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Contents: 1.Nic’s Gift: Turning ethnographic data into knowledge. Yasmine Musharbash Part I. Ritual, Material Culture, Land and Ecology 2.Splitting the Atom of Kinship: Towards an understanding of the symbolic economy of the Warlpiri fire ceremony. John Morton 3.The ‘Expanding Domain’ of Warlpiri Initiation Rituals. Georgia Curran 4.Who Owns the ‘De-Aboriginalised’ Past? Ethnography meets photography: a case study of Bundjalung Pentecostalism. Akiko Ono 5.Thomson’s Spears: Innovation and change in eastern Arnhem Land projectile technology. Harry Allen 6.‘Nothing Ever Changes’: Historical ecology, causality and climate change in Arnhem Land, Australia. Marcus Barber 7.The Language of Property: Analyses of Yolngu relations to country. Ian Keen Part II. Demand Sharing, the Moral Domestic Economy, Policy and Applied Anthropology 8.From Applied Anthropology to an Anthropology of Engagement: Japanese anthropology and Australianist studies. Sachiko Kubota 9.Community Development as Fantasy? A case study of contemporary Maori society. Toon van Meijl 10.Give or Take: A comparative analysis of demand sharing among the Menraq and Semai of Malaysia. Alberto Gomes 11.Owning Your People: Sustaining relatedness and identity in a South Coast Aboriginal community. Natalie Kwok 12.Demand Sharing, Nutrition and Warlpiri Health: The social and economic strategies of food choice. Eirik Saethre 13.A Genealogy of ‘Demand Sharing’: From pure anthropology to public policy. Jon Altman 14.Policy Alchemy and the Magical Transformation of Aboriginal Society. David F. Martin Afterword: Peterson’s Impartye—A short appreciation. Diane Austin-Broos Appendix 1 — Graduate students supervised by Professor Peterson.223 Appendix 2 — Nicolas Peterson: Collated publications, reports and films .227

This text tells the complex story of how, over the past three decades, the acrylic dot paintings of central Australia were transformed into objects of international high art, eagerly sought by upscale galleries and collectors.

How Aboriginal acrylic painting came to be reframed as “high art” is an interesting ethnohistorical question. Scholars have traced the increasing frequency of the exhibition of Aboriginal Australian acrylic painting and the increasing emphasis on the framework of fine art and contemporary fine art in these exhibitions. Individual artists come prominently into attention, both in the press and also—eventually—with one-person exhibitions. In this article I delineate the collecting practices and ideologies that lie at the foundation of two of the important early collections of acrylic painting in Australia—that of Tim and Vivien Johnson (which was gifted eventually to the Art Gallery of New South Wales) and that of Dame Margaret Carnegie (some of which was gifted to the Art Gallery of Victoria). My aim is to explore the differences in their understanding of the art and its importance as part of a more concrete analysis of the forms of cultural convergence between Aboriginal culture and particular formations in the larger social world in which it came to circulate. These processes involve Australia’s distinction as a nation as well as its postcolonial emergence from British domination toward varying forms of nationalist cosmopolitanism.

The Australian Aboriginal art market is difficult to predict but armed with a tool, such as this handbook, banks, portfolio managers, investors, collectors and art market observers can navigate their way through the art market with the confidence assured by this insightful analysis. This is the expanded second edition of the Investing in Australian Aboriginal Art Handbook. The first edition was published in 2009. The results of 420,000 Australian art auction sales were reviewed and 20,288 Aboriginal artworks selected for analysis and testing to produce the Australian Aboriginal Art Index™ - AAAI™ and the Indigenous Art Index™ - IAI™. The credibility and integrity of these results and the information found within this book rely on the objectivity of art, and the contents are in no way influenced by the imprimatur of the ArtTrust.com.au sponsoring its publication.

Since the late 20th century Aboriginal artist Billy Benn Perrurle has produced masterful paintings of his traditional Alyawarr/Akarre country in central Australia that have captured the attention of national and international art collectors. Working in a corner of the Mwerre Anthurre Artists Studio of Bindi Inc. in Alice Springs, in exile from his homelands, Billy Benn has animated vividly remembered landscapes with rare verve and strong cultural resonances. His paintings pulsate with colour, texture, sentiment and spirit. Breathtaking and intimate, Billy Benn’s remarkable paintings illuminate his deep desert sensibilities and boldly reveal his country as place, story, family, and culture. The third title in IAD Press’ acclaimed series about artists, their art, country, law, language, and stories, Billy Benn traces the artist’s return journey to country through painting.

With the support of the Telstra Foundation and the Australian Research Council, RMIT researchers investigated the role and significance of Indigenous cultural festivals in wellbeing outcomes for Indigenous communities and their young people. We found that festivals really do matter to communities; from a proliferation of very small events celebrating local community life, to complex, large-scale events with a national and international profile. Whatever scale they operate at, festivals support communities in their efforts to maintain and renew themselves through the celebration of culture. In the search for practical outcomes it can be easy for policy-makers to overlook questions of culture as a marginal concern. By contrast, for many Indigenous communities culture is at the core of community life and their aspirations for a healthy and productive future. Culture has to be the starting point in any serious efforts to address Indigenous disadvantage with Indigenous people. Increasingly, agencies with responsibilities for Indigenous health, education, employment and other wellbeing outcomes are realising that cultural festivals are a powerful space for working effectively with communities on their own terrain: opening dialogue, engaging participation and working in partnerships to both imagine better futures and deliver results in these crucial areas. In both Indigenous and mainstream Australia festivals are thriving; proliferating all over the country as communities learn from each other’s experiences and want to share in the benefits of holding a festival locally. Festivals are an unqualified good news story in Indigenous Australia! They still hold huge untapped potential for supporting community development goals, including the massive unmet demand for international and domestic Indigenous tourism experiences. Despite this proven capacity for positive outcomes, and the latent, untapped potential of the Indigenous festivals sector, it remains vulnerable in a host of ways, from event management capacity (sometimes depending on one key individual), to the perennial problem of inadequate and insecure funding to establish professional support organisations and related employment. Carefully considered programmatic government support is urgently needed for Indigenous Festivals, not only because of the ways they support community cultural identity across generations, but also for their capacity to enhance the lives of marginalised or isolated peoples and communities in a whole range of areas including health, education, employment, small business, regional development, and of course cultural and arts development. This last point alone should be sufficient reason to support Indigenous festivals. Indigenous Australia is a rich, living web of the oldest continuous cultural traditions on earth. While the experiences of the last two centuries have seen this web torn and battered in places, it still persists in the lives of Aboriginal and Torres Strait Islander peoples today. Festivals not only provide reasons and spaces to renew and regenerate these traditions, they also create spaces where these cultures can be shared appropriately with all Australians and the rest of the world.

What is the dynamic value of the creative industries from the economic perspective? This paper seeks to answer this question by proposing four models of the relationship between the creative industries and the whole economy, then examining the evidence for each. We find that growth models fit the data well, but not everywhere. We discuss the methodological and empirical basis for this finding and its implications for economic and cultural policy.

Drawing on critical theory and her own ethnographic work with Indigenous people in the NT to discuss why the ideology of sovereignty continues to grip the social imagination long after the inroads of the state in the era of neoliberal globalization

Because of the Internet's increasing influence, gallery owners are embracing online marketing. Art dealers have expanded their galleries by venturing online to reach collectors and sometimes artists. Because purchasing art differs from most commercial transactions in that it is part social event, part public contribution, and part intellectual exchange, selling art differs from that of other commodities. In this study, the authors examine the interaction between art patrons and fine-art Web sites by recording their reactions to questions after they viewed 140 gallery sites selected from the Internet Art Directory of 2006. The authors' approach builds on research that evaluates the persuasiveness of e-commerce Web sites through the adaptation of Aristotelian rhetoric using factors that are salient to consumer attitudes and intentions when shopping via the Internet (Winn and Beck 2002; Jarvenpaa and Todd 1996). This construct was successfully tested as it applies to egalleries: an informative site (logos) establishes credibility (ethos) and creates the desire to return to the site or recommend the site to others (pathos) (Quesenberry, Garland, and Sykes 2006). The four overarching factors that influence consumer decisions in these studies—product perceptions, shopping experience, customer service, and consumer risk—are used here in the context of the electronic fine art retail sites. Patrons reported satisfaction with the artwork presented on these sites, but preferred the experience of visiting physical galleries to buying online. They also suggested the types of services they preferred from an online gallery and expressed little concern with privacy and financial risk. The Internet can be leveraged for the purpose of increasing the knowledge and interest of potential patrons, but the authors' research indicates it cannot supplant the experience of being in the physical presence of a piece of art. Buying art forms an emotional connection with the artist: the collector enables the artist to continue creating art. The purchase also makes a statement about the collector. The authors provide strategies galleries may use to improve the virtual experience of art collectors.

For several years now, Nicolas Rothwell has travelled the length and breadth of Northern and Central Australia. This book tells the story of desert journeys and encounters with mystics and artists, explorers and healers. It also gathers together groundbreaking pieces on Aboriginal art and society, and on Darwin and the lure of the North. Another Country is a portrait of people and places. It is also a literary achievement - a mesmerising, many-faceted journey into the landscape, and beyond." Contents I. Pathfinders - The Keeper of the Lore The magical Mr Giles The Black Screen The call of the Yidaki II. The Lure of the North - Capital of the Second chance The FCA Goldsworthy The house on the hill Australia twice traversed The angels of annandale III. In The shadows - Meeka Borderline justice Dying days Lost for words Nowhere to go The perfect trap IV. Portraits - Hector Jandany Rusty Peters Daisy Andrews Jukuna Mona Chuguna Walangkura Napanangka George Ward Tjungurrayi Aubrey Tigan Billy Benn Perrurle Angelina George Joan Stokes V. Dream Places - Warbuton Wingellina Jirrawun: Beyond the Boab Jirrawun: Beyond the frontier Peppimenarti Ernabella Bidyadanga VI. Critical Questions - Crossing the divide Scams in the desert. Prologue (Imagined country) I. Pathfinders (The keeper of the lore ; The magical Mr Giles ; The black screen ; The call of the Yidaki) II. The lure of the north (Capital of the second chance ; The FCA ; Goldsworthy ; The hous eon the hill ; Australia twice traversed ; The Angels of Annandale) III. In the shadows (Meeka ; Borderline justice ; Dying days ; Lost for words ; Nowhere to go ; The perfect trap) IV. Portraits (Hector Jandany ; Rusty Peters ; Daisy Andrews ; Jukuna Mona Chuguna ; Walangkura Napanangka ; George Ward Tjungurrayi ; Aubrey Tigan ; Billy Benn Perrurle ; Angelina George ; Joan Stokes) V. Dream places (Warburton ; Wingellina ; Jirrawun : beyond the boab ; Jirrawun : beyond the frontier ; Peppimenarti ; Ernabella ; Bidyadanga) VI. Critical questions (Crossing the divide ; Scams in the desert) Epilogue (journey to Yankaltjunku)

This publication acknowledges the power and primacy of the indigenous art and culture. It follows five published catalogues on aspects of the collection and aims to extend the repertoire of published images in the public domain.

Between Art and Anthropology provides new and challenging arguments for considering contemporary art and anthropology in terms of fieldwork practice. Artists and anthropologists share a set of common practices that raise similar ethical issues, which the authors explore in depth for the first time. The book presents a strong argument for encouraging artists and anthropologists to learn directly from each other's practices 'in the field'. It goes beyond the so-called 'ethnographic turn' of much contemporary art and the 'crisis of representation' in anthropology, in productively exploring the implications of the new anthropology of the senses, and ethical issues, for future art-anthropology collaborations. The contributors to this exciting volume consider the work of artists such as Joseph Beuys, Suzanne Lacy, Marcus Coates, Cameron Jamie, and Mohini Chandra. With cutting-edge essays from a range of key thinkers such as acclaimed art critic Lucy R. Lippard, and distinguished anthropologists George E. Marcus and Steve Feld, Between Art and Anthropology will be essential reading for students, artists and scholars across a number of fields Contents Between art and anthropology / Arnd Schneider and Chris Wright Farther afield / Lucy R. Lippard The artist as shaman: the work of Joseph Beuys and Marcus Coates / Victoria Walters Hearing faces, seeing voices: sound art, experimentalism and the ethnographic gaze / John Wynne In the thick of it: notes on observation and context / Christopher Wright Fieldwork as artistic practice / Tatsuo Inagaki Affinities: fieldwork in anthropology today and the ethnographic in artwork / George E. Marcus Show and tell: weaving a basket of knowledge / Amiria Salmond and Rosanna Raymond Tracing histories / Mohini Chandra and Rebecca Empson Collaborative migrations: contemporary art in & as anthropology / Steven Feld, in conversation with Virginia Ryan Making art ethnography: painting, war and ethnographic practice / Susan Ossman Cultural knowledge on display: Chinese and Haudenosaunee fieldnotes / Morgan Perkins Making do: the materials of art and anthropology / AnnaGrimshaw, Elspeth Owen and Amanda Ravetz

Key Recommendations Recommendation 4 The committee recommends that the Commonwealth establish a new infrastructure fund to assist Indigenous visual arts and craft; that this fund complement existing NACIS program funding; that this infrastructure fund be for a sum of the order of $25 million, made available over a period of five years; and that the fund be administered by DCITA. Recommendation 6 The committee recommends that the Commonwealth further expand funding under the existing NACIS scheme and consider revising its guidelines to confine its use to non-infrastructure projects. Recommendation 8 The committee recommends that, in light of the special circumstances facing Indigenous artists in the Alice Springs area, a proposal be developed, including a funding bid, for an art centre in Alice Springs that will cater for artists visiting the town from surrounding settlements. Recommendation 15 The committee recommends that, as a matter of priority, the ACCC be funded to increase its scrutiny of the Indigenous art industry, including conducting educational programs for consumers as well as investigation activities, with a goal of increasing successful prosecutions of illegal practices in the industry. Recommendation 17 The committee recommends that that Indigenous Art Commercial Code of Conduct be completed as soon as possible. Recommendation 18 The committee recommends that, once completed, all Commonwealth, state and territory agencies apply the Indigenous Art Commercial Code of Conduct where appropriate, including when purchasing Indigenous art (see also recommendations 23, chapter 10 and 28, chapter 14). Recommendation 20 The committee recommends that, once completed, all stakeholders in the industry examine, disseminate and adopt where relevant the Indigenous Art Commercial Code of Conduct. Recommendation 21 The committee recommends that the industry be given the opportunity to selfregulate. If after two years persistent problems remain, consideration should be given to moving to a prescribed code of conduct under the Trade Practices Act. Recommendation 24 The committee recommends that as a matter of priority the government introduce revised legislation on Indigenous communal moral rights. Recommendation 29 The committee recommends that the Commonwealth support increased efforts to showcase Indigenous visual arts and craft internationally.

Have Australian Aboriginal communities become places of increased suffering because of the progressive policies of the 1970s-2000s? Australia's leading anthropologist, Peter Sutton, looks at these decades of optimism and grief and argues that there has not been a better quality of life for Indigenous Australians. Contents After consensus Rage and its reasons The trouble with culture Violence, ancient and modern Bodies politic Customs not in common Unusual couples On feeling reconciled.

This paper analyzes auction results for over 4000 paintings by Australian Aboriginal artists to investigate determinants of prices in the Aboriginal art market. This is the first financial study of an indigenous art market, and hedonic, repeat sales and hybrid regression analyses find it shares price determinants with traditional art markets (with price premia attached to artist name, death, painting size, leading auction house, and winter sale). However, Aboriginal art’s unique features significantly affect prices, particularly works that use traditional Aboriginal media and those with reputation-affirming traits. An Aboriginal Art Index provides 6.6% annual return (standard deviation 17.9%), which is comparable to traditional asset classes and superior on a risk-adjusted basis. Returns to Aboriginal art are negatively correlated with returns from other assets, and so it adds value to a diversified investment portfolio.

Contingent valuation methods (CVM) are now well established as a means of measuring the nonmarket demand for cultural goods and services. When combined with valuations provided through market processes (where relevant), an overall assessment of the economic value of cultural commodities can be obtained. Within a neoclassical framework, such assessments are thought to provide a complete picture of the value of cultural goods. But are there aspects of the value of cultural goods which are not fully captured, or not captured at all, within such a model? This paper argues that CVM provides an incomplete view of the nonmarket value of cultural goods, and that alternative measures need to be developed to provide a fuller account.

Cultural policy is changing. Traditionally, cultural policies have been concerned with providing financial support for the arts, for cultural heritage and for institutions such as museums and galleries. In recent years, around the world, interest has grown in the creative industries as a source of innovation and economic dynamism. This book argues that an understanding of the nature of both the economic and the cultural value created by the cultural sector is essential to good policy-making. The book is the first comprehensive account of the application of economic theory and analysis to the broad field of cultural policy. It deals with general principles of policy-making in the cultural arena as seen from an economic point of view, and goes on to examine a range of specific cultural policy areas, including the arts, heritage, the cultural industries, urban development, tourism, education, trade, cultural diversity, economic development, intellectual property and cultural statistics. Contents: 1. Introduction; 2. The scope of cultural policy; 3. The policy process; 4. Arts policy; 5. Cultural industries; 6. Cultural heritage; 7. Culture in urban and regional development; 8. Tourism; 9. Culture in the international economy; 10. Cultural diversity; 11. Arts education; 12. Culture in economic development; 13. Intellectual property; 14. Cultural statistics; 15. Conclusions

The notion of Indigenous epistemologies and “ways of knowing” continues to be undervalued within various academic disciplines, particularly those who continue to draw upon “scientific” approaches that colonise Indigenous peoples today. This paper will examine the politics of contested knowledge from the perspective of three Indigenous researchers who work within Yunggorendi First Nations Centre for Higher Education and Research at Flinders University in South Australia. In particular, the authors outline a collective process that has emerged from conversations regarding their research projects and responding to what Ladson-Billings and Donnor (2008, p. 371) refer to as the “call”. In developing an Indigenous standpoint specific to their own disciplines and their research context, the authors demonstrate how these collective conversations between each other and their communities in which they work have informed their research practices and provided a common framework which underpins their research methodologies.

This article analyzes research and legal cases about authorship, authenticity, and intellectual property in Aboriginal art. The concepts of Aboriginality, authenticity, and ownership are used to show the complexities of Aboriginal law, legal copyright, and the moral rights framework. The clan ownership of Dreaming makes Aboriginal artists' relationship different to other artists' individual ownership of their work. Research on this topic by members of the Faculty of Business and Law unit of the Centre for Leisure Management Research at Deakin University was undertaken for the Australian Institute of Aboriginal and Torres Strait Islander Studies. This article provides significant contextual analyses of major issues leading to Commonwealth Government inquiries and legislation in Australia during 2006-8.

Indigenous people who want to control their day-to-day lives and their future face cultural, political and economic obstacles. This book includes practical ways to address some of these issues.

What is intellectual property and why is it important? Types of IP and what they protect Combined protection Top 5 tips for IP IP and starting a business Real story - brands IP and protecting your culture IP and profiting from your new idea Protect your idea - and profit Real story - inventions IP and buying a business Protecting against infringement Maintaining your rights Real story - designs Send a signal Real story - traditional knowledge Planting the seed of protection Traditional knowledge Where to go for more help.

This thesis shows that prices generated by the art auction system can be anything but mysterious despite the common perception that art, as a commodity, somehow falls outside the norm compared with other economic systems. Far from being the by-product of an enigmatic process, auction prices evolve directly from the mechanisms that shape the market and the human agents and institutions that dominate the system. Using the non-Indigenous Australian art market as a case study, this thesis offers a new, cross-disciplinary model that draws on economic and art-historical methodologies as a means of examining and explaining price formation within the art auction market. The research presented shows that the Australian auction market is dominated by a very small number of artists who are responsible for generating the lion’s share of revenue. Referencing cultural economic theory, I describe these artists as ‘superstars’. I discuss the superstar effect as it is defined in economic terms and show how it manifests in the art auction record. I map the existence of a superstar class of artists at the high-end of the Australian art auction market and consider the implications of this for art’s investment potential. Most market commentaries focus on the top-end of the market. This study uses as its starting-point a dataset of over 2,500 artists active at all levels of the secondary-market compiled from auction records covering the period 1972-2004, including artists who registered just a single auction appearance. This presents a broad overview of the market that offers new insights into the relationship between levels of professional accomplishment and auction price. Artists’ auction records and biographies are examined in detail in addition to agglomerate data for the market as a whole. This examination presents a picture of the key events, agents and institutions that shaped the auction market in Australia during the ‘boom’ period that commenced in the late 1990s. The premise of the ‘superstar’ artist is perpetuated and enshrined by the way these factors interact with the art auction system and place upward pressure on prices. The model of the art auction market presented in this thesis suggests that the prices it generates can be formed by activities that have little if anything to do with genuine competitive forces. As I will show, this can have implications for the efficiency and sustainability of the market.

During the last twelve months, there has been much discussion in the general and arts media about the manifestation of problematic practices within the Australian art auction market. Although the nature of these practices has been scrutinised, scant attention has been paid to how the methods and mechanisms employed by auction houses to build business during the art market boom that commenced in the late 1990s might represent a force that could undermine the sustainability of the market. Fundamental to this is quantifying the extent to which auction houses are able to influence market development. In this paper, I present empirical evidence that suggests that major Australian auction houses can exert significant control over buyer behaviour and price formation.

Sotheby’s estimates between fifty and seventy percent of the Aboriginal art it sells at auction is bought by international collectors. How do those buyers view their acquistions? On the Sotheby’s website, you will not find Aboriginal art listed with ‘Australian’ and ‘Contemporary Art’ under the ‘Paintings, Drawings and Sculpture’ department. Rather, it is classified as one of the ‘Ancient and Ethnographic Arts’, alongside ‘Antiquities’ and ‘Pre-Columbian Art’. This paper will show that the promotion and perception of Aboriginal art as ethnographic rather than contemporary in nature is but one of a number of important aspects of the market that have implications for the industry’s long-term sustainability. This distinction has a significant effect on the way Aboriginal art is distributed, promoted and received by buyers and sellers. Collectors measure the value of ethnographic material by assessing its proximity to a culturally immaculate source. An object has the greatest ethnographic integrity if it emanates from a primitive, isolated community.

The Protection of Indigenous Art and Culture in Australia: The Labels of Authenticity