Concerns Over Ethical Standards in the Indigenous Art Sector
Leaders of a First Nations art collective from remote Australia are urging the federal government to conduct another inquiry into the Indigenous art sector, focusing on the actions of private art dealers. The APY Art Centre Collective, which operates art centres in Far North South Australia and the Aṉangu Pitjantjatjara Yankunytjatjara (APY) Lands, has raised concerns about the effectiveness of the Indigenous Art Code (IAC) in addressing current industry challenges.
The collective was at the centre of allegations published in The Australian in 2023, which claimed that “white hands on black art” were involved in the creation and sale of artworks. These claims led to the collective being removed from the IAC, a voluntary code of conduct aimed at promoting ethical trade in the industry. Despite this, the collective has not been reinstated in the three years since its removal.
Governance and Efficacy Issues
The IAC was established in 2009 following a federal inquiry into the First Nations art sector. It sets out guidelines for ethical and transparent conduct for businesses, but it is not legally enforceable. Being a signatory of the IAC is also a requirement for some federal funding grants.
Sandra Pumani, chair of the APY Art Centre Collective and a Yankunytjara artist, expressed surprise at the collective’s removal from the IAC. She stated, “We was expecting them to support us, but we were on our own.”
Skye O’Meara, the collective’s CEO, raised concerns about the governance of the IAC, questioning whether private art dealers should be on the board. She noted that the IAC board has struggled with managing conflicts of interest, given the competitive nature of the industry.
The Problem of ‘Carpet Baggers’
Alfred Lowe, an Arrernte artist and member of the APY ACC, highlighted the issue of “carpet baggers,” a term used to describe unscrupulous dealers who exploit Aboriginal artists through deceptive commercial arrangements. He said the IAC has failed to address these issues effectively.
“The only serious action they’ve taken in the last three years was removing us,” he said. “This board was set up out of a senate inquiry that looked into things like carpet bagging and indentured servitude that happens in central Australia and across the country.”
Call for Federal Inquiry
O’Meara and the collective’s artists are now calling for a federal inquiry into the industry. “We think this is really warranted, we think it’s time,” she said. She pointed out that the private dealers’ model lacks accountability and transparency compared to Indigenous-owned art centres.
“You can get on the ORIC website and look at the annual audit of Aboriginal-owned art centres on their website at any time you wish. But these sheds in Alice Springs, and they’re popping up in Adelaide as well, they operate in the shadows. There is no transparency about how much the artists are getting paid.”
Review Findings and Government Response
The IAC has recently undergone a review, and the federal Department of Infrastructure, Transport, Regional Development, Communications, Sports and the Arts is currently considering the findings and recommendations. A spokesperson said, “The Indigenous Art Code remains an important part of the collective efforts in supporting ethical and fair dealing in the First Nations visual arts sector.”
The government has also committed to introducing stand-alone legislation to protect First Nations knowledge and cultural expressions, including addressing the harm caused by fake art, merchandise, and souvenirs. Public consultations are ongoing for the next National Cultural Policy, with submissions open until May 24.
Exhibition and Public Perception
Last month, the collective launched its exhibition Ngura Puḻka — Epic Country at the National Gallery of Australia after a three-year delay. The exhibition was initially scheduled to open in 2023 but was postponed due to allegations of non-Aboriginal interference in the works. An independent investigation cleared the works of improper interference.
The National Gallery’s head curator of First Nations art stated there is “no warrant” for the claims of ‘white hands on black art’ and confirmed that the artists have 100% authorship of the works in the exhibition.
The collective hopes the exhibition will mark a turning point in public perception of the industry. “We hope that this exhibition finally being on the walls will be the catalyst to industry change, to some systemic change that ensures that Aboriginal artists are safe in their success,” O’Meara said. “That Aboriginal people are able to grow their industry as they see fit, to grow their own business opportunities, and to do it without the risk of bad actors in the industry or carpet baggers trying to undermine them.”
