In the remote art centres of Far North South Australia, a call for action has been issued by the APY Art Centre Collective. This collective, which has faced its fair share of scrutiny and allegations, is now demanding a federal inquiry into the First Nations art industry, specifically targeting the conduct of private art dealers.
The collective's concerns are not unfounded. They have experienced the consequences of a voluntary code of conduct, the Indigenous Art Code (IAC), which they believe is ineffective and lacks the necessary governance to address the issues plaguing the industry.
The IAC's Limitations
The IAC, established in 2009, sets guidelines for ethical conduct but is not legally binding. This means that while businesses can choose to sign up and commit to these guidelines, there is no legal recourse if they fail to adhere to them. This voluntary nature has led to concerns about its efficacy, especially with the presence of competing dealers on the board.
Sandra Pumani, chair of the APY ACC and a Yankunytjatjara artist, expressed her surprise and disappointment at being removed from the IAC in 2023, a decision that has not been reversed despite multiple investigations clearing the collective of any wrongdoing.
Skye O'Meara, CEO of the collective, raises valid points about the IAC's governance, questioning the role of private art dealers on the board and their ability to manage conflicts of interest.
Exploitation and the Need for Transparency
The issue of 'carpet baggers', or unscrupulous dealers, has been a longstanding concern in central Australia and across the country. These dealers exploit Aboriginal artists, often deceiving them into unfair commercial arrangements. Despite inquiries and recommendations, the collective feels that little has been done to address this issue.
Alfred Lowe, an Arrernte artist and member of the APY ACC, believes that a voluntary code is not enough to stop the exploitation. He highlights the lack of tangible effects from the IAC and the need for greater transparency, especially in contrast to the Indigenous-owned art centres, which are more accountable and transparent.
The Call for an Inquiry
The APY ACC, through its artists and Ms. O'Meara, is now calling for the federal government to step in and conduct an inquiry into the industry. They believe that the current system, with its lack of accountability and transparency, is not working for Indigenous artists.
Ms. O'Meara emphasizes the need for a different approach, one that ensures Aboriginal artists can thrive without the fear of exploitation or interference.
A Turning Point
The collective's exhibition, Ngura Puḻka - Epic Country, at the National Gallery of Australia, is seen as a potential catalyst for change. They hope that this exhibition will shift public perception and lead to systemic changes that protect Aboriginal artists and their success.
In my opinion, this is a critical moment for the First Nations art industry. The call for an inquiry is a bold move, and it will be interesting to see how the federal government responds. The issues raised are complex and deeply rooted, but with the right attention and action, there is an opportunity for real progress and a more ethical art industry.
