Mr McCARTHY - 1998-04-23
In recent times, considerable national media as well as industry and government attention has been focused on issues surrounding the authenticity of art works produced by Aboriginal artists. Will the minister advise the Assembly of the Territory government's actions for the protection of this important Territory industry and the protection of the interests of Aboriginal artists in respect of the authenticity of their work?
ANSWER
Madam Speaker, this issue is important. The authenticity of work has been a key issue raised on the indigenous arts scene. Some work has been done at a national level on the issue. It is important that the Territory should continue to work towards an appropriate form of authentication to enable us to protect what is developing into a very valuable cultural and economic activity. I will give a rundown on that. The arts industry training body, CREATE, has estimated that some 3600 Aboriginal artists are working full-time at their craft in the Territory. The Northern Territory Tourist Commission says that tourists spend approximately $30m a year on Territory indigenous art. It certainly is an important industry. It is worth protecting and it is developing very well.
The need for authenticity labelling has been raised with the government by peak Aboriginal art agencies such as DesArt in central Australia. An appropriate acknowledgement of an artist's work is
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the basic aim, but there seems unfortunately to be an increasing number of cases where work is being produced and sold without a clear understanding of who actually created it and where it originated. With this in mind, there is a strengthening view to forming partnerships to conduct authenticity processes. We are looking at trying to develop an authenticity labelling pilot project, preferably in central Australia, which is obviously an ideal area in which to do this. There is an excellent opportunity to test that initiative in central Australia and DesArt, representing 21 central Australian art centres involving over 3000 artists, is probably well placed to provide that necessary link between the artists, the galleries and the art centres.
I have had talks with the federal minister, Senator Alston, regarding the establishment of a pilot program in the Territory because of our ability to carry out that work in a realistic way. Representations have been made also from the urban areas of Sydney for the development of such a project there. While identifying art in urban areas has been well-established for many years, enabling the appropriate authentication of works in traditional areas needs considerable work. It is important that we develop a process that protects the integrity of the artists and ensures that the value of the work purchased by the public is protected as well. I am hoping to further this process when Senator Alston visits the Territory in May this year. I will be continuing my discussions to ensure that the pilot project relating to authenticity is established in the Territory. I hope that we will be able to continue developing what is really a very important industry, and one which is providing a good income for Aboriginal artists.
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ANSWER
Madam Speaker, this issue is important. The authenticity of work has been a key issue raised on the indigenous arts scene. Some work has been done at a national level on the issue. It is important that the Territory should continue to work towards an appropriate form of authentication to enable us to protect what is developing into a very valuable cultural and economic activity. I will give a rundown on that. The arts industry training body, CREATE, has estimated that some 3600 Aboriginal artists are working full-time at their craft in the Territory. The Northern Territory Tourist Commission says that tourists spend approximately $30m a year on Territory indigenous art. It certainly is an important industry. It is worth protecting and it is developing very well.
The need for authenticity labelling has been raised with the government by peak Aboriginal art agencies such as DesArt in central Australia. An appropriate acknowledgement of an artist's work is
Page 203
the basic aim, but there seems unfortunately to be an increasing number of cases where work is being produced and sold without a clear understanding of who actually created it and where it originated. With this in mind, there is a strengthening view to forming partnerships to conduct authenticity processes. We are looking at trying to develop an authenticity labelling pilot project, preferably in central Australia, which is obviously an ideal area in which to do this. There is an excellent opportunity to test that initiative in central Australia and DesArt, representing 21 central Australian art centres involving over 3000 artists, is probably well placed to provide that necessary link between the artists, the galleries and the art centres.
I have had talks with the federal minister, Senator Alston, regarding the establishment of a pilot program in the Territory because of our ability to carry out that work in a realistic way. Representations have been made also from the urban areas of Sydney for the development of such a project there. While identifying art in urban areas has been well-established for many years, enabling the appropriate authentication of works in traditional areas needs considerable work. It is important that we develop a process that protects the integrity of the artists and ensures that the value of the work purchased by the public is protected as well. I am hoping to further this process when Senator Alston visits the Territory in May this year. I will be continuing my discussions to ensure that the pilot project relating to authenticity is established in the Territory. I hope that we will be able to continue developing what is really a very important industry, and one which is providing a good income for Aboriginal artists.
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Last updated: 09 Aug 2016