MORE = https://www.afr.com/companies/indigenous-art-survives-scandals-19990716-kb5y7

Indigenous art survives scandals

An authentication system aimed at restoring investor confidence in Aboriginal art has widespread support

Investors shrugged off the scandal that has surrounded Aboriginal art when they paid record prices for the work of several indigenous artists at auctions conducted by Sotheby’s and Deutscher Menzies in Melbourne in June. But price tags of $100,000-plus have not blinded investors, dealers or arts administrators to the fact that much needs to be done to rid the $200 million-a-year industry of the taint of fakery.

The industry was rocked by reports early this year that leading Aboriginal artist Turkey Tolson Tjupurrula signed work done by his daughter. That scandal followed allegations last year that prize- winning work by Northern Territory artist Kathleen Petyarre was painted by her non-Aboriginal partner.

These events occurred against a background of increasing disquiet about the amount of supposed Aboriginal art and craft, particularly the material destined for the tourist trade, that involves breach of Aboriginal artists’ copyright or is manufactured without any indigenous creative input.

A further problem is that a number of dealers operating in the capital cities stand accused of sidestepping the community arts bodies that are the official representatives of Aboriginal and Torres Strait Islander artists and setting up direct distribution channels, with the result that many artists are encouraged to churn out work of lower quality for less reward.

Everyone, including the federal Minister for Communications, Information Technology and Arts, Senator Richard Alston, wants something done about it. Alston has given his support to a proposal by the National Indigenous Art Advocacy Association (NIAAA) to establish a certification trademark or label of authenticity to be attached to Aboriginal art and craft. The Government is keen to avoid the possibility that indigenous art will be devalued by exploitative commercialisation; it believes that the industry can be a significant export earner.

A survey of overseas visitors, conducted for the Federal Government in 1995, found that tourists spent an average of $66 a head on art and craft. The total was estimated to be $200 million a year, and just over half of that was spent on Aboriginal art and craft. Taking domestic demand into account, the total Aboriginal art market is estimated to be worth $200 million – and growing.

Chris Bonney, a project officer with NIAAA, says the label scheme is waiting for approval from the Australian Competition and Consumer Commission and may start as early as October, depending on funding from the Aboriginal and Torres Strait Islander Commission. In another move, 25 dealers met in Alice Springs in February to form the Australian Indigenous Art Trade Association. The association has promised to produce a code of ethics, extend its membership and work with community arts bodies.

None of this was on the minds of investors who attended last month’s Melbourne sales. Sotheby’s reported turnover of $2.9 million, with a further $300,000 after the sales. Deutscher Menzies cleared stock worth $1.1 million. Several artists set record prices, but the two who dominated the sales were Mick Namarari Tjapaltjarri, one of whose works was sold by Sotheby’s for $162,000, and Rover Thomas, several of whose paintings sold for $90,000 or more.

Tim Klingender, the director of Sotheby’s Aboriginal art department, says works in the sale were exhibited in Cologne and New York in the lead-up to the auction and eight of the 10 top-priced lots have gone to overseas buyers. Klingender believes the top end of the market has not been affected by the scandals.

Chris Bonney says the authentication scheme would be backed by an education campaign aimed at helping Aboriginal artists conduct their business affairs in a more professional way. It will be up to artists to apply for a label, which will appear with the dealer’s label on art work. Manufacturers making goods under licence to Aboriginal artists and designers will be able to apply for an official licensee label.

Bonney hopes that the scheme will encourage artists to work through their community arts centres and avoid dealing with unscrupulous dealers who try to cut costs by making direct approaches to artists.