the art economy of remote australia
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The Art Economy
of Remote Australia
CRC for Remote Economic Participation
Aboriginal and Torres Strait Islander Art Economies Project
Tim Acker, Curtin University
Introduction
Ninti One: research, innovation and community
development in remote Australia.
Ninti One manages the CRC-REP.
Aboriginal and Torres Strait Islander Art Economies
Project: 2011 > 2016
• 8 researchers/students
2
Who?
Value chains: Dr Alice Woodhead
Art Centre sustainability: PhD – Kim Petersen
Art Centre enabling environment: PhD – Susan
Congreve
Buyer behaviour: Masters – Jessica Booth
E-commerce in Art Centres: Honours – Iris Bendor
Art Centre human resources: Honours – Michelle
Whittle
Art Outside Art Centres: Dr Lisa Stefanoff and others
3
Art Economies Value Chain Project (AEVC)
Understand production and sale of remote-area art.
Aim: enable change and inform artists + art business.
Senate inquiry recommendation.
Value chain analysis: economic not cultural focus.
Primary market focus.
Complicated value chain + cross cultural factors.
Incorporate variability.
Six reports reflecting remote Aboriginal and Torres Strait
Islander art supply chain.
5
Value Chain Focus
6
Artist Public Art Business Private Art Business Customers Customers
Art Centre Freelance
Art Centre Cultural Centre Gallery
Gallery Mixed business Agent
Tourist General public Private collector Public & private
institutions
Government Agencies • State/Territory • Commonwealth
Auction houses Collections Public & private institutions
Boundaries of Value Chain analysis: Visual Art Funding, Production, Sales and Markets
Primary Market Secondary Market
Value Chain Reports
7
Art Centre finances
Art business trading practices and policy views
Methodology and
art regions
Art Centre production
Synthesis
AEVC: Data collection and Methodology
Art Centres:
• 73 provided production and sales data
Art Businesses:
• 126 participated in survey
Government:
• Local, state and Federal agencies (2000 > 2012)
Timescales of two x five years: 2003 > 07 and 2008 > 2012
Art: all mediums – merchandise separate (art products).
Data gaps and variability.
8
Key Findings: Art Centre Finances
Highly effective funding model: over 90% of artists
reached.
Increased funding has seen growth in artists, art
centres and production.
Sales are around $30million p/a – fairly static
Increased funding = increased funding dependency.
New funding is for employment outcomes.
Fall in retained earnings.
Select art centres make most of the sales.
Sales are improving.
9
Key Findings: Art Centre Funding
10
$-
$5
$10
$15
$20
$25
Millio
ns
Federal Art+Culture Other Federal Federal Employment State/Territory
Key Findings: Mean Art Centre Income
11
$-
$100,000
$200,000
$300,000
$400,000
$500,000
$600,000
Average Sales Average Grants
$-
$20,000
$40,000
$60,000
$80,000
$100,000
$120,000
$-
$100,000
$200,000
$300,000
$400,000
$500,000
$600,000
Average Sales
Average Retained Earnings
Key Findings: Sales and Earnings
Key Findings: Art Centre Finances
14
0%
10%
20%
30%
40%
50%
60%
70%
80%
-$90,000
-$40,000
$10,000
$60,000
$110,000
$160,000
2005 2006 2007 2008 2009 2010 2011 2012 2013
Mean profit Mean loss % Art Centres with a retained profit
Key Findings: Art Region Mean Sales
15
$0
$100,000
$200,000
$300,000
$400,000
$500,000
$600,000
$700,000
A WD APY K T FNQ CD WC TSI C ED OB
Key Findings: Production and Sales
14,107 artists: 13,196 working with art centres; 70%
female and 30% over 55 years old. Male artists earn
more than female artists.
Growth in sales and production, but production has
grown faster than sales = oversupply.
Average price for artworks is falling.
Paintings dominate: 64% of production, 91% of value
Big, expensive works have seen the greatest falls.
16
Key Findings: Art Centre and Freelance Artists
17
1578 693 584 934
308 316 1272
134
430
234
432 6281
145 25
100 120 75 65
75
90
20
80
45 35
0%
20%
40%
60%
80%
100%
A APY C CD ED FNQ K OB T TSI WC WD
Artist numbers
Art Centre Freelance
Key Findings: Artist Gender
18
916
86
8
101
406
34
89
134
17
157
477
WD
WC
TSI
T
K
FNQ
ED
CD
C
APY
A
275
25
17
58
180
14
5
29
2
33
343
800 600 400 200 0 0 200 400
Female Artists Male Artists
Key Findings: Over Production
19
11,470
16,339 19,135 20,210
22,667 24,772
27,779 28,966
25,526
17,890
$5.9
$7.7
$9.5
$10.4
$12.6
$11.6 $11.0
$11.7
$9.2
$6.8
2003 2004 2005 2006 2007 2008 2009 2010 2011 2012
Millio
ns
Number of Products Total value of products
Key Findings: Mean Value of Products
20
$862
$821
$885 $838
$786
$651
$544 $558
$453 $449
$515
$472 $499 $513
$555
$469
$395
$405
$359
$383
$0
$200
$400
$600
$800
$1,000
2003 2004 2005 2006 2007 2008 2009 2010 2011 2012
Mean value of paintings Mean value of all products
Key Findings: Pricepoints
21
12.6%
24.8%
41.2%
12.2% 9.3%
64.2%
23.1%
9.2%
0.8% 0.3% 0%
10%
20%
30%
40%
50%
60%
70%
$2 to $249 $250 to $999 $1000 to $4999 $5000 to $9999 $10000 andhigher
% Value of products % Number of Products
Key Findings: Gender gap
22
$512
$740
$0
$10
$20
$30
$40
$50
$60
$70
$80
F M
Mil
lion
s
Value of art products Mean value of art products
144,312 Products
46,370 Products
Key Findings: Art Businesses
Private art businesses more impacted than public art
businesses.
Some optimism: sales expected to grow.
Western desert art dominates sourcing of works.
Australian customers dominate.
Europe and US are main international markets.
Provenance issues and importance of quality control.
Perceptions + attitudes: buyer / supplier relationships
Business barriers and challenges.
23
Key Findings: Market Summary
24
Painting
Sculpture
Works on paper
Textiles and
Fashion
New Media
Australian Collectors
Australian Private Buyers
International Collectors
International Private Buyers
Other
Key Findings: International Markets
25
0%
5%
10%
15%
20%
25%
USA/Canada France Germany Rest ofEurope
UK Asia NZ
% o
f to
tal m
arke
t
2008/ 12 2012/16
Key Findings: Policy Perceptions
26
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Self Managed SuperFunds
Resale Royalty Indigenous Art Code Cultural Heritage
Dissatisfied Neither or unsure Satisfied
Value Chain Project: Informing and Advocating
Outreach for end-users.
Recommendations/Implications
For artists
For art centres
For other art businesses
For peak bodies
For policy makers/funders
For the research community
27
Project Outputs
Reports and other publications:
• http://crc-rep.com/research/enterprise-
development/aboriginal-and-torres-strait-islander-
art-economies/project-outputs
Art Atlas:
• http://www.users.on.net/~s.moyle/Art_Atlas_Financi
als/atlas.html
28
Other Research Topics
Art Centre sustainability: Kim Petersen
Art Centre enabling environment: Susan
Congreve
Buyer behaviour: Jessica Booth
E-commerce in Art Centres: Iris Bendor
Art Centre human resources: Michelle Whittle
Artsworker employment: various.
Art Outside Art Centres: Dr Lisa Stefanoff and
others
29
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