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| Artists' cooperatives in Australia | |
|---|---|
| Name | Artists' cooperatives in Australia |
| Formation | 1960s–present |
| Type | Cooperative |
| Location | Australia |
| Industry | Visual arts |
| Key people | Vic Gellert, Mick Glasheen, Hazel de Berg |
Artists' cooperatives in Australia emerged from grassroots initiatives in the 1960s and 1970s and developed into a network of collective studios, galleries, and workshops across Sydney, Melbourne, Brisbane, Adelaide, Perth, and regional centres such as Launceston and Wollongong. They intersect with institutions like the National Gallery of Australia, Art Gallery of New South Wales, National Gallery of Victoria, Museum of Contemporary Art Australia, and policy frameworks including the Australia Council for the Arts and state arts agencies such as Create NSW and Creative Victoria. These cooperatives have shaped careers alongside organisations such as the National Association for the Visual Arts, Firstdraft Contemporary Art Space, Centre for Contemporary Photography, and artist-run initiatives like Tolarno Galleries and Gertrude Contemporary.
Early precedents trace to postwar collectives influenced by international movements including Factory Records-era DIY networks and European models in Paris and Berlin, while Australian manifestations were visible in community-driven spaces such as Australia Square-era studios and the 1970s rise of alternative spaces connected to demonstrations at events like the Seamen's Union protests. Pioneering cooperatives connected to figures from the Contemporary Art Society (Australia) and to independent histories of artists associated with John Coburn, Arthur Boyd, Sidney Nolan, Margaret Preston and younger artists from Poets Union milieus. The 1980s and 1990s saw expansion with links to festivals including the Melbourne Festival and the Adelaide Festival, and collaborations with curators from Ian Hunter-led projects and curatorial programs at the Australian Centre for Contemporary Art.
Cooperatives commonly register under state instruments like the Co-operatives National Law derivative regimes and incorporate as associations under statutes such as the Associations Incorporation Act NSW 2009 or similar Victorian equivalents. Governance models mirror practices advocated by bodies including the Australasian Council of Deans of Art and Design and the Australian Chamber Orchestra for collective decision-making, with constitutions, membership tiers, and committees reflecting precedents from unions such as the Australian Council of Trade Unions and professional standards promoted by the National Association for the Visual Arts. Intellectual property arrangements reference guidance from the Copyright Act 1968 and cooperative tax treatments intersect with rulings from the Australian Taxation Office.
Notable examples include long-standing venues and groups like Shed 11, The Commercial Gallery, Firstdraft, 88th Precinct-style collectives, mid-sized co-ops influenced by curators from Helen Galloway, and community-focused projects associated with Urban Theatre Projects and The Substation. Case studies span neighbourhood initiatives in Newtown and Fitzroy and precinct-scale developments linked to the Docklands (Melbourne) renewal and adaptive reuse projects around Pitt Street Mall and Glenelg. Collaborations with institutions such as Arts Centre Melbourne, Sydney Festival, and Brisbane Powerhouse demonstrate cross-sector partnerships.
Funding sources include grants from the Australia Council for the Arts, state arts funding from agencies like Arts South Australia and philanthropic support from entities modeled on the Ian Potter Foundation and the Besant Foundation. Earned income derives from studio rentals, sales through networks tied to auction houses like Australian Art Auctioneers and commercial galleries such as Utopia Art Sydney, as well as project revenue via festivals such as the Sydney Biennale and the Biennale of Sydney. Economic impact assessments reference work by researchers associated with the University of Melbourne, University of Sydney, and sector reports from the Department of Infrastructure, Transport, Regional Development and Communications on cultural tourism and urban regeneration.
Cooperatives serve as incubators for artists connected to schools and universities such as the National Art School, RMIT University, Griffith University Queensland College of Art, and community organisations like Mission Australia and Neighbourhood Houses. They host workshops, residencies and public programs partnering with libraries such as the State Library of New South Wales and museums like the Powerhouse Museum, and contribute to festivals including the Sydney Fringe Festival and Melbourne Fringe Festival. Cooperatives have supported Indigenous artists in dialog with institutions such as Museum and Art Gallery of the Northern Territory and have provided platforms for emerging practitioners aligned with curatorial programs at Sculpture by the Sea and the Bundanon Trust.
Tensions include gentrification pressures evident in precincts like Surry Hills and Fitzroy, disputes over leasing and heritage conversions at sites linked to New South Wales Parliament-adjacent developments, conflicts with developers in projects like Barangaroo and debates over public subsidy alignment with private collectors and dealers such as Chris Burden-style acquisitions. Governance controversies have arisen involving boards and artist members with parallels to disputes in organisations such as Museum of Old and New Art and legal challenges referencing precedents from cases heard by the High Court of Australia. Questions of diversity and representation have led to critiques contrasted with programs run by Carriageworks and policy reviews by the Office for the Arts.
Regional patterns appear in Tasmanian cooperatives associated with MONA FOMA, Western Australian groups linked to Perth Festival, Queensland collectives near Fraser Coast, South Australian models engaging with Tandanya National Aboriginal Cultural Institute, and Northern Territory initiatives connected to Alice Springs (Mparntwe). Indigenous-led cooperatives include community-run centres analogous to Papunya Tula Artists-style enterprises, collaborations with Desart and support through mechanisms related to the Aboriginal Benefits Foundation. These cooperatives negotiate cultural protocols with land councils such as the Central Land Council and engage with national Indigenous cultural policy frameworks administered by bodies like the Indigenous Art Code.
Category:Australian artist groups and collectives