White hands on black art fear ‘serious’, says Ku Arts

Amid ‘serious’ allegations of white hands in Aboriginal paintings, Ku Arts has turned its focus to those who have publicly spoken out.

Rosie Palmer, manager of the Tjala Arts centre in the APY Lands of South Australia, is seen appearing to paint on the work of Indigenous artist Yaritji Young.

Ku Arts, a body which supports Aboriginal artists across South Australia, says allegations raised by The Australian about white interference in Indigenous paintings at the APY Art Centre Collective are “of serious concern”, and it is focused on how it may support whistleblower artists.

The government-funded advocacy body revealed on Thursday that its board had discussed the allegations raised in The Australian’s months-long investigation, and said in a statement it “finds the claims made recently in the Australian newspaper articles about the APY Art Centre Collective of serious concern’’.

“These articles have been considered at a meeting of Ku Arts board members, with the board’s focus being given to how Ku may be able to support Anangu impacted by these issues, especially those who have publicly spoken out on the record, for whom this must be a stressful time.’’

Five Indigenous artists who worked at the APY collective’s Adelaide studio, and six former white gallery assistants who worked alongside them, have claimed white studio staff regularly interfered with the collective’s Indigenous artworks.

The Australian’s investigation includes video evidence of a white Tjala Arts Centre manager painting on the canvas of prize-winning Indigenous painter Yaritji Young.

The manager, Rosie Palmer, said she was assisting Young with a “background wash”, while the APY collective’s board and general manager, Skye O’Meara, have consistently denied white studio staff painted on Indigenous works.

But Ku Arts, which has supported SA’s Aboriginal artists and art centres for 25 years, backed a recent statement by the Indigenous Art Code urging those affected by issues unearthed by The Australian’s investigation, to contact the Australian Competition and Consumer Commission.

The Indigenous-controlled body added: “Ku Arts understands that conversations with the ACCC are confidential.”

The National Gallery of Australia has announced an inquiry into the provenance of works in its forthcoming blockbuster exhibition of APY collective artworks, Ngura Pulka: Epic Country, and Ku Arts said this investigation must be independent, and ensure witnesses can speak up “without reproach”.

A spokesman said: “Ku Arts supports an inquiry into the Ngura Pulka exhibition and strongly believe such an inquiry must be led and carried out independently of the NGA and its curatorial partner, APY Art Centre Collective.

“This is a delicate and complex issue that requires a safe environment in which people feel they can engage without reproach.’’

Ku Arts warned “there are many who have a great deal invested in this exhibition and more broadly with the APY Art Centre Collective – strong and transparent governance is required’’.

This organisation provides support and professional development to Aboriginal arts centres and artists in Adelaide, the Flinders Ranges, Coober Pedy, the APY Lands and other SA locations, but is not affiliated with the APY Art Centre Collective.

While the NGA has announced its probe into the extent of “hands of assistance” in APY collective paintings, it was this week urging the public to plan their trips to the APY exhibition.

An LinkedIn advertisement for the Ngura Pulka, Epic Country Exhibition, opening June 3 at the National Gallery. Source: LinkedIn

The show is due to open at the Canberra gallery in June and is promoted as being “entirely” created by APY collective painters.

One Indigenous art manager, who did not want to be named, said the NGA’s Instagram and LinkedIn posts were “very odd”, given the investigation into the APY paintings had yet to be held.

An NGA spokesman said: “The Ngura Pulka exhibition is scheduled to open to the public on 3 June 2023. No further decisions about the timing of the exhibition will be made until the independent review panel has delivered their findings.’’