Key Outcomes for Visual Arts
Session Six
Working Together to Develop and Support the Indigenous Visual Arts Industry
Beverly Knight emphasised that the session would deal mainly with the importance of relationships, in particular in an Indigenous and, more specifically, a Yolŋu context. The importance of art and its link to the tourism industry was highlighted and said to go hand in hand.
Gulumbu Yunupiŋu was born on an island off the coast of Arnhem Land near Nhulunbuy and has an intimate knowledge of the land and her Yolŋu people. She has been working at Buku-Larrŋgay for many years and practiced her artistic skills in many mediums. Gulumbu is represented by Beverly Knight of Alcaston Gallery Melbourne and they have worked together promoting the print workshop at Yirrkala and her artworks on bark and larrakitj. Gulumbu is also representing Australia along side seven other leading Indigenous artists for the new site-specific public artwork for the new museum in Paris, Musee du Quai Branly. She talked about her experience as an artist and touched on the traditional issues involved in the type or art that she is able to produce. Although she learnt from her father, she is not allowed, according to tradition, to use or replicate his work. She does her own work at home, where she is comfortable, aided by her grandchildren. Often this is a long process, as Brenda Croft explained, sometimes taking months from the moment the materials are selected and collected, until the final work is ready to be exhibited. Gulumbu stressed the importance of this art to Yolŋu cultural livelihoods and talked about a time when she visited Byron Bay and met some half- Yolŋu artists. She said she was almost crying when she saw the art and told them 'if you are strong, you will find the way and your art will grow'. She said that artists ought to 'work hard and show the world'.
Will Stubbs gave an overview of the artists and printmakers. Their marketing methods have developed to support the art centre and their families. The importance of commercial galleries and relationships for Buku-Larrŋgay enterprise both financially and culturally were discussed.
Cecilia Alfonson came to Warlukurlangu Arts at Yuendumu nearly four years ago and saw a very run down and dilapidated arts centre with virtually no real sales and less inspiration for the artists. However, with the encouragement of the Warlpiri artists, things have turned around. On 15 October 2005, the artists at Warlukurlangu would celebrate 20 years of operation and launch their new arts centre. Of great significance was the need to building relationships and consult with and look after artists to help not only understand the art but also to make it sellable. Artists, visitors, galleries, clients and outlets were included in her list of important stakeholders with which relationships ought to be maintained whilst engaging in a constant learning process.
Andrew Blake discussed his views specifically on art for tourism and art for commercial galleries and the importance of both.
Brenda L. Croft is consulting to the Musee du Quai Branly in Paris, in the site-specific design.
Discussion touched on the issue of intellectual property as not only important and accepted in Western cultural settings, but also for Yolŋu and other Indigenous cultures whose own laws establish this same concept of not stealing or taking the work or identity of other artists. Strong emphasis was placed on the need to build and constantly work on relationships with artists: the need to understand and look after the artist, and be involved in a constant negotiation process.