Presentation to the Indigenous Business, Enterprise and Corporations Conference at University of Western Australia, Perth, 3-4 December 2012.

1. Aboriginal and Torres Strait
Islander Art Economies
Project
Photo courtesy of Warakurna Artists

2. CRC-REP + NOL…
Cooperative Research Centre for Remote Economic Participation,
owned by Ninti One Limited.
CRC-REP has around 55 partners, including universities, corporate,
community and government.
Headquarters in Alice Springs.
Three research programs, 12
research projects.

3. Who we are…
Dr Lisa Stefanoff – Post Doctoral Research Fellow
University of South Australia
Jessica Booth – Masters Student
University of South Australia
Dr Alice Woodhead – Project Economist
Southern Cross University
Susan Congreve – PhD Student
Curtin University
Kim Petersen – PhD Student
Curtin University
Tim Acker – Principal Research Leader
Curtin University

4. Context: Aboriginal and Torres Strait Islander Art
Art emerges from a distinct and diverse cultural and social universe.
Based on concepts of country and an interdependency with the
physical world and a mythical past.
The visual language and cultural symbols of Aboriginal and Torres
Strait Islander society easily translated onto contemporary mediums.
Art on contemporary media dates back to first contact, but it took
until the early 1970s for the phenomenon of ‘Aboriginal art’ to occur.
There are now 100+ art centres throughout remote and regional
Australia.
The industry is worth hundreds of millions of $ per year.
Iconic part of Australia’s cultural landscape and perhaps Australia’s
only substantial contribution to the global art sector.
4

5. Art Economy Research Questions…
What is the scope and scale of the Aboriginal and Torres Strait
Islander ‘art economy’?
How can fragility be reduced?
What new market opportunities are there for artists and/or their
enterprises?
How can current art business models be improved?
What training/advocacy/recommendations can be made through
research to contribute to a more robust sector?
Opportunities for research students, community researchers and
others to gain skills and experience.
Photo courtesy of Warakurna Artists
Photo courtesy Tjarlirli Art

6. Location
Number/Supply Public
Circumstance Galleries +
Economy Museums
Family + Business Models
Community History National
Education
International
Dealers Buyers
Wellbeing Artists Agents
Galleries Audiences
Collectors
Art Centres Audiences Prizes
Location
Facilities
Location
Age/Gender Festivals
Funding
Education
Journalists/
Federal HR Writers
Medium State
Private

7. How we’re doing our research…
Art outside of art centres: artists and the free market in Alice
Springs.
Research with artists and agents, in and around Alice Springs, to
understand the scale of this sector and the business models at work.
Aim to create resources for artists who work in this zone to improve
their professional practice/options.
How ‘big’ is the Aboriginal and Torres Strait Islander art sector?
Collecting financial data from as many participants as possible.
Modelling and mapping the data, building a picture of art sector
dynamics. Aim to create baseline for policy, service delivery and
education/training.
Consumer dynamics: what are people buying and why?
Surveys and interviews at key sites with a galleries, collector, buyers.
Understanding what motivates audiences will provide crucial
information for marketing and business decisions.

8. How we’re doing our research…
Art centres as micro-enterprise: remote area entrepreneurship,
successes, failures and opportunities.
Comparative case study of art centres in three regions, looking at
success/failure factors, threats and opportunities and what changes
could be made to address these.
Human resources: management qualities in art centres.
Interviews + surveys with current + past art centre staff, unpacking
they nature of this work – and how to better support future staff.
E-commerce + merchandise: new ways for artists to access markets.
Interviews + surveys with galleries/manufacturers/retailers to
understand the business models at work in this sector – and how
artists might better access these opportunities.

9. Achievements…
Consultations and planning with artists, art centres, galleries,
dealers, curators and more.
150+ engagements with clients and end-users.
Meeting with art centres in Cairns, Darwin, Alice Springs, Perth
and out bush.
Project planning and approvals complete.
Project documentation in place and Advisory Group established.
Recruitment nearing completion.

10. Early Research Activities and Findings…
Jessica Booth – Research Students
Audience behaviour and motivations: surveys at
three major art fairs: almost 900 respondents.
Collectors, curators and gallerists to be
interviewed.
Scope and scale project: data collection near
completion and data analysis commencing.
Art outside of the art centres: data collection near
completion and data analysis commencing.
2 x PhDs: micro enterprise in three regions.
Research commencing.

11. Audience and Consumer Motivation…
874 total respondents; 74.8% female, 6% international, of which
55% were European, though NZ largest single group.
78% of respondents previously bought art and 56% of these had
bought art in previous 12 months.
Merchandise Types of art purchased
1.8%
Jewellery Weaving
2.9% 9.1%
Fabric or clothing
10.3%
Painting (on canvas)
Glass piece 46.5%
0.2%
Copyright: Jessica Booth
Pottery / ceramic
4.0%
Wooden sculpture or
carving
9.7%
Work on paper
11.1%
Bark painting
4.3%

12. Audience and Consumer Motivation…
Spend: Most Recent Purchase $10,000 or over
0.8%
$2001 - $10,000
7.3%
$1 - $200
$501 - $2000 38.8%
22.7%
Copyright: Jessica Booth
$201 - $500
30.5%

13. Audience and Consumer Motivation…
Spend: Total Art Purchases
$50,001 - $500,000 $500,000 or over
2.7% 1.2%
$1 - $200
9.0%
$10,001 - $50,000
10.9%
$201 - $500
15.4%
$2001 - $10,000
Copyright: Jessica Booth
32.5%
$501 - $2000
28.2%

14. Audience and Consumer Motivation…
Auction Houses
Internet Where did you buy your last artwork?
0.9%
0.9%
Commercial Galleries
12.2%
Art Fairs
21.3%
Privately
Indigenous Art Centres
7.7%
Copyright: Jessica Booth
42.5%

15. Audience and Consumer Motivation…
88% claim to know where the seller sourced the work and 71%
said the source of the work was important to their decision.
While 54% of respondents had heard about the Code of Conduct,
only 20.7% had asked about it when purchasing.
Copyright: Jessica Booth
Is there enough reliable information available about the way
different commercial agents source their work?
3.8%
11.8%
16.8% 28.3%
2.1%
Yes
Somewhat
48.2% Not important 25.7%
Not sure
No
29.0%
32.4%
1.9%
Is there enough information available to buyers about the way
Indigenous Art Centres source their work?

16. Audience and Consumer Motivation…
600
How important would each of these be in making your choice?
Very important
500 Quite important
Somewhat important
Not very important
400
Not important
300
200
100
0
Price
Artist's reputation
Ethically sourced
Looks good
Community connection
Craftsmanship, materials
Interesting story
Copyright: Jessica Booth

17. Who we work with…
Project Community:
105+ Art centres
35+ Galleries and dealers
6 Peak bodies
15 Institutions
5 Government agencies
Project Partnerships:
Desart
Office for the Arts
AIATSIS
Photo courtesy of Warakurna Artists

18. Project Details…
Contact:
Principal Research Leader
Tim Acker – Curtin University
E: tim.acker@curtin.edu.au
P: 0410 038 226

19. Partners of Ninti One