Key Outcomes for Visual Arts
Session Two
Arts Centres: What works, what doesn't and what's needed now?
Howard Morphy emphasised the positive approach the panel members aimed to bring to the discussion. He spoke of arts centres as multi-purpose cultural institutions in northern Australia. 'Just as art relates to all of life, so arts centres play a central role in community life and are becoming even more central by their very success.' He reflected on the 30-year development of arts centres and the complicated role of arts centre coordinators in facilitating their pivotal position in communities. Workers are now supported through ANKAAA and DesArt and enjoy more collaborative relationships with galleries than once might have been the case. However he lamented the great expenditure of resources that attends any application for 'the thin string of government support which perpetually has to be applied for again and again.'
Will Stubbs spoke about the priceless resource of talent at the Buku-Larrŋgay Mulka Art Centre. It was associated with a number of Telstra Art Award winners and internationally significant artists and living treasures such as Gulumbu Yunupi ŋ u, Gawirrin Gumana, Terry Marawili and others. His role as coordinator was in facilitating and supporting artists to continue in their important work. The integrity and authenticity of the work is the secret to its success and that Yolŋu beliefs and aspirations must continue to guide the work of arts centre coordinators.
Louise Partos said that Bula'bula Arts in Ramingining supports not just painters, weavers and sculptors, but also performers in the locally owned and managed centre. It has many functions including a gallery and storage area for art, a drop-in centre and provides support and assistance for ceremonial obligations. She spoke of two projects. The first, being implemented now, enabled by a Community Heritage Grant, to produce and maintain an archive resource of delicate and dispersed images and documents. The second project, in the planning stages, is to re-establish printmaking facilities unavailable since the 1990s. These would provide a valuable means of expression and occupation for artistically inclined school leavers until they reach an age where they are ritually enabled to begin painting.
Cecilia Alfonson, of Warlukurlangu Arts Centre in Yuendumu showed images and told of the process of production of a major collaborative canvas for a commission by the Australian Bureau of Statistics for its new offices in Canberra. The process included selection of an appropriately representative theme, a trip to country in preparation for painting, through to a dedication through song and dance after the work's ultimate installation in Canberra. This work was unique for the numbers of artists involved. In some cases three generations of a family were painting.
Danielle Cullen of Jilamara Arts Centre at Milikapiti on Melville Island detailed the difficulties in finding sources of funding when faced with large infrastructure costs. Whilst artists produce work reaping significant income in often unsafe working conditions and their work is shown in poorly lit galleries, she tries to fit available funds to the inflated costs of building in such a remote location. Other priorities she is addressing include investigating export opportunities, supporting emerging artists and providing much-needed accommodation for Centre visitors.
Anthony Murphy and Garnbaladj Nabegeyo from Injalak Arts spoke of the process of highlighting the work of women fibre artists. The process involved selecting the finest pieces of work and holding them for exhibition and publication. Whilst this interrupted cash flow both for individuals and the Centre, the resulting show and book Twined Together are stunning. The women are receiving greater recognition for their work, experiencing involvement in education and cultural exchange, an improved commercial profile, two shows with a Melbourne gallery, Alcaston, and interest from the Smithsonian Institute in the United States.