ACKNOWLEDGEMENTS
I first encountered Aboriginal people 40 years ago after returning to Australia from my peripatetic travels abroad. The pull of Australia was so powerful during those years, and I soon fell into the company of Aboriginal people who imparted their knowledge and wisdom. I am deeply indebted to them.
Since that time, I have met and come to respect with gratitude a great many of the elders, past and present, throughout all of the clan lands referenced in this book. If readers feel I have done justice to their memory and their great legacy, my long and painstaking endeavour will have been worthwhile.
The first draft of this book was written at the ‘Palmwoods Hilton’, my family’s gorgeous rainforest retreat near Mullumbimby, New South Wales. It was there that I licked my wounds after the heady days of the auction wars. My grandson John was six years old and he would often ask me why I worked so hard instead of playing footy. I told him then that if you love what you do and you work hard at it, you can achieve things that you never believed possible – and that this is the best way to live a meaningful existence.
I have been fortunate to be surrounded by loving and supportive people throughout my life: my dear parents and, most importantly, my darling wife, Anne. I am forever grateful for her support and encouragement, wonderful meals, fun and ever-helpful advice; so many unseen things that she does make it possible to devote my time and energy to my work and passions.
By the time I had written the fourth draft of this book, a number of reviewers had helped me develop my manuscript into a well-written and informative textbook. I am particularly grateful to Mark Kerr for his encouragement at this stage, and to Rex Keogh, Sophie Pierce and Violet Rish, who helped enormously with the research.
Many of those who played a formative role in the development of the industry provided invaluable advice and information. Most particularly I wish to thank Bob Edwards, Anthony Wallis, Jennifer Isaacs, Margo Neale and Djon Mundine.
A book may be full of useful history and original information, but it has to be engaging and compelling if it is to grab and take the reader on a journey through more than 60 chapters. For her invaluable help in transforming the text from a textbook full of facts into a road trip and memoir, I am deeply indebted to Ruth Hessey. Ruth managed to get me to reveal my own personal journey, including much that I was initially loath to include. The book is all the better for her enthusiasm, input and dedication to the task.
Many friends, clients and colleagues have contributed by reading various parts of the manuscript to ensure accuracy. They include Roslyn Premont, Robert Beakley, Malcolm Davidson, Pat Lowe, Julie Clarke, Grace Heifetz, Vivien Anderson, Stuart Purves, Steve Culley, Michael Eather, Jim Elmslie, Mary Mumford, Neil Murphy, Kevin Kelly, Tony Norton and Jann Williams.
I am indebted especially to Susan McCulloch for the magnanimous way in which she engaged with me in revisiting the turbulent times and issues of the 1990s; to Jeremy Eccles for his recollections and opinion of the scandals of the period post-2000; and to Neriba and Harold Gallasch, Euan Hills, Ian Plunkett, Sabine Haider and Steve Nibbs for their support and encouragement.
The images in this book have come from many sources. I am grateful to the major lending institutions that have helped, and to Rocky Richards of PDQ and D’Lan Davidson during his time at Sotheby’s. The book is all the better for the many beautiful images supplied by Neil McLeod. These are but the tiniest fraction of his extensive archive amassed during more than 40 years working with and supporting Aboriginal and Pacific Islander people; one need look no further than this to recognise his deep commitment to Indigenous people and their cultures.
Thank you to everyone who read and suggested changes to the final manuscript but most especially to Professor Fred Myers, Dr Barbara Glowczewski and Vivien Anderson. And to Emma Borghesi and Bronwyn Sweeney who so scrupulously edited and proofread the final manuscript.
I have been blessed during the entire period that I have worked on this book to have been so ably assisted every step of the way by the remarkable Mirri Leven. I cannot conceive of having been able to accomplish this monumental task while simultaneously running a gallery and art consultancy without her. For all those Fridays during which she forbade anyone to disturb me, and for standing by my side through the difficulties we have faced together, I will be forever grateful.
ADRIAN NEWSTEAD
Bondi Beach, 2013
PHOTOGRAPHIC CREDITS AND COPYRIGHT
The author is grateful to the people and institutions that have granted permission to reproduce their images in this book. Every effort has been made to contact copyright holders. Where the attempt has been unsuccessful, the author would be pleased to hear from the person concerned.
Images supplied from the following sources
appear on the pages indicated:
Aboriginal Gallery of Dreamings/Hank Ebes 328, 329, 330
Adam Rish 244, 366
Agathon Gallery 411
Allan Scott 165
Aranda Art/Adam Knight 356, 393, 400
Arthur Papadimitriou 445
Artspeak Gallery 352
Australian Art Print Network 78, 79, 435
Barbara Glowczewski 226
Berndt Museum of Anthropology 111
Coo-ee Aboriginal Art Gallery, Front and back covers, 2, 22, 23, 31, 33, 34, 35, 36, 39, 41, 42, 44, 45, 47, 50, 54, 55, 71, 76, 89, 94, 119, 123, 126, 136, 172, 184, 185, 195, 202, 203, 206, 219, 220, 223, 225, 228, 235, 246, 247, 260, 261, 262, 263, 283, 288, 292, 293, 312, 323, 344, 348, 351, 353, 363, 365, 370, 376, 379, 391, 396, 406, 409, 436, 446, 451, 459, 463, 482, 485
Dacou Gallery 305, 307
Desert Designs 249
Elaine Pilot Syron (Kitchener) 46, 137, 194, 197, 276, 282
Fireworks Gallery 325, 477
Gallerie Australis 342
Gallery Gondwana/Roslyn Premont 455
Gallerie Yapa Paris 310
Greg Weight 364
Jennifer Isaacs 144
Juno Gemes 135, 196
Lajamanu Council 27
Lawson~Menzies 72, 73, 74, 119, 153, 170, 188, 214, 234, 257, 280, 392, 407, 417, 423, 453, 457
Liam Maher 268
Louise Allerton 40
Malcolm Davidson 86, 91, 124, 125, 130, 131, 132, 133, 134
Margaret Olah 281
Matthew Kentish 251
Mirri Leven 259, 433
Museum Victoria 87
Narrangunny Art Traders 336
National Archives of Australia, 100, 143, 160
National Library of Australia 83, 102
Neil McLeod, Inside front and back covers, 32, 57, 66, 68, 90, 184, 186, 239, 240, 241, 245, 253, 269, 270, 278, 317, 333, 340, 367, 378, 380, 381
Robert Bleakley 211
Robert Edwards 176
Ronin Films 466
Shirley Collins 161
Short Street Gallery/Emily Rohr 426, 427
Sotheby’s Australia Pty Ltd 74, 81, 82, 92, 104, 105, 116, 120, 149, 150, 151, 152, 167, 171, 178, 308, 434
State Library of NSW 109
Steve Nibbs/Yapa Art 398
Tara Ebes 232
Tony Oliver 421
ARTWORKS
All copyrights arranged through the artist, the artist’s agent, the artist’s estate or the Aboriginal Artists Agency (AAA). Every effort has been made to contact copyright holders. Where the attempt has been unsuccessful, the author would be pleased to hear from the person concerned.
35, 365 © Queenie McKenzie estate
42, 263 © Paddy Fordham Wainburranga estate
50 © Lin Onus estate
78 © Ken Thaiday
92 © Munggurrawuy Yunupingu estate
94 © Jack Kala Kala estate
104 © Albert Namatjira estate
105 © Otto Pareroultja estate
116 © Deaf Tommy Mungatopi estate
119 © Les Midikuria
120 © David Yirawala estate
123 © David Malangi estate
150
© Jack Wherra
151 © Wattie Karruwara estate
152, 153 © Alec Mingelmanganu estate
167, 178, 353 © Clifford Possum Tjapaltjarri estate
170 © Kaapa Tjampitjinpa estate
171 © Tim Leura Tjapaltjarri estate
188 © Paddy Jaminji estate
234, 308, 457 © Emily Kame Kngwarreye estate
246 © Sunfly Tjampitjin estate
247 © Wimmitji Tjapangarti estate
34, 257, 336, 409 © Rover Thomas estate
119, 260 © Lofty Bardayal Nadjamerrek estate
262 © Mick Kubarkku estate
261 © George Milpurrurru estate
262 © Johnny Bulun Bulun estate
274, 276 © Gordon Syron
280 © Trevor Nickolls estate
283 © Arone Meeks
312 © George (Hairbrush) Tjungurrayi
379 © Patsy Lulpunda estate
381 © Jack Dale estate
392, 477 © Richard Bell
407 © Minnie Pwerle estate
417 © Tommy Watson
423 © Paddy Bedford estate
427 © Daniel Walbidi
434 © Prince of Wales estate
435 © Dennis Nona
453 © Bill Whiskey Tjapaltjarri estate
The author wishes to thank the following artists and copyright holders for granting permission to reproduce artwork images without charge: The families of Lin Onus, Minnie Pwerle, Ken Thaiday, Dennis Nona, Gordon Syron, Arone Meeks and Daniel Walbidi.
THE ABORIGINAL BENEFITS FOUNDATION
The Aboriginal Benefits Foundation supports projects for the benefit and welfare of Aboriginal communities throughout Australia, and the members of those communities. It has a particular focus on supporting art, health and cultural projects with a connection to Aboriginal art and/or artists, which are undertaken to assist the youth, the aged and those who suffer from infirmity, disability, poverty or other disadvantageous social or economic circumstances. You can donate a painting or money, make a bequest or simply help by contacting the ABF at www.aboriginal.org.au
THE AUSTRALIAN INDIGENOUS ART MARKET TOP 100
The Australian Indigenous Art Market Top 100 covers the careers of the 200 most important artists of the Indigenous art movement.
An invaluable resource for collectors, art consultants, valuers, and industry professionals, it serves the interests of artists, galleries, art centres and collectors.
The site includes:
• information about the artists, each ranked with an annual AIAM100 rating calculated on secondary market activity;
• whom the artists worked with and how their art found its way into the market;
• detailed sales results presented graphically with an analysis of the market’s preference for different styles and periods; and
• the ten highest results for each artist presented visually, with details of the sales, dates and prices achieved.
In what is a unique innovation for the Australian art market, the AIAM100 index rates individual artists’ careers, and the entire Indigenous art market on a yearly and cumulative basis since 2000.
The site is accessible to galleries, art consultants, auction houses, libraries, collection managers and individual collectors. It is user-friendly, with free registration and content.
The AIAM100.com is compiled by Adrian Newstead incollaboration with the Australian Art Sales Digest.
www.aiam100.com
INDEX
A
AAB see Aboriginal Arts Board
AAMA see Aboriginal Arts Management Association
ABC see Australian Broadcasting Corporation
Abdulla, Ian 284, 285, AbieJangala see Jangala, Abie
Aboriginal Act 1905 146
Aboriginals Act 1910 229
Aboriginal Advancement League 277
Aboriginal and Pacific Art Gallery-Melbourne see Davidson, Jim
Aboriginal and Pacific Art Gallery-Sydney see Roy, Gabriella
Aboriginal and Torres Strait Islander Arts Board 295
Aboriginal and Torres Strait Islander Commission 372, 374, 383, 470, 495, 501–3
Aboriginal Artists Agency 45, 177, 203, 217–9, 503, 509
Aboriginal Arts Australia Ltd. see The Company
Aboriginal Arts and Crafts Pty. Ltd. 159 see The Company
Aboriginal Arts Board 111, 135, 143, 160–1, 168, 173–7, 181–2, 195, 197, 213, 218, 228, 278, 292–3, 334, 489, 493, 500–2, 503–4
Aboriginal Arts Management Association 293–4, 317, 503–4
Aboriginal Australian Views in Print and Poster 273
Aboriginal Benefits Foundation 128–9, 406, 475, 487, 496, 503, 510
Aboriginal Development Corporation 199, 292
Aboriginal Gallery of Dreamings 178, 295, 247
Aboriginal Land Fund Commission 232
Aboriginal Land Rights Act 1976 132, 500
Aboriginal Lands Council 213, 501
Aboriginal Memorial 200, 262, 264
Abrahams, Christine 293
Akerman, Kim 152–53, 489
Adam, Dr Leonhard 129, 337
Adelaide Arts Festival 233, 287
Adler, Nicholas 233
Agathon Gallery 411, 415, 417–8, 509
Aitken, Joy 218, 352, 396
Albrecht, Pastor F.W. 102
Alcaston House Gallery 294, 304, 311, 349, 370, 493
Alexander, Jim 473
Alfonso, Cecilia 224, 471, 497
Alice Springs Art Prize 169, 208, 218
Alkawari Dawson see Dawson, Alkawari
Allen, Louis 124, 126, 405, 487
Altman, Jon 292, 297, 373–4, 489, 495
Altman Report 292, 297, 324, 488, 493, 494, 495, 501, 503
Anamtjerre, Satchi 319
Anatjari Tjampitjinpa see Tjampitjinpa, Anatjari
Anatjari Tjakamarra see Tjakamarra, Anatjari
Anderson, Alison see Nampitjinpa, Alison Anderson
Anderson, Gary 295
Anderson, Vivien 295, 349, 361, 380, 404, 414, 458, 495, 496, 508
Angas, George French 73
Anguburra, Patsy see Lulpunda, Patsy Anguburra
Annandale Galleries 431
Anning, Michael 75
Appleyard, Peta 453
Aptos Cruz Gallery 224
Apuatimi, Declan 90, 436
Apuatimi, Jean Baptiste 434
Araluen Art Centre-Alice Springs 233
Archibald Prize 105, 252
ARCO 316, 327, 503
Argyle Arts Centre-Sydney 175, 181
Ariston, Steve 400, 439
Arnold Bloch Leibler 421
Art Car project 219
Art Cologne Fair 293, 315, 327
Art Consulting Association of Australia 359, 495
Art Gallery of New South Wales 112, 140, 177, 205, 234, 286, 295, 307, 325, 352, 394, 399, 401, 410, 420, 422, 431, 452, 495–6, 503, 506
Art Gallery of South Australia 103, 106, 175, 503
Art Gallery of Western Australia 177, 244, 358, 377, 489, 503, 506
Art Market Report 313, 413, 415, 493, 496,
Art Monthly 315, 489, 492, 493, 496, 505, 506
Art.Trade see Australian Indigenous Art Trade Association
Aruni, Micky see Illortamini, Micky Aruni
Arunta Art Gallery and Book Shop 166
Ashley, Djardi 263, 491
Asia Society-NY 177, 209, 227, 287, 326, 491
ASICS 250
Association for the Protection of Native Races 110
ATSIC see Aboriginal and Torres Strait Islander Commission
Attwood, Alan 316
Attwood, Elizabeth 442, 497
Austrade 293, 315, 504
Austral Gallery, St Louis, USA 233
Australia Council for the Arts 111, 135, 160, 168, 173–4, 177, 213, 218, 228, 253, 278, 291–4, 315, 317–9, 326, 385, 472, 489, 493, 497, 500–1, 503
Australian Art Print Network 78, 349, 392, 435, 495, 509
Australian Art Sales Digest 432, 503, 510
Australian Broadcasting Corporation 44, 180, 246, 339, 346, 369, 439, 440, 460, 469, 487, 488, 494
Australian Bureau of Statistics 382–3
Australian Centre for Photography 281
Australian Commercial Galleries Association 314, 349, 384, 472, 497, 503
Australian Council for the Arts 134, 159, 499
Australian Indigenous Art Market Top 100 Artists 4, 205, 304, 385, 493, 496, 506, 510
Australian Indigenous Art Trade Association 54, 348, 353, 355, 369–70, 372–3, 390, 400, 440, 472, 495, 497, 503
Australian Institute of Aboriginal Studies 111, 115, 141, 152, 492, 503, 505
Australian Museum 73, 75, 175–6, 194, 198, 214, 489, 500
Australian National University 61, 127, 148, 177, 184, 289, 293, 373, 489, 500, 503, 505, 506
Australian Perspecta 177, 286
Australian Reserve Bank 126–7
B
Bai Bai Napangarti see Napangarti, Bai Bai
Baker, Theresa 479
Balangarri Aboriginal Cooperative 254
Balangjalngalan Spirits 60, 264–5
Balgo Hillsart centre see Warlayirti Artists – Balgo Hills
Ball, Rick 483
Banbuma, George 183–4
Bancroft, Bronwyn 281–2, 295, 303, 495
Bandler, Faith 45
Bangala, England 127, 198–200, 263, 327
Barak, William 80, 82–4, 286, 478, 498, 500
Bardayal, Lofty see Nadjamerrek, Lofty Bardayal
Bardon, Geoffrey 162, 164–71, 174, 177–9, 224, 309, 311, 394, 399, 400, 488–9, 496, 499, 500, 504
Bardon, James 167, 496
Barrdjaray, Bobby see Nganjmirra, Bobby Barrdjaray
Bark Petition 131, 324, 499
Barratt, Goody 420
Bashir, Professor Marie 362, 363
Batman, John 83, 498
Battarbee, Rex 102–3, 106
Battersby, Jean 144
Batty, David 426
Beamish, Ray 342–4, 346
Beaver Galleries-Canberra 295
Bedford, Paddy 379, 419–25, 430, 447, 510
Beesey, Robin 241, 242
Behan, Judy 295, 493
Beier, Professor Ulli 161
Bell, Diane 289
Bell, Marshall 144
Bell, Richard 11, 143, 392–3, 467, 476–8, 497, 510
The Dealer is the Devil Page 61