated funding programs or sources, or work and make sure you’re signed up for business together. Its funding programs income. Relying only on government with you to build a case to lobby for their funding alerts, so you’re onto are financed by the Commonwealth funding and activity-generated income government funds on your behalf. opportunities quickly. These are the Government, and it offers coaching and (AGI) is not a sustainable financial channels through which – in a good mentoring to sharpen your fundraising 7 14 strategy for most art centres. Many art Government funding year – funding for capital works and skills and attract and leverage invest- centres set sales targets for their AGI. The majority of most art centres’ funded infrastructure come. ments.https://www.creativepartner- With funding: diversify and deepen, shipsaustralia.org.au/ income comes from the Commonwealth Arts NT and – as with everything – try to keep Government, in the form of operational it manageable. Relationships with https://dtc.nt.gov.au/arts-and- Crowdfunding funds (commonly salaries and on-costs museums/arts-nt funders, especially with those new for managers and art workers) through Crowdfunding can be spectacularly to the sector and/or your art centre, the Indigenous Visual Arts Industry Arts South Australia successful if you have excellent, require sustained communication and Support program (IVAIS ‘eye-vais’). The http://arts.sa.gov.au/ supportive networks, a brilliant and engagement to be successful. persuasive idea and plan, and the Department of Communication and Culture and the Arts (WA) human resources to power a consistent Keep abreast of fundraising the Arts also has funding programs that http://www.dca.wa.gov.au/ opportunities: if Desart’s regular support arts and cultural initiatives campaign. Popular reward-based funding e-blasts are not landing in your and activities, including Indigenous Regional Arts Australia (RAA) platforms include Pozible, Kickstarter, inbox, sign up for them now, and also languages and arts, exhibition tours, manages the Regional Arts Fund, GoFundMe, GiveNow and Chuffed. subscribe to all relevant government, festivals, and community heritage. See the Commonwealth Government’s Papulankutja Artists successfully raised philanthropic agencies’ and private https://www.arts.gov.au/. arts funding reserved for people funds to purchase a new transportable sector alerts. and communities in regional areas to use as its gallery after a fire damaged The Australia Council for the Arts of Australia. This includes a Quick its buildings a few years ago. But Be proactive. Make (and take!) (‘OzCo’) is the Australian Government’s Response grant program. (RAA also crowdfunding is not for everybody opportunities to build good arts funding and advisory body. It facilitates the biennial national Regional because it is labour-intensive and, if relationships with key staff at the art offers funding across all forms of Arts Conference.) you don’t reach your project target, it centre’s funding agencies and with artistic practice and all aspects of https://regionalarts.com.au/ can literally be a dead loss (and you can people who might lead you to new creation, development, production and damage the art centre’s reputation). The Regional Arts Fund is administered sources of funds in the future. Tap into distribution. It also has opportunities The pros and cons of crowdfunding are mostly by statutory bodies of State/ online fundraising information and open only to Aboriginal and Torres Strait nicely outlined in NAVA’s factsheet on Territory governments. Check out the resources to improve your knowledge Islander artists, including significant the topic. and skills. Most of the funders and professional development fellowships opportunities and resources relevant to agencies listed below have excellent for artists and emerging curators. OzCo your State/Territory: Creative Partnerships Australia offers resources on their websites and many also commissions industry research that Arts NT good information on crowdfunding, too. offer workshops and webinars to informs policy development. See http:// https://dtc.nt.gov.au/arts-and- It also manages the Australian Cultural improve fundraising knowledge and www.australiacouncil.gov.au. museums/arts-nt Fund, which is an arts-focused platform that lures donors with tax-deductibility skills. Country Arts SA Relevant departments of the NT, SA instead of rewards, and with this https://www.countryarts.org.au/ If there is critical infrastructure for and WA governments deliver on their platform, you actually get whatever Country Arts WA amounts have been pledged even if you https://www.countryartswa.asn.au/ don’t reach your project target.

7 When a government changes, so does all of its ‘machinery’: priorities, policies, and names of its departments and programs. The information here is thus subject to the political winds of change… 124 Art centre operations FINANCIAL 125 Matched funding organisations or projects similar to this side of the art centre’s business, • Understand how the art centre yours to get a sense of what a good too. Regularly share the art centre’s uses the income it receives from its Matched funding is increasingly funding match looks like. money story with all of the art centre’s commission so you’re able to clearly becoming the norm. Essentially, to be members in ways that allow them to explain that. eligible for some funding programs, you Creative Partnerships Australia can help understand. Use an interpreter. Put • Work with the directors to establish have to match the contribution you are connect you with philanthropic funders things in writing. Respect legal and and maintain artwork pricing seeking either from your own reserves and support you through the process. personal privacy requirements for each strategies and methods (see Pricing on or in-kind support, or by securing other Other sources artist. funding and/or in-kind support. It’s all pp. 109–10). about leveraging. Corporate partnerships are an essential There are two specific areas of an art • Regularly communicate the art part of the funding model for lots of arts centre’s money story that often cause centre’s financial position and how it Creative Partnerships Australia has and cultural organisations in Australia people to worry: why they haven’t compares with last year and earlier. a funding program called Plus1 that – but not many art centres yet. Creative been paid although their artwork has Know what is influencing whether it is puts you in the driving seat to run a Partnerships Australia offers tailored gone to a gallery, and why the price tag strong or weak. targeted fundraising campaign and advice and support in this area. was, say, $9500 but they got paid only offers (capped) funding to match your $3420. Follow the advice of a highly Art centre managers’ money story tips: fundraising. Other fundraising avenues include trust funds (e.g. the Namatjira Legacy experienced Desart director: ‘Explain ‘Undersell and over-deliver! By this I Philanthropy Trust works in partnership with the artists’ money story to them every mean: lower artists’ expectations. If Iltja Ntjarra Many Hands Art Centre) week, in English and in language.’ a painting is going to bring an artist Philanthropic trusts and foundations and social impact investing (Impact Here are some other points to consider: $1200 pay, say: You should get about have clear aims and strict guidelines Investing Australia has grants: https:// $1000. Then, when they get the extra on how they can distribute funds. impactinvestingaustralia.com/). • Don’t misuse your positional power. they are super happy, whereas if you Most will only fund applicants that • Be accountable and transparent say their pay is going to be $1200 and have Deductible Gift Recipient (DGR) with payment processes: involve it comes in at $1180, they will be very status, endorsed by the Australian Money stories the chairperson in the banking disappointed and might think you are Taxation Office. Getting DGR status can Misunderstandings around money can authorisation of payments and doing something wrong. If money is due be a really complex process but with be the no. 1 point of tension in an art don’t delegate your responsibility in two weeks, say one month; then, if it DGR endorsement, you can attract centre, so make sure you understand for authorising payments to your comes in in two weeks, they are super tax-deductible donations and tap into this area properly yourself. You’ll need bookkeeper or accountant. happy.’ philanthropic wealth. to get your head around the art centre’s • Every artist has a right to be kept ‘Be clear about the money If the art centre has DGR status, money story and how that relates to informed of their money story and story before people participate in check out the useful tips on Creative payments to artists and their money to decide on a payment strategy that anything, including painting. It doesn’t Partnerships Australia’s website for stories. Check the art centre’s procedures works for them and the art centre. have to be precise but if you are asking how to go about seeking philanthropic manual for financial processes, including (Don’t ever assume it’s okay to pay people if they want to go to Perth and funding. As they say, a good starting artists’ payments, and see Financial using purchase orders though – do inma (cultural performance), for point is to invest in a subscription to Management, pp. 120–1. Once you’re check the art centre’s policies and example, say that they will get about Philanthropy Australia’s Directory of across the money story, stay across it. procedures.) $500 pay each if that’s what it is, or Funders, a list of more than 200 grant- For the art centre’s money story, focus • Set a regular day for doing artists’ that there is no pay because this is for making organisations. Philanthropy on the knowledge of directors. They payments – not every day of the promotion etc. That way they can make Australia also offers grant-seeking have legal responsibilities that you week! Most art centres’ money story an informed choice. People have a webinars (for a modest fee). need to help them meet, and if they are day is Thursdays because that is a different relationship to money and can If you go it alone, research which well informed they can help you make common money story day for other misunderstand what is fair pay. If it’s philanthropics are investing in sure art workers and artists understand income earners in communities. talked about before the event, no one 126 Art centre operations FINANCIAL 127

gets let down. No good people thinking appreciate and purchase. This is despite From the outset, the Indigenous visual Second, basic income support that came they will get enough for a Toyota only to some tensions in the Indigenous domain arts economy was highly reliant on from the Community Development end up with $1000. That’s when people about the appropriate forms that art for state support and promotion primarily Employment Projects (CDEP) scheme for get angry.’ sale can take; and ongoing debates not because the marketing channels many artists from 1977 till its abolition just about authenticity but also about between remote living artists and in 2015. how to limit competition from ‘fake’ art metropolitan buyers were missing. From an Aboriginal perspective, the The Aboriginal arts that is manufactured without proper This situation provides the main production of art does not just reflect economy in the Centre: authority or licensing. A current (2017–18) basis for justifying ongoing public economic imperatives, although marketing and policy parliamentary inquiry into this issue is funding support for the sector. But it’s livelihood is of course of crucial struggling to come to terms with the important to remember that artists challenges importance; it is also about identity complexity of the Indigenous arts sector, have also made significant financial 15 and political representation. The arts JON ALTMAN* with this complexity explaining in part and other investments in the mediating represent a rare mixing of the cultural The Aboriginal visual arts economy the limited information available on the organisations that market their art. and the commercial, what renowned in remote and very remote Australia sector’s market size or its segmentation, Two institutions of Indigenous Australia anthropologist WEH Stanner once generally, and in the geographic nationally and regionally. What is have been central to the sustainability termed ‘the Dreaming and the market’, jurisdiction of Desart, can be best indisputable is that the arts are vitally of the sector. First, core support for art which seems to work. understood as a form of cultural important to the household economies centres that began in the early 1970s production destined for the market of artists. with funding from the Aboriginal Arts economy. But what is produced, and 2017 Telstra National Aboriginal and Torres Strait Historically the genesis of the sector Board of the Australia Council that hopefully sold, emanates from very Islander Art Awards winners, (L–R) Anwar Young, can be closely associated with a continues today under the federal human effort and complex social Frank Young and Unrupa Rhonda Dick, with their period of decolonisation of remote government’s Indigenous Visual Arts work Kulata Tjuta – Wati kulunypa (Many Spears – and cultural relations that are rarely Aboriginal Australia from the 1970s Industry Strategy (IVAIS) program. Young fella story). Image: Fiona Morrison, well understood by the buyers. The that is recognised today as a policy Museum and Art Gallery of the Northern Territory. production of visual arts specifically era of relative ‘self- determination’. for national and global art markets by Many policy changes during this period remote-living desert people has had a assisted to incubate Aboriginal arts short, complex and dynamic history. production and marketing including Artists in central Australia were among the granting of land rights, support the earliest players in the re-orientation for the outstations movement, and a and transformation of visual culture state willingness to countenance and from the customary ceremonial context facilitate alternate forms of livelihood to Western tourist and fine art markets. for Aboriginal people where they lived The Indigenous arts economy has been on country. Unfortunately, this benign an outstanding success because of an policy setting has changed considerably unusual commensurability between in the last decade creating significant what Aboriginal artists produce and challenges to the Indigenous arts what mainly non-Aboriginal audiences economy.

* Jon Altman is research professor at the Alfred Deakin Institute of Citizenship and Globalisation at Deakin University, Melbourne and an emeritus professor at the Australian National University. He has a long involvement in the Aboriginal visual arts sector, including chairing the 1989 review of the Aboriginal Arts and Crafts Industry that developed the framework for the still current IVAIS support model. 128 Art centre operations POLITICAL 129

But arts production is undertaken maintain the expressive authenticity of in difficult, often impoverished arts practice that is based on connection circumstances. And for many Aboriginal to country and custom. Government people, especially in the most remote support and art centre policy and regions, the arts represent the only practice will all need to be carefully means to earn cash beyond social crafted to recognise such realities with security income support. Hence some form of basic income for artists while the arts provide opportunity the top priority in my view. If arts to engage with market capitalism marketing institutions and income through the commodification of culture, support are sensibly structured and this engagement must be carefully governed, then the arts will continue to mediated and managed as it is risky make important contributions in many and liable to demand fluctuations. In places. Central Australia, there is a diversity of art styles and forms whose market popularity can rise or fall. And in recent years some key changes to institutional arrangements—especially in introducing the highly contentious Community 8. POLITICAL Joanna Byrne (Manager) and Charlotte Phillipus Development Program and its (Chairperson) having a meeting at Papunya Tjupi. associated and onerous work-for-the- Art centres in themselves are an Image: Rhett Hammerton, Desart. dole arrangements—have undermined expression of political power. That the potential viability of the sector. Aboriginal people continue to live on country and express their connection While the sector has faced enormous to country, in spite of colonisation, is and work with the art centre team to challenges from the Global Financial a political statement. Think about how embed self-determination in the art Crisis, changes to superannuation laws rock art and songlines and ceremony centre’s governance and management that make purchasing Indigenous fine and contemporary cultural expressions processes and in the art centre’s art as investment art less attractive, are brought into the judicial process internal culture. In the art centre’s and competition from the inauthentic during Native Title claims, too. external environment, this involves manufactured sector, it has proven engaging with politicians and other highly resilient. It would be wrong Political capital or political power can influential people, and the broader though to imagine that the arts will make a great difference to the art centre. political environment. At a minimum, be the only mainstay of remote Self-determination is a fundamentally this will include directors, artists and art Now you’re doing such a great job of the Indigenous economies. Not all people important right that you need to workers contributing their views to the finances and your art centre economy understand. It is about Aboriginal can be successful artists but in remote advocacy work that Desart conducts on is strong, you begin to notice that the people’s real decision-making power Indigenous Australia the arts will their behalf. art centre could do with a paint job, the and responsibility for what happens always be a significant component of packing table needs replacing, taking on on their lands, in their communities, complex hybrid or plural economies. volunteers would be good, maybe the in their governing systems, and in Governance Ensuring sustainability when faced art centre needs a flat or transportable? their development strategies – to make Governance is a big, broad, fundamen- with fluctuations in market demand The men have been talking about a people’s lives better in ways that they tally important term. It relates to kinship and changing buyer preferences is an workshop for carving … time to get want. Support your directors to exercise systems and traditional protocols, enormous challenge. So is the need to political and social. their governing powers in the art centre, leadership and also particular legislation. 130 Art centre operations POLITICAL 131 Aboriginal governance in the community Governance – keeping the will be based on traditional law and is mostly separated into women’s business art centre on track MAGGIE KAVANAGH and men’s business. Your role in this is to accommodate art centre’s members Art centres hold a special place in commitments to cultural activities and Aboriginal communities. They are one of respect cultural authority. the few spaces where local governance control is in the hands of Aboriginal All art centres should have Aboriginal people. decision-making at the centre of their operations: through legal incorporation, The most important message when a constitutional steering committee talking about governance is not to be or a subcommittee. As the art centre daunted by it. Simply put, governance manager, you are responsible for refers to: corporate leadership, which includes HOW YOU MAKE ALL THE SYSTEMS AND all the activities that support and assist directors in functional and transparent PROCESSES IN YOUR ART CENTRE WORK governance leadership and decision- WELL SO IT CAN STAY ON TRACK making. The governance space in Aboriginal arts The corporate governance of art centres centres is one of two-way governance. usually refers to corporations registered It reflects the reality of living under with ORIC (www.oric.gov.au). The Aboriginal and non-Aboriginal laws, Australian Government – Office of the cultures, rules and accountabilities. Registrar of Indigenous Corporations This means making sure governance offers training, resources, recruitment arrangements and practices reflect assistance and more for registered the self-determination of the artists, corporations. Not all art centres are members and community, while also registered with ORIC; some operate meeting the legal and compliance under a larger Aboriginal organisation, requirements and accountability of some are housed within regional or regulatory bodies such as the Office of local governments and others act as an the Registrar of Indigenous Corporations annex to a school or a non-government (ORIC). organisation. Art centres are at the heart of balancing Governance at the art centre is a mix the two world views – they sit in the of cultural authority, communal and middle. It is a constant balancing act collective decision-making, men’s and and one you have to keep working women’s business, and ORIC compliance, at. Working with people whose first such as ensuring member listings are language is not English and who have current and holding annual general limited literacy is challenging. Those meetings. who can do the balancing act well will have optimal outcomes and a happier Governance culture and environment. (Adapted workplace. from the Australian Indigenous Governance Institute’s Governance Toolkit: http://toolkit.aigi.com.au/) 132 Art centre operations POLITICAL 133

Managers and directors need to have a • Make sure directors and staff Managers should ask themselves www.oric.gov.au (ORIC) – templates good grasp about how the separation of all understand their jobs and constantly: Am I engaging all those who for governance activities such as powers work, between the governance responsibilities. If the art centre is have a stake? A key point for directors is minute-taking at meetings and useful side (the directors) and the management incorporated under ORIC, directors and that they should see their job as one of information. side (the staff, headed up by the the manager have legal duties. People stewardship. This emphasises their role manager). It is important to understand need to understand them. of taking care of the centre: the staff, TIP: Use the excellent, free Indigenous Governance Toolkit that’s online at that there is a strict boundary fence • Come up with a code of conduct – a artists, the resources and the future the Australian Indigenous Governance between the two sides. Everyone needs ‘working well together’ agreement direction. to be clear about the rules, roles and Institute: http://toolkit.aigi.com.au/ that is determined by and agreed to Most importantly for both managers responsibilities and to know who can by everyone. This is an important tool and directors there needs to be good do what – depending what side of the that can be used if things are going communication, trust and respect for boundary fence you sit. off track. If the art centre already has each other. This will ensure that every- Policy environment The following is a list of key good a code of conduct, review it with one is working in the same direction. governance practices for consideration. everyone. Lots of policy areas impact the art And finally, a reminder from Kofi Annan, It is not a complete list but it flags some • Make sure directors and artists are centre, including: Indigenous affairs, the former director general of the United key areas that managers can make clear about what resources the art arts, employment, health and business. Nations: sure artists, members and directors centre has and how they are used, e.g. There are times when you might need discuss and understand. Perhaps they staff, vehicle, infrastructure etc. Good governance is perhaps the single to read an arts policy (if you’re applying can be woven into meetings, induction • Talk about how to have good meetings most important factor in eradicating for funding that requires applicants to sessions or workshops – whatever and what are the best procedures. poverty and promoting development. meet policy priorities, for example) but works best for you. They will help build you don’t need to sit up at night reading • Agree about how best to make good Further information and resources up governance knowledge and capacity. government policy – Desart does decisions. about governance can be found at the Remember to always use plain English that! You do, however, need to make following websites: and not fall into the trap of speaking in • Develop a policy together about how sure that visitors to the community jargon. to manage conflict and complaints. understand the role of the art centre • Work out Money Story rules jointly and as the arts and cultural authority and • Decide on clear guiding principles that have clear rules about the process and a place of cultural legitimacy in the will steer the arts centre’s work and implementation. community. way of working. It is a good place to start as it reminds everyone why we • Make sure financial information is have art centres. presented to the directors in a way that they understand so they know • Everyone needs to be familiar with the financial position of the art centre their rule book – this sets out the (this is a legal duty). rules and makes clear what people can and can’t do. It’s a bit like the bible for • Involve everyone actively with the governance of the art centre. Go planning activities for the art centre. through it section by section and make • Talk about the wider environment so sure people understand what is in it. It people understand the bigger world will take a few attempts but it is worth in which art centres operate. persevering with this exercise. (Make sure that you, as the manager, have a When thinking about governance in firm understanding of your rule book art centres, it is good to be reminded Barbara Tjikatu Nipper with Chansey Peach MLA first.) that people support what they create. and Senator Malarndirri McCarthy, 2017. Image: Walkatjara Art. 134 Art centre operations POLITICAL 135 Political engagement advisors. Send through background But there are invariably multiple understand the scope and scale of information on the language and culture stakeholders and there is always the sector and what factors impact its If the art centre has government of the region. Offer to host an event: something at stake – and it’s not always sustainability. Some of the outputs funding for a project, then you probably a media conference, morning tea or something that can be anticipated. of this project are informing Desart’s also have a contractual obligation to performance. Work closely with your development of the SAM Database. And Develop a research policy with your invite to any project launch or opening chairperson so that they can provide the graph below is part of the useful directors (see p. 92) and never agree to a politician whose portfolio is aligned a ‘Welcome to Country’ and a tour of published outcomes that are available the art centre participating in research with your funding. Check your funding the art centre. Prepare a simple briefing online: https://old.crc-rep.com/research/ without the directors’ informed contracts and follow through on this. document with key issues and raise enterprise-development/aboriginal-and- consent. It’s a positive way of getting onto them with the minister. torres-strait-islander-art-economies/ political radars. Keep an eye out for the Australia project-outputs Talk to government ministers and their Research Council’s research reports. It has an advisors and those in opposition also. important role conducting research that Community politics Don’t be shy: tell them all about the art Whatever its stated goal, research is intersects with art centre work and the centre. This is an important part of art always political, even if not explicitly policy environment. In communities, as in all aspects of centre advocacy. so. It can produce data and evidence Recent large-scale research endorsed society, elites often step to the front. Be that might subsequently be used to by Desart was the Aboriginal and Torres aware that sometimes it is the little old When you receive notice that a influence policy and funding priorities, lady or man sitting on the edge of things politician is visiting the community, Strait Islander Art Economies project, or to contextualise or inspire an led by the Cooperative Research Centre who has the cultural authority. especially if their portfolio is directly exhibition project. Research reports for Remote Economic Participation (CRC- The political is tied closely to the social related to the art centre – such as the can be a great source of information REP). This national research investigated – or social capital. Minister for the Arts or Indigenous and data to inform art centre planning Affairs – get in contact with their the production and sale of Aboriginal or back your funding applications. and Torres Strait Islander art, focusing on remote art centres in order to better Key financial indicators for Western Desert art centres, 2004/05–2014/15. From: The Art Economies Value Chain reports; CRC-REP Research Report CR015, T. Acker, 2016, Ninti One Ltd.

The directors of Kaltjiti Arts hosting the Prime Minister, October 2016; L to R: Mantijanu Lennon (Director), Inawintji Scales, Skye O’Meara, Prime Minster Malcolm Turnbull, and Rowan Ramsey MP. Image: APY Art Centre Collective. 136 Art centre operations BUILT ENVIRONMENT 137 9. SOCIAL to check with the art centre’s senior TIP: Central to your role at the art centre artists, Desart and nearby art centres. is traversing and mediating between Some would argue that without social Friends of the art centre Relationships are complex, difficult worlds and cultures, artists and the capital an art centre will not work: you and valuable – contact Desart’s Strong marketplace, good deals and not-so- Most communities and art centres have need friends and supporters. Business Program for advice or to good deals, culture and commerce. long-standing relationships (friendships) request assistance and mentoring. Your relationships are the key. Social capital is made up of all those with people who have supported the valuable networks, friends and artists and the art centre. Often these supporters. It is nothing unless it is people (friends of the art centre) can activated – what is the point in the be frustrated with re-establishing 10. BUILT ENVIRONMENT curator at the National Gallery of relationships with new managers. Victoria loving the work from the art Your handover from the previous The built environment comprises all Step back and create room for directors centre if you don’t communicate? Stay manager and induction by Desart staff the artificial structures around you. and artists to lobby direct: in touch with all friends of the art centre We’re not covering all that here but read will provide you with guidance in ‘Get the money story budget early and keep them excited about the art on for advice about vehicles, driving this area. Call key people in your first from your staff – nA angu hate a late centre. Use social/digital media as part out bush, and how to tackle art centre week, introduce yourself and let them money story: it makes everyone of your communication strategy – see capital works and building projects. know you’re looking forward to their worried. It is hard for Anangu to see the tips on pp. 112–13. continued support and the exciting money for whitefella staff housing in ‘Observe as much as possible, and wait. times ahead. Capital works some communities where there are not Soon enough you will understand the enough houses for Anangu, but having Peak bodies and art centres in Central complex politics among artists in your good staff is so important for your art Unscrupulous people Australia work hard to lobby for govern- art centre and beyond into the rest of centre. And art centre staff will stay in ment funds for capital works and major community, and between communities There is also negative social capital: the community if you look after them infrastructure projects to improve art / among art centre managers in your think of that friend who offers you a with a decent wally [house].’ centre facilities, including staff housing. region and more broadly / among cigarette when you’re trying to quit Occasionally there are welcome funding Start planning on the ground so if curators/gallerists/collectors... You need or that person who always owes you injections: in 2017 the SA Government the funds come tomorrow you are to think carefully about yourself in money. Some people have a negative committed funds for security upgrades shovel-ready: secure the site as early these matrices – you are not invisible impact on the art centre and artists. for APY art centres, and the NT Govern- as possible. It’s better if everyone and you are being positioned by others, Be aware that some people may take ment rolled out several infrastructure in the community is sold on your so try to carefully position yourself.’ advantage of new staff to fabricate grant programs. For art centres in the NT, need for funding. Involve all relevant – Studio Coordinator, Tangentyere Artists relationships. Despite the work of the Aboriginal Benefits Account contin- stakeholders and encourage other the Indigenous Art Code, there are ues to be a primary source of funding for stakeholders to advocate on behalf of unscrupulous people in the industry, the art centre. TIP: At a Desart Art Centre Conference, major works. which is why it is very important to ‘from art centre to art centre’ was Identify suitable under-utilised and take relationships slowly. Be open and Tjala Arts in Amata made a presentation identified as the most important social unused housing or infrastructure friendly, but always seek the expertise at the 2012 Desart Art Centre Conference capital. The Desart network is 40+ art resources in community, and ask for of the art centre artists, governing about what they had learnt from several centre members strong. Activate it! use of it once a week for the rest of your committee and the Code. Your handover major infrastructure projects, including life or negotiate peppercorn rent. (We from the previous manager and an art centre building, and it is still very know of an art centre that negotiated a induction by Desart staff will also guide relevant advice: ‘Remember community lease that actually stated a cost of ‘one you in this area. – it is hard for Aboriginal people with dire housing needs to see infrastructure peppercorn’ per annum!) Always seek advice and take your time money going to whitefellas’ housing.’ in decision-making. It is important 138 Art centre operations BUILT ENVIRONMENT 139 Managing building projects The requirements for building and Consider employing an experienced In particular, heating and cooling planning approvals are complex project manager to prepare a concept systems can be very costly to run. You 16 SUE DUGDALE* and vary across the NT/SA/WA. It is design for you and get a ‘concept may have a ‘swampie’ now and feel that This information is intended to assist art important to follow the correct approval stage’ costing from a professional cost a ducted heating /cooling system would centres with capital works projects. It processes, so engage a building certifier consultant. Funding bodies like this be better, but obtain actual power is not an exhaustive list of things you’ll or other experienced consultant to level of preparation, and it also forms usage before making this commitment need to consider, and all projects are advise you on the requirements for the basis for good project management. and calculate the cost of electricity. If different. your project. Each state has a list of Obtain further costings at key stages you are undertaking a larger project, registered certifiers and architects. throughout the project. Ask your request an estimate of all maintenance Land tenure and authorities project manager to get an early-stage and replacement costs for the life of the How long will it take? First of all, find out the status of the costing from a qualified cost consultant building, showing an amount per year land you want to use, even if you are If there are no lengthy land tenure for your ‘whole-of-project’ costs. This from the start of occupation. already on it. If the land is not a formal issues to resolve first, a small project should include consultants’ fees, the 918 lot, there are many more issues you’ll (say up to $300000) might take 12 construction cost, authorities’ fees Got the funding! What’s next? months. A medium project (say up to need to deal with than are listed here. and charges, service connection costs, Once your funding is secured, act $1m) might take 18 months. A larger escalation, project contingency for promptly. A delay at the outset • Does the art centre own the land or project ($1m to $3m) might take two unforeseen items, administration and introduces unnecessary pressures and have permission to use it? years. Projects can easily take longer accounting costs, loose furniture and risks for meeting any funding deadlines. • Who has a say in how the art centre than this as there are many variables. equipment, IT fit-out and equipment uses the land? Whose permission do Ask other art centres to see how they Keep in mind that faster is not always and other items. we need? went about it and get their advice on better. Thorough is always good. If Transportables and ATCO-type buildings the consultants they used, and what • If the art centre has a building or land you’ve employed a project manager, are cheaper than a new build, but they would do differently if they were lease, check it for relevant clauses. they should be able to give you a they are also lesser in quality: you get starting again. • Consult the art centre’s directors, realistic timeframe. what you pay for. Transportables can other local senior cultural advisors Engage an experienced project manager; What will the build cost?8 17 be a satisfactory solution to a tight and/or community councils. budget and can sometimes be delivered get fixed quotes and a detailed You will generally get more value • Get AAPA clearance if required sooner than a conventional building. description of their services so you can from extending or altering an existing (NT only). Other costs will still be the same: make a well informed decision about building than starting from scratch. • It may not be possible to get services establishing land tenure, paying for who to employ. to all areas, and connections can be If your building project is a small service connections, creating disabled Set up your own processes in relation very expensive if the services are not one, seek advice from Desart on the access, so over a whole project budget to the project, including record keeping, nearby. Consult service authorities scope and cost of similar projects. Get transportables don’t save as much as accounting, contracts with consultants regarding connecting or upgrading professional advice and competitive may first appear. and contractors – make it thorough indicative quotes. Allow extra in your electricity, water and sewer services Can we afford to own it? enough for your organisation’s to your lot, what is involved, and an project budget for cost escalation. accountability and for handing over All buildings have ongoing maintenance idea of cost. Include service connection costs. to new staff if necessary (construction requirements and costs. The bigger the • If you are engaging a project manager, If you have a medium or larger project projects often outlive staff). building, the higher the costs. Consider you can ask them to follow up these in mind, quotes from a builder will not whether the art centre can afford to Be prepared for the amount of work approvals as part of their services. establish your whole-of-project costs. own a large building before proceeding. involved with a project even when you

* Sue Dugdale is an architect and project manager based in Alice Springs. 8 Most capital infrastructure grant programs will require three cost quotes. 9 See Financial Strategies on pp. 122–4. 140 Art centre operations BUILT ENVIRONMENT 141 have a project manager/architect on • Include a ‘defects liability period’ in Art centre vehicles diligence issues in transporting aged board. Your consistent engagement as your contract. A 12-month period is and frail people and getting them in and the client is key to the success of the standard in the construction industry. Also known as: Troopy, Toyota, Truck, out of vehicles. Motorcar, Mutuka, Mutekaye… Vehicles project. • Ask your project manager how they Important: please, please, please do a make community life go around. They The design process will manage issues of quality and 4WD course as soon as possible. standards. (Mandatory requirements are integral to getting in and out of the This is essential for your safety, the safety To get the most out of the design process, vary across NT/SA/WA.) All buildings community, visiting country, hunting, of your passengers and the maintenance establish who should be involved in it require maintenance on a regular ceremony, status and much more. of the vehicle. If you have done a course – a group of interested people including basis. Consider whether a perceived Mutukas are an important resource in the past, consider a refresher course. artists and staff can bring several ‘defect’ is really a requirement for in communities: they are often at the There are several training providers in perspectives and local wisdom to the ongoing maintenance and not the centre of intense humbug. Having a Alice Springs, including: project. Write your own brief: lists of fault of a builder. clear vehicle policy in place developed aspirations, functional requirements, • Direct 4WD https://www.direct4wd. Existing projects or projects ‘gone at the governance level will assist in items that need rectifying (if you are com.au/ (Jol Fleming) wrong’ looking after this art centre resource. starting with an existing building), • Charles Darwin University http:// When a vehicle goes on a trip it can even if all of the items don’t seem to go If you’ve inherited an existing building www.cdu.edu.au/ (VET course). together. project, review how far along the often get waylaid on other journeys. The You might’ve heard the phrase ‘kartiya project is and collate all relevant vehicle may be going to pick up an artist Invest time and resources in getting the (whitefellas) are like Toyotas (troopies) – records. Contact the project manager or drop off materials and all other sorts design right. Most design processes need use ’em until they break down and then (if there is one) and obtain a briefing of needs come into play: some open ‘brainstorming’ time, some get a new one’. It’s an expression heard on the project to date. If the project is critical evaluation, checking against the • transporting people across Central Australia and the Top End. running well, confirm the budget and budget, and some time for review. It’s okay! Troopies are highly valued: program and support the project to • passing on important news they have skin, take you hunting, Quality matters continue. • picking up and dropping off supplies provide kudos, bring babies home and • checking in on family How do I get quality construction that If the project has stalled or is not going take bodies to the grave. So it’s okay to won’t cause problems later? well, assess how many steps back • general checking up and cruising. be a ‘troopy’ – just make sure you check you can take to establish good project your rego annually and book in for a • Engage with the building You will need to choose early on management, including engaging a regular service! design during the planning and whether you stress out over these trips project manager, establishing a realistic documentation stages so that you or not. In reality, these community 10 19 project budget and scope of work. You Driving out bush do not need to make changes during needs will always exist – you just need may need to consult a lawyer, and you construction. to maintain some balance and fairness Before you drive off anywhere, at a bare may need to seek variations to any over the use of the vehicle to ensure minimum: • Use a builder who has a good funding agreements for the project. that it doesn’t go on hunting trips or reputation – find out by asking their • Check the spare tyres (two is a safe to neighbouring communities or in to previous clients. minimum) and make sure they are in town when it is needed for art centre good condition and properly inflated. • Have a thorough contract with your business. Contact the Desart Strong builder, even if they are a local Business Program if you want help to • Check the tyre pressures (on dirt community organisation. develop a vehicle policy. roads, your tyre pressure should be • Have your project manager or around 35kPa (5 psi) lower than on Be aware of duty-of-care and due someone experienced in the bitumen roads. construction industry check the builder’s work and administer the 10 Thanks to community workers Margaret and David Hewitt for some of this advice; between them contract. they have been safely driving around out bush for over 100 years. Art centre operations BUILT ENVIRONMENT 143 can – desert mud is like concrete when Road conditions and closures it dries. Check online for the latest road closure Let someone know where you are going information or call the community and the approximate time you expect to office, community services manager or arrive. Before departure discuss what police for local conditions. Remember steps they should take if they do not that there are penalties for driving on hear from you within an agreed time of a road that is officially closed. Roads your estimated arrival. Remember to can be closed due to flash floods, and call them on safely arriving! dirt roads can quickly turn into a boggy Avoid getting bogged like this! Image: Daniel mess. Featherstone, courtesy: Ngaanyatjarra Media. Don’t assume that you can travel at the same speed on gravel or dirt roads that NT: Call 1800 246 199 or visit www. you would on the highway – reduce roadreport.nt.gov.au. • Check the oil. • Likely to require greater stopping speed by at least 30 km/hour. Most SA: For road conditions through the APY • Know where the jack, jack handle, distances. accidents on gravel roads occur on Lands, contact local police. and wheel spanner is and have a The most common challenge you will bends in the road – slow down when chunk of wood to support the jack in encounter – other than vast distances approaching a bend, but do not apply WA: Some shires have online sandy terrain. A long-handled shovel – are the roads themselves. Deep sand the brakes suddenly. information, or contact local police or is useful, too. Check that the jack is can make steering unpredictable, Secure everything that is heavy and the community office. not broken. patches of ‘bulldust’ can be hard to likely to be thrown around in a rollover Roads can also be closed due to spot and are dangerous, gravel can • Practice changing a tyre (if you haven’t – especially if the vehicle does not have business or ceremony, usually in the make roads slippery, floods, washouts changed one on a 4WD before). a safety barrier behind the rear seat. summer months in Central Australia. and boggy mud can trap you, dense • Charge up the art centre’s satellite Always check with community roadside vegetation makes it hard to Don’t put heavy weights on a roof phone and/or EPIRB and make sure members before you plan to drive see cattle and camels, sharp objects rack or load it too high – this can raise you know how to operate them. anywhere over summer, so people can stake your tyres… Concentrate the centre of gravity and increase the have an opportunity to let you know • Take at least 20L of water with you hard! Always be on the lookout for chances of a rollover. whether it’s safe to do so or not. plus spare water. If you don’t need it, cattle, camels and kangaroos on the If you accidentally put petrol in a diesel Ceremony road closures may be someone else on the road might be road. Art centre members know their fuel tank, don’t start the vehicle. You’ll indicated by 44-gallon drums with a grateful for it. roads well and will probably be able to need to get someone to drain the tank, plank of wood, a pile of branches or • Carry enough fuel to get you to your spot wildlife long before you. Ask your otherwise you’ll seriously damage the large logs. Never enter these areas, destination if there won’t be a chance passengers to keep an eye out and warn engine. and if you accidentally get caught to refuel enroute. you of any dangers. If you are planning an off-road trip, in the wrong place, always follow Remember that a 4WD does not handle Take sun glare into account when perhaps for gathering bush tucker or instructions. You might be asked to like a normal passenger vehicle. Make planning your drives. It’s no fun visiting traditional sites, do not be huddle down so that you are not sure you know how to engage and driving straight into the sun – and it’s persuaded to drive in areas where tyres visible and are safe from the power of disengage four-wheel drive and what dangerous: the glare can cause real can be staked easily. things not intended for you. situations to use it in. A 4WD is: blind spots and strain your eyes. If you break down, stay with the If in doubt don’t drive. • Heavier and slower to respond to Avoid mud and water if you can. There vehicle. A missing vehicle is easier to your actions is a very real chance of getting bogged. find than missing people. • More inclined to roll over due to its If you do have to drive through mud, higher centre of gravity clean under the vehicle as soon as you Knowledge bank

In addition to links and references throughout the Guidebook, here we flag some things that will help you keep learning and stay on track in your job. It’s a selective smattering of books, journals, links and resources. There are so many wonderful exhibition catalogues, we could only include a few but they are essential for you and everyone in the art centre to look at – for inspiration and planning. Plus industry journals – try to budget for subscriptions. Remember to always keep looking, listening and learning! There are films, podcasts and so much more.

BOOKS, ARTICLES, LINKS About art centres The Art and Craft Centre Story: A survey of thirty-nine Aboriginal community art and craft centres in remote Australia, Desart, 2000 (Ask Desart to supply if the art centre’s set of three volumes is missing.) Australian Art Collector Magazine – Indigenous Art Centres Guide, biannual, 2017 etc. Painting Culture: The making of an Aboriginal high art, F. Myers, Duke University Press, 2002 Chapter 5, Burned Out Outback: Art Advisors Working between Two Worlds – a must-read for all art centre managers! Warlayirti Artists signage near Balgo. Image: Warlayirti Artists. 146 Knowledge bank BOOKS, ARTICLES, LINKS 147 Books from art centres Over 100 essays, inc.: ‘Aboriginal art and the art world’, ‘Becoming modern’, ‘Zones of engagement’, ‘Issues’, ‘Futures’. A fantastic resource! Billy Benn, C. Peattie et al, IAD Press, 2011 One Sun One Moon: Aboriginal art in Australia, H. Perkins and M. West (eds), Hermannsburg Potters: Aranda artists of Central Australia, J. Isaacs & C. Ngala AGNSW, 2007 Inkamala, Craftsman House, 2000 The Oxford Companion to Aboriginal Art and Culture, S. Kleinert and M. Neale (eds), Ikuntji: Paintings from Haasts Bluff, 1992–1994, M. Strocchi (comp.) IAD Press, 1995 Oxford University Press, 2001 Keringke: Contemporary Eastern Arrernte art, Keringke Arts, 1999 Papunya: a place made after the story: the beginnings of the Western Desert Painting on Country, K. Stevens, B. Tjalkuri et al, Tjungu Palya, 2017 painting movement, G. and J. Bardon, Miegunyah Press, 2004 Painting the Song: Kaltjiti artists of the sand dune country, D. James, McCulloch & Rattling Spears: A history of Indigenous Australian art, I. McLean, Reaktion Books, 2016 McCulloch + Kaltjiti Arts, 2009 Streets of Papunya: The re-invention of Papunya painting, V. Johnson, NewSouth Ngaanyatjarra: Art of the Lands, T. Acker and J. Carty (eds), UWA Publishing, 2012 Publishing, 2015 Nganampa kampatjangka unngu – Beneath the canvas: the lives and stories of the The Town Grew Up Dancing: The life and times of Wenten Rubuntja, Wenten Tjala artists, Tjala Arts (ed.), Wakefield Press, 2015 Rubuntja with J.Green, IAD Press, 2002 Tjanpi Desert Weavers, P. Watson (ed.), Macmillan, 2012 Tjungunutja: From having come together, L. Scholes (ed.), MAGNT, 2017 Stunning catalogue to a brilliant exhibition revealing the beginnings of the Western Warka irititja munu kuwari kutu: work from the past and the present: a celebration of Desert art movement. fifty years of Ernabella Arts, L.Partos (ed.), Ernabella Arts, 1998 On cross-cultural matters On Aboriginal art Adapting to Difference: Another Look at Aboriginal–Western Interactions, M.S. Bain, Aboriginal Art, H. Morphy, Phaidon, 1998 BookPal, 2011. Aboriginal Art, W. Caruana, Thames and Hudson, 2003 This is a great little book about how to approach problems in mutual understandings. Highly recommended. Aboriginal art and culture: an American eye, www.aboriginalartandculture. wordpress.com – a wonderful extant blog by the highly regarded Will Owen (dec.). ‘Blow-ins on the Cold Desert Wind’, K. Mahood, Griffith Review, No.15, 2007 https://griffithreview.com/articles/blow-ins-on-the-cold-desert-wind/ Across the Desert: Aboriginal batik from Central Australia, J. Ryan et al, NGV, 2008 When compliance requirements, endless acronyms, and ineffective meetings are ‘Art and Money’ by R. Hughes, 1984: www.compilerpress.ca/Competitiveness/Anno/ getting you down, read this. It’ll help you regain your sense of humour about Anno%20Hughes%20Art%20&%20Money.htm – great old article! some of the hard stuff. Art + soul: a journey into the world of Aboriginal art, H. Perkins, Miegunyah Press, ‘Entering the inter: Power lines in intercultural communication’, A. Carrillo Rowe, 2010 (TV series also) in The Handbook of Critical Intercultural Communication, T.K. Nakayama and R.T. Halualani (eds), J. Wiley & Sons, 2011, 216–26 Bell’s Theorem: Aboriginal art – It’s a white thing!, R. Bell, 2002: http://www. nd kooriweb.org/foley/great/art/bell.html Health Care and Indigenous Australians: Cultural safety in practice (2 edn), K. Taylor and & P. Guerin, Palgrave Macmillan, 2014 Contemporary Aboriginal Art, S. McCulloch, Allen & Unwin, 2001 ‘Kartiya are Like Toyotas: White workers on Australia’s cultural frontier’, K. Mahood, Desert Mob exhibition catalogues Griffiith Review, No. 36, 2012 How Aborigines Invented the Idea of Aboriginal Art: Writings on Aboriginal https://griffithreview.com/articles/kartiya-are-like-toyotas/ contemporary art, I. McLean (ed.), Power Institute of Fine Arts, 2009 A must-read account of the inherent contradictions and challenges you might face in your role: authentic, heartbreaking and funny. Read this before you leave home. 148 Knowledge bank BOOKS, ARTICLES, LINKS 149

Keeping Company – An intercultural conversation, C. Franks and B. Curr, Spencer Interpreters and translators: Northern Territory Aboriginal Interpreter Service Gulf Rural Health School: Universities of SA & Adelaide, 2007 (NTAIS) for NT, APY Lands, Ngaanyatjarra Lands: www.nt.gov.au Lost Conversations – Finding new ways for black and white Australians to lead Junyirri: A framework for planning community language projects, 2015, First together, G. Aigner et al, 2014 Languages Australia http://www.firstlanguages.org.au/images/Junyirri-2017-web.pdf http://www.benevolent.org.au/~/media/Benevolent/Lost%20 University of South Australia: Offers excellent Pitjantjatjara intensives for beginners Conversations/2014_1120_Lost_Conversations_web_final%20pdf.ashx every January. As Dr Tom Calma says, ‘…a very easy and thought-provoking read...’. http://www.unisa.edu.au/Education-Arts-and-Social-Sciences/Communication- Remote Area Health Corps (RAHC) Cultural Orientation Handbook, 2009 International-Studies-and-Languages/Pitjantjatjara-Language-Summer-School/ www.rahc.com.au/sites/default/files/RAHC_Cultural_Orientation_Handbook2013. Talking posters and books: http://www.onetalktechnology.com.au/ PDF#overlay-context=health-professionals.pdf Much of the content in our cultural orientation guide in this book was adapted from the RAHC Handbook, which is well worth reading in full. On selling and promoting art White Privilege: Unpacking the invisible knapsack, P. McIntosh, 1990, Ywca.org. How to Buy and Sell Art, M. Reid, Allen & Unwin, 2004. http://www.ywca.org/atf/cf/%7B6EDE3711-6615-4DDD-B12A-F9E0A781AE81%7D/ White%20Privilege%20Unpacking%20the%20Invisible%20Knapsack.pdf The art market: various journals and online resources are available, access the Desart library when you are in Alice Springs. Grants, awards, prizes, residencies: Desart’s regular e-blasts. Sign up if they are not On Aboriginal culture landing in your inbox! Also: NAVA’s listings (members only) https://visualarts.net. Every Hill Got a Story: We grew up in country /​ men and women of Central Australia au/opportunities/ and, for prizes and awards (free): https://www.art-prizes.com/ and the Central Land Council, M. Bowman (comp.), Hardie Grant, 2015. Iwenhe Tyerrte: What it means to be an Aboriginal person, M.K. Turner et al, IAD Press On business An illuminating and beautiful take on how ‘two cultures can hold each other’ by a highly regarded Arrernte leader. Australian Government’s business website: https://www.business.gov.au Listen Deeply: let these stories in, K. Kemarre Wallace & J. Lovell, IAD Press, 2009 Rural Communities: Legacy and change, C. and J. Flora, Westview Press, 2007 Traditional healers of Central Australia: Ngangkari, NPYWC, Magabala Books, 2013 Using Community Capitals to Build Assets for Positive Community Change. M. S. Emery, S. Fey, C.B. Flora, 2006, www.comm-dev.org Yuendumu Everyday: Contemporary life in remote Aboriginal Australia, Y. Musharbash, Aboriginal Studies Press, 2009 On laws and governance On languages Arts Law Centre of Australia https://www.artslaw.com.au/ Alice Springs Language Centre: Classes on offer usually include Arrernte and Arts Law Centre of Australia – Artists in the Black http://www.aitb.com.au/ Pitjantjatjara. http://alicespringslanguagecentre.com/ Australian Indigenous Governance Institute: www.aigi.com – a free multimedia Centre for Australian Languages and Linguistics: https://call.batchelor.edu.au/ online toolkit with excellent resources on everything from managing staff to First Languages Australia – peak body: http://www.firstlanguages.org.au/ dealing with conflict. Use it! IAD Press: https://iadpress.com/ Dream Shield Guidebook, IP Australia, 2011: http://www.iba.gov.au/wp-content/ Publishes and sells an excellent range of language resources for many of the uploads/2010/08/20131612_IP-Australia_Dream_Shield.pdf languages of Central Australia. Fair Work: workplace rights and obligations https://www.fairwork.gov.au/ 150 Knowledge bank PEAK INDUSTRY BODIES 151

Indigenous Cultural Protocols and the Arts, Terri Janke & Company, 2016: http:// • The Ian Potter Foundation www.ianpotter.org.au www.terrijanke.com.au/indigenous-cultural-protocols-and-arts • James & Diana Ramsay Foundation (SA focus) http://www.jdrfoundation.com.au/ ORIC: www.oric.gov.au – templates for governance activities such as minute- • The Myer Foundation http://myerfoundation.org.au/ taking at meetings and useful information; also offers governance training and • Social Ventures Australia’s Diversified Impact Fundhttp://www.socialventures. workshops (accredited and non-accredited) developed for Aboriginal and Torres com.au/ Strait Islander people. • Tim Fairfax Family Foundation (NT) http://www.tfff.org.au/ Personal Property Securities Register: http://www.ppsr.gov.au or call: 1300 007 777 Creative Partnerships Australia for resources, funding and assistance with or email: [email protected]. philanthropic approaches: https://www.creativepartnershipsaustralia.org.au/ Protocols for Working with Indigenous Artists: www.australiacouncil.gov.au Philanthropy Australia for tools and resources: http://www.philanthropy.org.au/ Safe Work Australia: https://www.safeworkaustralia.gov.au/ tools-resources/learning/ Visual Artists and the Law, 3rd edition, A. Clemens, 2015 https://www.artslaw.com. The Our Community group has helpful tips and information about most aspects of au/books/book/visual-artists-and-the-law/ funding and useful checklists for everything from negotiating funding to contracts. See https://www.fundingcentre.com.au/

FUNDING SOURCES & INFO PEAK INDUSTRY BODIES Desart’s Strong Business Program for general funding information and leads: [email protected] • Desart Inc. – Central Australia http://desart.com.au/ Key funding agencies that support art centres include: • Aboriginal Art Centre Hub WA (AACHWA) • Aboriginals Benefit Account (NT only) – https://www.pmc.gov.au/indigenous- http://www.aachwa.com.au/ affairs/grants-and-funding/aboriginal-benefit-account-aba-grant-funding • Association of Northern, Kimberley and Arnhem Aboriginal Artists (ANKA) • Arts NT – www.arts.nt.gov.au http://ankaaa.org.au/ • Arts SA – www.arts.sa.gov.au • Ananguku Arts – SA • Australia Council for the Arts – www.australiacouncil.gov.au https://www.anangukuarts.com.au/ • Indigenous Business Australia (IBA) – www.iba.gov.au • Indigenous Art Centre Alliance (IACA) – Far North Qld and Torres Strait https://iaca.com.au/ • Lotterywest (WA only) – www.lotterywest.wa.gov.au/grants • WA Department of Culture and the Arts – www.dca.wa.gov.au. Don’t restrict funding searches to the arts. State/Territory governments usually have funding programs for areas such as governance capability, tourism, economic development etc. Non-government investors in Australia that support Indigenous cultural initiatives include: • CAL (Copyright Agency Ltd) Cultural Fund https://www.copyright.com.au/ culturalfund/ • Gordon Darling Foundation (must partner with a public institution) http://www. gordondarlingfoundation.org.au/ • The Harold Mitchell Foundation http://haroldmitchellfoundation.com.au/ 152 INDEX 153

payments (SAM), 19, 94, 124–6 country, 37, 55–6 ndex I Resale Royalty Scheme, 64, 97, 117 Creative Partnerships Australia, 123, 151 residencies & workshops, 65–6 cross-cultural Page numbers in italics refer to Artbank, 114 selling direct, 102–3 photographs or diagrams. communication, 37, 42–6, 48–51 art centre/s wills, 64, 99 resources, 147–8 Aboriginal art industry a day in the life of…, 3–4 Arts Law, 17, 96–9, 101, 102 crowdfunding, 123 advocacy, 14–15, 106, 134 business areas, 29–31 asset register, 103 cultural beginnings, 12–14 business model, 121 Australia Council for the Arts, 13, 122, 135 authority, 14, 36, 43, 57, 65, 70, 131, 133, 135 economy and policy challenges, calendar, 32, 116 Australian Indigenous Governance avoidance relationships, 43, 45, 79 126–8, 133 conference, 20 Institute (AIGI) Toolkit, 78, 83, 85, 130, 133 factors, 43 government inquiries and reviews, 15 contractors, 79–80 balance sheet, 120 protocols, 36–8, 40, 47, 65 peak industry bodies, 151 governance, 96, 129–33 bookkeeper, 79, 121, 125 safety, 34–6, 71 research, 14, 134 health and safety, 81–2, 141–3 boundaries (workplace), 38, 51, 70, 72, 90 Cultural Orientation Guide, 39–54 accountants and auditors, 79, 121 infrastructure and capital works, advertising, 111 123, 137–40 building construction, 137–40 deaths, 52–3 advice, 45 legal issues, 96–9 business plan, 80, 90, 105 debt risk and management, 97, 101–2, 121 Desart ANKA (Association of Northern locations and regions, 10–11 capital works, 123, 137–40 Kimberley and Arnhem Aboriginal movement (history), 12–14 cataloguing artwork, 19, 50, 94, 95 advocacy, 14–15 Artists), 14 purpose and role, 2, 6 commissions and exhibitions, 114–16 Art Centre Conference, 20 art rule book, 132 communication, 37, 42–6, 48–51 Art Worker Program, 17–18 audience connection, 62–3 social capital, 136 community life, 41–2, 46–8 Cultural Orientation Guide, 39–54 cataloguing, 19, 93–5 staff management, 67–89 conduct events, 20–7 development, 59 team, 1, 75–9 code of, 14, 83, 132 historical context, 12–14 exhibitions and commissions, 114–16 websites, 110–11, 113 personal and professional, 46, 74 members (map), 10–11 market, 108 vehicles, 141–3 unscrupulous, 136 services for, 16–19 marketing and publicity, 110–13 volunteers, 80–1 conflict and disputes, 83 Photography Prize, 15, 26, 27 mediums, 57, 59–60 art workers, 17–18, 75–9 Connecting Up Discount program, 103 SAM (Stories Art Money) Database, 16, materials, 59–60, 60–1 19, 93–5, 121, 156 artists consignments, 94, 97, 101–2 technical ability, 58 Service Register, 79, 80 biographies, 94, 95 consent (informed), 50 residencies and workshops, 65–6 Strong Business Program, 17 career development, 64 contracts, 74, 79, 97 pricing, 109–10 copyright, 96–7, 98, 117–19 Desert Mob, 15, 16, 17, 20–5, 109, 111, 116 collaborative projects, 65–6, 97, books, 145–9 99–101 Copyright Agency, 117–19 directors valuing, 57–8 money story, 124–6, 132 counselling service, 16, 17, 90, 156 tips from, 7, 33, 91 154 INDEX 155

governance, 17, 131–3 handover, 89, 136 money stories, 121, 124–6, 132 resigning, 88–9 disputes and conflict, 83 healers (traditional), 53 NAVA (National Association for the resources (books etc.), 145–51 Visual Arts), 14 dogs, 47, 54 health and safety, 47, 81–2 road conditions, 143 ORIC (Office of the Registrar of Indigenous dress (clothing), 47, 48 human resources (HR), 16, 67–89 safety, 47, 81–82 Corporations), 32, 88, 90, 131, 133, 150 driving out bush, 82, 141–3 humbug, 38 vehicle, 141–3 partnerships (corporate), 124 elders, 51–2 ICIP (Indigenous Cultural Intellectual SAM (Stories Art Money) Database, performance reviews, 68, 85 Property), 15, 33, 36, 65, 96, 99–101, 150 16, 19, 93–5, 121 email etiquette, 103–4 permits, 55 Indigenous Art Code (IAC, the Code), 14, checklist, 94 employment 74, 96, 102, 105–7, 136 Personal Properties Security Act, help and support, 156 legislative requirements, 67–8, 79, 96 97, 101–2 Indigenous Visual Arts Industry Strategy scams, 102 contracts, 74, 79, 80, 97 (IVAIS), 67, 79, 122, 127 philanthropy, 124 scope creep, 90 exhibitions industrial award, 67 Philanthropy Australia, 124, 151 self-care, 72, 82 and commissions, 114–16 interpreters, 74, 149 photography and filming, 51, 55, 92 silence, 50, 74 consignments, 94, 97, 101–2 invoicing, 94 planning, 29–32 social media Desert Mob, 20–3 kinship, 45 policies and procedures, 51, 91–2 policy, 92 factionalism, 41 avoidance relationships, 43, 45, 79 political engagement, 134 tips, 110, 112–13 Fair Work, 85 IT (information technology) politics, 41, 71, 129–34 sorry business, 52–3 fights, 83 hardware and software, 103 community, 135 succession plans, 88 filming and photography, 51, 55, 92 service and support, 17, 156 power (balance of), 35, 49, 67 time, 50–1, 74 financial strategies, 122–4 land councils, 56 pricing art, 109–10, 125 tips from managers and staff, 7, 71–3, four-wheel driving, 82, 141–3 languages, 37, 48 procedures and policies, 51, 91–2 125–6 funding, 122–4 resources, 148–9 professional development, 17, 18, 85, 87 Tjukurpa, 37, 55, 57, 66 contractual obligations, 79, 134 legal issues, 74, 96–9, 125 projects training information, 16, 150–1 licensing, 97, 117–19 collaborative, 65–6, 99–101 4WD, 82, 141 IVAIS, 67, 79, 122, 127 listening, 7, 35, 37, 55, 67, 71, 85, 90 community-driven, 65 first aid, 82 funerals, 52–3 management essentials, 90–1 publicity and marketing, 110–11 SAM, 93, 95 galleries and dealers managers and coordinators resources, 149 trauma (understanding), 84–5 complaints, 106 tips from and for, 7, 71–3, 125–6 reciprocity, 51 travel, 104 consignments, 94, 97, 101–2 marketing and publicity, 110–11 recruitment, 88–9 Viscopy (Copyright Agency), 118–19 relationships, 108, 114–16, 136 resources, 149 Regional Arts Australia, 123 volunteers, 80–1 trading terms, 102, 106 media (working with the), 119 relationships, 51, 69–70, 72, 136–7 workplace culture, 38 governance, 17, 97, 129–33 meetings, 50, 71, 74–5 Resale Royalty Scheme, 64, 97, 117 underperformance (staff), 85 grants management, 92–3 ngangkari, 53 research, 92, 112, 134 unscrupulous conduct, 70, 106, 136 156

Help! I NEED SOMEONE, NOT JUST ANYONE! Important contacts – fill out this list and punch these contacts into your phone.

Desart: (08) 8953 4736 My nearest art centre buddies: http://desart.com.au/ Strong Business Program: ……………………………………….…… [email protected] ……………………………………….…… Art Worker Program: [email protected] ……………………………………….…… SAM Database: [email protected]

SAM technical support: Art centre chairperson: [email protected] ……………………………………….……

IT technical support (for Desart Community office: members): Tim Treloggen 0402 210 957 ……………………………………….…… Counselling service (for Desart members) – EASA: 1800 193 123 Community clinic:

Indigenous Art Code: ……………………………………….…… CEO – Gabrielle Sullivan: 0438 637 862 [email protected] Police: https://indigenousartcode.org/ ……………………………………….…… Arts Law Centre of Australia: (02) 9356 2566 / 1800 221 457 www.artslaw.com.au and www.aitb.com.au Well done! You have made it to the end of the guidebook. Copyright Agency: the visual arts team on 1800 066 844 Now you know lots more about working [email protected] in art centres. Kele. https://www.copyright.com.au/ If there is anything we should include Note: Contacts provided are correct at in the next edition of this Guidebook, publication but subject to change. please email [email protected] Manage an art centre in Central Australia. It’ll change your life!

Central Australia is widely regarded What values are you bringing? How as the birthplace of the contemporary will this job change you? What will Aboriginal art movement. Artists here your legacy be? continue to transform art and cultural To work at an Aboriginal art centre is expression, and their art centres are a a privilege: an opportunity to work vital part of community life. with world-famous artists and be This third edition of the Desart Art part of art history in the making, and Centre Guidebook is for managers and to live in an Aboriginal community coordinators of Aboriginal art centres and learn about Aboriginal culture in Central Australia. It is also for first hand. It is a prestigious, exciting everyone who works – or aspires to job. You need to be flexible, resilient, work – in an art centre. organised and smart. You must be fair and respectful. Whether you’re a highly trained artist with a head for business or a Re-read this guidebook as you rise to successful business person who is meet challenges. It will help you to passionate about art, you’ll do the have the most rewarding professional job better if you read this guidebook. experience of your life! It includes an overview of Desart’s member services and support, and a wealth of practical information and insider tips to guide you in the choices and decisions you’re going to be making.