Online Form Submission

Title: Museum of Australian Indigenous Art (MAIA)

Details:

Please refer to attached document. PIERMARQ* ART ADVISORY

PIERMARQ We would like to express our appreciation for the How this proposal is different Next steps * opportunity to present this submission to UrbanGrowth INTRODUCTION ART ADVISORY NSW to articulate our proposed project, the Museum of As highlighted in this prospectus, it is proposed that the Funding and/or support of this proposal is required to Australian Indigenous Art (‘MAIA’) and how it could be museum will be operated on a not-for-profit basis with all further advance this project. Specifically, the next steps Call for Great Ideas implemented within the Bays Precinct for the betterment returns being reinvested into indigenous artists, for this venture include: of the area and the NSW economy. communities and charities. - The Bays Precinct ► (if funding is not provided by government) to go to We understand that the Bays Precinct is of strategic To achieve this goal we believe that this project needs to the market and seek philanthropic financial support importance to Sydney to support the projected growth in be developed with (1) no debt/ongoing cost associated necessary to support this project. population and businesses that the city will experience in with the museum accommodation, and (2) minimise the the near future. ongoing costs associated with the museum’s operations. ► Undertake a detailed design process and gain the relevant government and building approvals To support its sustainable development, the precinct will This coupled with the fact that all works will be sourced have to be developed in a manner which supports a range on a donation, loan or low cost rental basis means that ► Take the project proposal to relevant wider of activities to ensure that it becomes both an attractive the museum will operate on a net-zero cost to community and government stakeholders to obtain place in its own right as well as an integrated part of government and ensuring that the project can maximise buy-in to the project and its integration into the Sydney CBD. We believe that this can be achieved, the returns to the aforementioned stakeholders. community amongst other initiatives, through making the precinct a vibrant tourism destination. A significant amount of art work necessary for the If you too believe that because of these synergies that the development of the museum have already been sourced government would like to support this project we would We believe that our project could provide the Government and earmarked for this project. be very keen to discuss it with you further. Museum of Australian with a cost effective means of achieving the strategic goals for the development of the precinct whilst also providing a Requirements to commence operations Kind Regards, wider social and cultural benefit to the city and the nation. Robert Russell To make this proposed project a reality we require access Director - Piermarq Art Advisory Introducing the proposed project - Museum of to approximately 4,000 m2 of gallery equivalent floor Indigenous Art Indigenous Art (MAIA) space. This prospectus outlines a vision to develop a privately As highlighted above, to ensure that there is no material operated and managed museum that celebrates ongoing cost associated with the accommodation of the contemporary Indigenous art, history and culture. Call for Great Ideas - The Bays Precinct museum (i.e. to reduce the burden of costs from this not for profit project) we are seeking assistance, in the form of It is proposed that this gallery, once complete, will be the either funding or financing to access/develop the relevant prominent centre for viewing the very best indigenous art museum space. JULY 2015 work, providing an unrivalled first-hand insight into the diverse culture and history of ’s first inhabitants. This prospectus outlines the potential for the development of a pontoon/pier style building to Visitors will be ensured of an exciting, educational and accommodate the museum that could be integrated into thought provoking experience with modern interactive the Bays Precinct. technology, refreshing temporary and permanent exhibitions as well as the potential to learn and interact with various modern day artists/decedents who will be involved with the operation of the facility.

PIERMARQ ART ADVISORY PTY LIMITED JONES BAY WHARF, SUITE 48, 26-32 PIRRAMA RD, PYRMONT NSW 2009 T +61 2 9660 7799 [email protected] www.piermarq.com.au

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PIERMARQ* PIERMARQ* ART ADVISORY ART ADVISORY

Background and context Museum of Australia Indigenous Art – “MAIA” The benefit from this investment CONTENTS An introduction to the project – The Museum THE MUSEUM Historically the services provide by museums have been Aboriginal art provides a snap shot of the history of this It is expected that this project will deliver a range of funded and delivered by governments. However, this ancient land - with each painting telling a story handed benefits to the local and national economies, including: - Creating a unique model has been plagued by a range of failures including: down through generations. The current generation of Supporting the Bays Precinct and world class aboriginal artists is the last of the traditional ‘first contact’ 1. Drive tourism to support the local economy – This ► Stakeholders serving self-interests elders whose craft will soon be lost. cultural experience museum could be the magnet to support the Bays Precinct as a tourist destination within ► Lack of appropriate incentives resulting in inefficient Considering of existing ‘first contact’ artists, it is Sydney, supporting local businesses and the The proposed development – the building operations and underperformance likely that there are limited opportunities remaining to amenity of the precinct as a whole. access/acquire and preserve such authentic indigenous ► Service offerings which fail to keep in touch with artworks. 2. Promote art and cultural inclusiveness – We The proposed operational model local communities, attract tourists and generate an intend to generate opportunities for locals and acceptable level of social and economic returns The establishment of a dedicated contemporary tourists alike to experience a range of artistic indigenous museum - the first in Australia - will provide a mediums from around the world in one location ► Lack of philanthropic support and reliance on means for all Australian’s to celebrate our history and the ‘bottomless’ Government pockets. contribution of the indigenous people whilst protecting 3. Supporting the wider arts community – This these national treasurers (which are increasingly being development will provide artists with the ability In light of this, globally the model has begun to change – sold overseas). These museums will also provide a to earn ongoing rental returns on their assets notably within Australia through the development of the sustainable mechanism in which to provide returns to Museum of Old and New Art (MONA) in Hobart, Tasmania. future indigenous generations. 4. Reinvestment of returns back into the community – The museums will be not-for-profit. All MONA has provided the public with the opportunity to MIA will incorporate the most significant works to have operating net surpluses that are realised will be experience an art medium and form that would never been completed by a select number of Australia’s reinvested into local and national community have been available in a publicly funded museum. internationally renowned contemporary aboriginal artists. groups and charities. This museum will be regarded as the premier collection of This operating model has had significant success - MONA Australian indigenous works. These works of immense Furthermore, the next section of this prospectus outlines attracts approximately 300,000 admissions and earns historical importance have been collected over the better the localised benefits that could be achieved through approximately $4m per annum. part of the last 30 years including masterpieces from such locating such a museum in the Bays Precinct. prominent artists as Tommy Watson, Mrs Bennett, Emily It is our understanding that despite this level of interest Kame Kngwarreye, Naata Nungurrayi and Freddie Timms. and throughput that the museum currently operates at a loss of approximately $3m per annum which is primarily An introduction to these artists and a snapshot of the attributable to the financing costs associated with the works that we have already sourced for this museum can construction of the $65m building. be seen in the overleaf pages.

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THE MUSEUM Naata Nungurrayi Tommy Watson George Tjungurrayi THE MUSEUM Yinarupa Nangala Ronnie Tjampitjinpa Naata Nungurrayi is the most notable living female Tommy Watson (1935 - present) is unanimously regarded George ‘Hairbrush’ Tjungurrayi remains one of a handful Yinarupa Nangala started painting in 1996 and has Ningura Napurrula commenced painting in 1995, and Ronnie Tjampitjinpa was born around 1943 at Tjiturrunya, Aboriginal artist, whose works achieve auction records as Australia’s greatest living aboriginal artist. present at in the 1970’s at the genesis of recently leaped into the international public eye, gaining completed her first paintings for Artists in approximately 100km west of the Kintore ranges in - Creating a unique well over $200,000. contemporary Aboriginal art. In his work, rhythmic and - Creating a unique recognition in the contemporary art world. In 2010 she 1996. She has since exhibited regularly,. In 2003 Ningura . Following an extended drought in the and world class As one of the last of the first-contact people alive, Tommy organic parallel lines pulse across the canvas, gaining the and world class received an honorable mention at the 36th Alice Art Prize, was chosen along with four other Papunya Tula Artists to 1950s, Ronnie's family moved to Haasts Bluff and then on Born in the desert around 1932 and raised in an orthodox (a Pijtantjatjara elder) lived a traditional aboriginal and attention of contemporary art collectors from across the a National Contemporary Art Award, and more recently have one of her paintings represented on an Australia to Papunya where he grew up. cultural experience tribal life, Naata’s paintings depict sacred women’s sites nomadic life in the harsh desert 1700km north east of globe. In 2007, 2014 and 2015 he was justly named as one cultural experience she was a finalist for the prestigious Wynne Prize in 2014 Post International Stamp. In 2004 Ningura was one of and ceremonies in the Kintore and Kiwirrkura region, but and had no contact with western culture until he of the ‘Top 50 Most Collectable Artists’ by the Australian at the Art Gallery of NSW, Sydney. Her work has been eight artists selected to have an example of their work Papunya was a government experiment under the policy also patterns associated with ritual body painting. Naata was in his mid-teens. Art Collector magazine. exhibited extensively in Australia, but also featured in incorporated into the architecture of the Musee du quai of assimilation where mixtures of tribes were thrown is one the few female tribal elders to have permission to shows in Europe and the United States. Branly in Paris. Her work can also be found in the together into one community. It was hardly an ideal way paint certain features of her ‘tjukurrpa’ (ancestral stories). Tommy commenced the expression of his cultural Raised in a nomadic existence prior to his first contact collections of the Art Gallery of , the to grow up and gave rise to the desire of Ronnie and Her ability to combine traditional icons prized in early knowledge, experiences and spirituality through painting with western culture, George Hairbrush Tjungurrayi has Yinarupa lives at the Kiwirrkura Community in Western National Gallery of Australia and the Griffith University Art many other artists and residents to move back to Papunya works, with increasingly vibrant colour and relatively late in his life and has only been creating perfected a minimalist and abstracted style of painting Australia and is related to several internationally Collection. Ningura passed away in 2013. there home lands. Whilst in Papunya, Ronnie started decisive composition, continues to drive her success, investment-grade works of art in the last 14 years. based on stories and sites of his ‘country’ around renowned artists, being the sister of artist Ray James painting in the early to mid 1970s. He moved to Kintore in Kiwirrkura, near Lake Mackay in Western Australia. His Tjangala, daughter of late Anatjari Tjampitjinpa (former There is a strong narrative element to Ningura’s painting. the 1980s, shortly after its establishment, fulfilling his Her work is internationally sought-after and was named In that time his rise has been nothing short of paintings symbolise the ancestral journeys and shareholder of Papunya Tula Artists), and by marriage Her use of a limited palette emphasises the structural dream. among the Top 50 of Australia’s Most Collectable Artists in astronomical. Today Tommy’s works are held the most ceremonial body paint intrinsic to his culture. George is related into George Ward Tjungurrayi’s and Willy elements of her work and slight tonal variations of cream the Collector in 2004 (issue 27, Jan-March). important Australian and international museum and the brother of renowned female Aboriginal artist Naata Tjungurrayi’s families. and white move the viewer’s eye around the surface of Ronnie's style tends towards simple, geometric shapes In 2003, Naata was chosen to have one of her paintings gallery collections as well as a number of prominent Nungurrayi (c. 1932) and is revered as one of the senior the paintings. Ningura’s paintings often relate to the and bold lines. He explores the themes of water represented on a special edition of an Australia Post private collections in Australia, New Zealand, Singapore, exponents of men’s Pintupi painting movement. The iconography and shapes in the paintings of Yinarupa rockhole sites of Wirrulnga and Ngaminya, which are east dreaming, bushfire dreaming and the cycle. Tingari international stamp. China, Germany, France, The Netherlands, Italy, Nangala represent the features of the country through of Kiwirrkurra. The site of Wirrulnga is associated with are the legendary beings of the Pintupi people that Switzerland, Canada and the United States. George Hairbrush Tjungurrayi was a finalist in the Wynne which her female ancestors travelled as well as the bush birth. At these sites spun hair-string is made to form travelled the desert performing rituals, teaching law, Naata’s work is included in all important public and Prize, the annual award for ‘the best landscape painting of foods they gathered. Her style is characterised by a nyimparra (hair-string skirts), which are worn during creating landforms and shaping what would become private collections nationally including the NGA, NGV, In recent years Tommy’s work has gained further national Australian scenery’, in both 2007 and 2014, and again this traditional Pintupi dot technique and evokes an instinctive ceremony. ceremonial sites. Ronnie Tjampitjinpa was the winner of AGNSW. Moreover, her work is exhibited internationally; acclaim and recognition with the release of a number of year as the only traditional Aboriginal artist represented sense of space, referring to significant topographic sites of the 1988 Art Prize and is shown in numerous in Europe at The European Fine Art Fair (TEFAF) Maastricht major book publications, the construction of a hotel in his in the Prize. her homeland Mukula, south-west of Jupiter Well in major public and private galleries worldwide. He is and PAN Amsterdam, but also extensively in the USA: at name in and many national magazine and Western Australia. married to Mary Brown Napangardi and currently resides Art Miami, Art Silicon Valley (San Francisco), Art newspaper articles. Internationally Mr Watson is one of in Alice Springs and Kintore. Southampton and the prestigious Armory Show in New the only Australian artists to have been exhibited at two York. of the world’s most prestigious art fairs - TEFAF in Maastricht and Art Miami.

Naata Nungurrayi, Untitled (Marrapinti),2012, Acrylic on linen,183x244 cm Tommy Watson, Walunja, 2013, Acrylic on linen, 153 x 244 cm. © Yanda Ar George Tjungurrayi, Untitled, Acrylic on Linen 153x183cm Yinarupa Nangala, Women's Ceremony, 2014, acrylic on linen, 153 x 244 cm Ningura Naparrula, Untitled Acrylic on linen, 183 x 244 cm. Ronnie Tjampitjinpa, Untitled, Acrylic on Linen 153x183cm

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PIERMARQ* PIERMARQ* ART ADVISORY ART ADVISORY

THE MUSEUM Furthermore the collection of work that we currently have access to also incorporates a large number of SUPPORTING THE We believe that this project could allow UrbanGrowth and the NSW Government to achieve its goals some of Australia’s best regarded artists (other than those highlighted above), including: and objectives to develop a vibrant and liveable Bays Precinct. - Creating a unique BAYS PRECINCT Below we have highlighted a range of benefits that would be realised by locating a world leading and world class museum within the Bays Precinct. cultural experience ► Bombatu Napangati ► Maxie Tjampitjinpa ► Long Jack Phillipus Tjakamarra Supporting tourism to Sydney ► Charlie Tjapangati ► ► Mick Namarari Tjapaltjarri Old Mick Tjakamarra through the creation of a Potential for the world class museum and the ► Charlie Wallabi Tjungurrayi ► Nyilyari Tjapangati ► Anatjari No. 1 Tjampitjinpa development, as proposed in establishment of unique arts this prospectus to support ► ► Patrick Tjungurrayi ► trail through Sydney CBD - linking the bays with the CBD from the NSW Arts Gallery through ferry operations ► Eileen Napaltjarri ► Ray James Tjangala ► Dinny Nolan Tjampitjinpa through to Barangaroo and onto the Bays. ► Elizabeth Marks Nakamarra ► ► Old Walter Tjampitjinpa

► Esther Giles Nampitjinpa ► Warlimpirrnga Tjapaltjarri ► Uta Uta Tjangala

► George Ward Tjungurrayi ► Willy Tjungurrayi ► David Corby Tjapaltjarri

► Hilary Tjapaltjarri ► Winnie Nakamarra ► Mick Namarari Tjapaltjarri

► Johnny Yungut Tjupurrula ► ► Clifford Possum Tjapaltjarri

► Joseph Jurra Tjapaltjarri ► Walangkura Napanangka ► Tim Leura Tjapaltjarri

► Josephine Napurrula ► Yukultji Napangati ► Billy Stockman Tjapaltjarri Opportunity to create a unique public space, which if ► Kawayi Nampitjinpa ► Yuyuya Nampitjinpa ► Timmy Payungka Tjapangati integrated into the wider MIA will create a public space area will improve the that will benefit the local ► Nyurupayia Nampitjinpa aka ‘Mrs Bennett’ ► ► Yala Yala Gibbs Tjungurayyi amenity of the whole Bays community through grants ► Kenny Williams Tjampitjinpa ► ► Precinct to the betterment of and charities Shorty Lungkata Tjungurayyi local businesses and ► Kim Napurrula ► Paddy Bedford ► residents

► Kutungka Napanangka ► ► Johnny Warrangkula Tjupurrula

► Lorna Brown Napanangka ► Napangardi ► Anatjari Tjakamarra

► Lorna Napanangka ► ► Freddie West Tjakamarra

► ► ► Charlie Tjakamarra

► Freddie Timms

MIA would act as an There is an opportunity “attractor of activity” within through this project to put the region the museum will the Bays Precinct on the map directly support a range of as a cultural hub of Sydney hospitality and retail and Australia employment opportunities

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The proposed The proposed Operational model Art works The return provided to the artists and/or owners of the works will be provided as a percentage of profit and the It is proposed that the entity managing the museum will Rather than purchasing works of art to be incorporated value of total works in the museum’s collection with a cap development - operational be established as a not-for-profit organisation. Therefore within the museum (which is the typical manner in which on the maximum return that the art can receive in any all revenue generated by the museum (i.e. entry fees) over museums acquire a large proportion of their collections), Building the model given year. and above operating costs (including a return provided to it is proposed that this museum will acquire the rights for Museum the owners/artists of works as described later) generated works (other than those pieces which are donated for Source: Tasmanian Government Macquarie Point Development Authority As highlighted earlier, we have already accessed by the museum will be returned to local community Creating a amongst other reasons as a tax offset) on a lease basis approximately $30m worth of high grade indigenous art groups and/or aligned national charities. sustainable from artists and/or collectors. work that will provide the basis for this museum. Once A space to provide a This prospectus outlines one alternative The building Building within the Bays Precinct we gain the necessary support to progress this project we solution for the accommodation of the management We believe that this organisational model will provide the This model will provide a range of benefits to the truly unique would seek to acquire the rights for up to an additional proposed museum development –a multi- Given the cost of land and the aim to reduce the costs The advantage of accommodating such a public space greatest chance for the museum to be financially Australian arts market as well as to the museum structure will $20m - $30m of art on an ongoing basis. experience story pontoon building. associated with this project, it is proposed that the within a pontoon is the adaptability of the building within sustainable, be accepted by the wider community as well including: museum is developed on a floating pontoons. the area. ensure that this as ensure that it provides an ongoing benefit to society. Why Government should invest in this opportunity After careful consideration and analysis • Provide a means for artists to realise an ongoing Recently the Tasmanian Government, in association with a project will benefit this was deemed that the most cost This museum could be located strategically within the To allow this privately operated museum to be operated return for their works – Artists generally only The proposed operational model of the museum (i.e. no private consortium, developed a pontoon (similar to what Bays as the centrepiece of the tourism and public/open future generations effective manner to develop and on a not-for-profit basis, and ensure the long term receive once off revenue from the sale of their capital cost overhead and leased art works based on total accommodate such a large public facility is being proposed) to replace the Brooke Street Pier in space area within the Precinct. Hobart’s waterfront. sustainability of its operations (i.e. reducing the risk of works, other than a small resale royalty. The revenue) will ensure that the museum can be in Sydney. Furthermore the pontoon can be integrated as part of a high overhead costs) we are seeking assistance, in the value of their works varies significantly over time progressively managed in a sustainable manner that will This 80 metre, floating concrete multi-level pontoon We believe that this project would wider on-sea component of the precinct, linking the area form of financial contribution or benefits in kind, with the in line with their reputation and general market not require additional ongoing support from government. (including supporting infrastructure) is estimated to cost represent a relatively cheap alternative to to Sydney’s CBD and other urban areas. accommodation aspect of the venture. demand. The establishment of such a payment approximately $20m-$30m to construct. Not only does this project provide us with to support the develop the Bays Precinct into an mechanism will provide artists with the Governance model wider population the ability to learn and appreciate internationally renowned cultural centre. While the proposed Brooke Street Pier design would have opportunity to develop a longer term cash flow indigenous culture and their contribution to society, MAIA to be modified to support a gallery space (i.e. maximise To maintain the required level of transparency as well as profile which will benefit them as well as future will be managed to provide a range of ongoing support to While the accommodation solution wall space) it is believed that such a design could provide ensure all stakeholders rights are protected a rigorous generations. the local and indigenous communities. outlined in this prospectus is what we are the required contemporary space for the museum in a professional governance model will be put in place to • Establish art as a contemporary alternative seeking funding/assistance in sourcing, structure which is easily replicable at a minimal cost. manage the ongoing operations of the museum. We believe that because of this, coupled within the we would also welcome any alternative investment – Art is well established as an 2 potential for creating a world leading museum that accommodation solutions. It is estimated that this building will provide over 4,000 m The management of the museum will be supplemented alternative investment that can realise capital of floor space which can be designed to deliver celebrates and acknowledges the role of indigenous by a board of advisors who will ensure that all of the growth over time. The main issue with art as a 2 approximately 3,000m of hangable wall space. This is Australians is a great opportunity that should be seized. revenue generated from the day-to-day operations will be contemporary alternative investment is that it equivalent to approximately half the hangable wall space spent in a manner which returns the maximum benefit to does not provide a stream of ongoing revenue. currently provided within the Art Gallery of NSW. Thank you. all stakeholders. The development of a lease market through the Whilst further work is required to determine the final establishment of a series of museums will Robert Russell This model will also provide stakeholders with the design and construction cost it is likely that the ultimate provide the basis for such a market to establish. Director cost for the construction of each of this pontoons will be knowledge that their contribution will be appropriately Piermarq Art Advisory significantly less than the existing estimate. distributed to those who need it. • Provide greater market exposure of the industry Email: [email protected] – The development of a series of contemporary Mobile: 0439 474 670 museums will increase market exposure to the commercial arts industry and provide a beacon of light for prospective Australian artists.

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