About the Aboriginal Art Association of Australia
Our Mission
Our mission is to create a vibrant, healthy, sustainable, and inclusive Indigenous visual arts industry. We recognise that the strength and longevity of the industry depend on the creative genius of Indigenous artists and the continued preservation of their cultural heritage. By fostering an environment where artistic traditions remain strong, we aim to ensure the long-term viability of Indigenous visual arts.
​
We are committed to promoting a nationwide framework that upholds ethical and fair practices. Indigenous artists must be able to practise their craft in a safe and supportive environment, free from exploitation, bullying, or coercion. We advocate for fair and prompt remuneration, ensuring that artists are properly recognised and rewarded for their work.
​
As a representative body, we support all industry participants, including independent artists, galleries, and dealers, whether affiliated with an art centre or working independently. By providing opportunities for networking, collaboration, and discussion, we help members stay informed about industry developments, address key challenges, and grow their businesses.
​
Through our advocacy and initiatives, we strive to protect and strengthen the Indigenous visual arts sector, ensuring that it continues to thrive for future generations.
Our Purpose
Our Purpose
Incorporated in 1999, the Aboriginal Art Association of Australia (AAAA) remains the country’s leading organisation for individuals and businesses engaged in the Indigenous art industry.
​
The AAAA is a non-partisan body that advocates for all industry participants, including artists, galleries, and dealers, whether they are independent or affiliated with an art centre. The Association believes that everyone involved in the industry should have the right to participate in and contribute to discussions on industry matters. This principle is embedded in the Association’s Constitution through its Code of Ethics and its approach to Membership and Board representation.
​
The AAAA and its Board also play an active role in moderating industry disputes, providing guidance to those currently working in the sector, as well as those looking to enter it. The Association works closely with organisations and stakeholders with an interest in Indigenous visual arts, serving as the first point of contact for any party seeking insight or commentary on the industry.
​
For Members, the Association offers valuable opportunities to network, develop best practices, expand markets, and discuss challenges. New Members often find that their Membership has a significant positive impact on their businesses and careers, particularly in terms of accessing high-quality artworks and reaching new markets.
In 2015, the AAAA changed its name from the Australian Indigenous Art Trade Association (Art.Trade). This rebranding was part of a broader revitalisation effort, which included implementing an amended Constitution and focusing on Member recruitment, as well as strengthening engagement with policymakers, industry participants, consumers, and commentators.
​
As part of this renewal, the AAAA introduced its own Aboriginal Art Code, a mandatory framework for its Members. This Code complements the Association’s longstanding Code of Ethics and Business Practice, which has been in place since 1999, further reinforcing the AAAA’s commitment to ethical trade in Indigenous art.
​
In 2016, following a review of its structure and consultation with Members, the Board decided to establish dedicated Board positions for Artist Members. This initiative created three formal Board positions specifically for artists, ensuring they have a direct voice within the Association and can actively contribute to discussions on industry matters. The required Constitutional amendments for this important change were unanimously approved at the 2016 Annual General Meeting.
History of the
Aboriginal Art Association
of Australia
Our History
On 22 February 1998, at the height of scandals surrounding several high-profile Aboriginal artists, a group of 40 Indigenous art dealers gathered in the boardroom of the Queensland Art Gallery. The meeting was initiated by Adrian Newstead of Coo-ee Gallery in Sydney, with support from Michael Eather of Fireworks in Brisbane and Steven Culley of Desert Designs in Fremantle, Western Australia.
​
Following a spirited debate, the group elected a steering committee, led by Adrian Newstead, to conduct industry-wide consultations and draft a Constitution and Code of Ethics to be presented at a national conference later that year. While prominent art lawyer Shane Simpson was engaged to draft the Constitution for a dealers’ association, the committee undertook a six-month consultation process. Regional meetings were held across every state capital and in numerous remote art centres across the country.
​
In November 1998, after a historic three-day conference in Alice Springs attended by representatives from all sectors of the Indigenous fine art industry, the first elected board of the Australian Indigenous Art Trade Association (Art.Trade) announced the adoption of the industry's first Constitution and an extensive Code of Ethics. Fifty-one delegates signed off on the documents, while a further 37 galleries and arts organisations expressed their support. This groundbreaking Code of Ethics was developed with valuable input from Indigenous artists, art centres, galleries, NGOs, private dealers, industry bodies, collectors, and art coordinators.
​
The inaugural Board consisted of seven elected members, each representing different regions of Australia, with two positions filled by Indigenous representatives. The founding members included Adrian Newstead as President, Ian Plunkett, Michael Eather, Vivien Anderson, Roslyn Premont, Paul Ah Chee, and Jimmy Robertson Tjampitjinpa. Membership required a high level of industry knowledge, adherence to the extensive Code of Ethics, active support for Indigenous artists, and a commitment to promoting the role of artists and community organisations in preserving cultural heritage.
​
Incorporated in January 1999, the association attracted more than 60 financial member organisations in its first year. Art.Trade quickly gained recognition for its leadership, its commitment to providing a safe and fair working environment for Indigenous artists, and its role in guiding the art-buying public towards ethical purchasing decisions.
​
At its second annual conference in Brisbane in 1999—more than a decade before the Indigenous Art Code was formally established—the Association implemented a process for investigating malpractice involving Indigenous artists. It was agreed that any issues of cultural significance would be referred to an Indigenous Cultural Council (ICC) composed of Indigenous representatives from the relevant region. Members affirmed that non-Indigenous individuals should not be responsible for making decisions on cultural matters, and decisions made by the ICC would be binding on the Board.
​
Throughout the 2000s, the Association actively sought government funding to support its initiatives. Despite being a key advisor to successive Federal Governments and Arts Ministers, the Association did not receive public funding. Instead, it has continued to rely entirely on membership fees, fundraising efforts, and the dedication of its Board and Members, who volunteer their time and expertise.
​
Over the past two decades, the Association has used its position to lobby and inform governments of all political affiliations on issues such as industry challenges, major policy submissions, codes of conduct, resale royalties, and the role of Indigenous art in superannuation funds. It has also played a significant role in industry forums and inquiries, most notably contributing to the 2007 Senate Inquiry Indigenous Art – Securing the Future. During this period, the Association and its members actively supported the creation of the Indigenous Art Code (IAC) and secured a permanent Board position on the IAC in recognition of its leadership in promoting ethical trade practices.
​
The period from 2008 onwards has brought significant challenges to the industry, including the economic impact of the Global Financial Crisis (GFC) and the introduction of major regulatory changes, such as the IAC and resale royalties for artworks. Throughout these turbulent years, the Association has provided stability and expert counsel, helping policymakers and industry participants navigate these changes and avoid unintended negative consequences.
​
In 2010, the Association joined forces with the wider arts and antiques industries to establish the Australian Antique & Art Market Federation, giving Members a stronger voice on consumer-facing industry issues.
​
In 2015, Art.Trade formally changed its name to the Aboriginal Art Association of Australia (AAAA). Alongside this rebranding, Members approved an updated Constitution and Code of Ethics, further reinforcing the Association’s commitment to ethical practices by making adherence to the Aboriginal Art Code mandatory for Members.
​
At the 2016 Annual General Meeting, the Membership unanimously approved a historic amendment to the Constitution, creating three dedicated Board positions for Indigenous Members. This change enshrined the right of Indigenous artists to have a direct voice in shaping both the AAAA and the broader industry.
​
The Association continues to advocate for all sectors of the Indigenous art industry, working to create a safe and rewarding environment for Indigenous artists while providing art buyers with a trusted framework for engaging with Indigenous art and culture.
​
Today, the AAAA is a reinvigorated and focused organisation with a dedicated Board committed to fostering a thriving Indigenous visual arts industry—one where all participants are valued, treated equitably, and provided with opportunities to network, grow their businesses, and uphold best practices.