case study is apy art centre collective based upon this fill the mct template

APY ART CENTRE COLLECTIVE: TAKING INDIGENOUS ART TO THE CITY LIST TL IS Lanter, and Meady role case provide www.cancion Theodoro to the efective or infectandingan The may container de information to protect This publication of brand, Dhoop, or other any form or by my answer the permint of the Grow Reprodon of this moved under that by do organ Yoarder pesson om contact My Ang Buhe School West Unity London On Canada, MGONE 198013208 Myway.com Our mighty to vy.om C2021 Show 13304 Skye O'Mears, manager of the APV Art Centre Collective, was preparing for May 2019 meting with the artists and elders on the Collective's board. Prior to joining the APY Art Centre Collective, O'Meara worked in various roles in the Indigenous at industry for over a dozen years (see Exhibit). She joined the Collective in 2017. and by 2018, was inuenied in opening the Collective's first allery, in Sydney, more than 2,500 loilometres from the APY communities. Now, barely a year later, the board (see Exhibit) wanted to open another gallery, this one in Adelaide, in large part because Adelaide was closer to the APY Lands and large contingent of APY community members lived in or visited Adelaide any one time O'Meare wed the board's excitement about starting a gallery that could also serve as artere for APY comunity residents in Adelaide, and she was happy about the prospect of being closer to the APY Lands that beloved and it nothly. At the same time, O Maar was worried about the expansion. She had doubts about whether the small vated city of Adelaide could support gallery Would there be enough demand and donors O'Mcame was concerned about whether he and her small all could map to galleries thousands of kilometres putand still keep thieties to the APV Lands On top of it all, O'Mon was Gwas worried du pening a new gallery wool APY LANDS AND ART APY stood for Angu Pitjantjatjar Yankunytjajar, Aange (pronounced ar-co) Indigenous peoples of Australia. The APY Lands were a parcel of land set aside for the traditional news from the Pitjanatara, Yankunya, Ngannya people. The Lands were in the northwest comer of South Australia, south of Uturuar the centre of the Australian outhack. Ia 2019. approximately 2.300 people lived on the APY Lands in approximately seven wall communities spread over a vast area (ce Exhibit 33. Remarkably, each community hadistente 2010 "A Cute UK TUR Nation Dec ta Tin trourycofy Report Chile Coved Watson 2005-01 Teved 200 ML 9021M019 Page 2 In the late 1930s to the 1940 the Australian government supported in the Settlements on the land. The clasy sted into se contes around the might wil the 1950s that the last clans settled wit. Many of the elde Apy Land the pre-contact period. Their present of their lives with no cost with the wisdeld the elders themselves remembered But the walking wound time when chans were medic) carly period of time 2/12 1001 HUGOT ERG had led to significant health problems. Obesity was endemic due to combination of food insecurity and the prevalence of poor quality, high-calocie food Alcoholism and violence were per al petrol sniffing was making a comeback despite the legacy of death and brain damage by the previo wave of petrolinitting in the late 1970s, Incarceration nules were extremely high, in part because of the poverty and substance-related violence and in part due to call its between the communities and the police. The widespread health problems resulted many people from the APY Landswelling to and living in Adelaide to receive medical treatment related to diabetes and assisted sitney The need to sed trament 1.400 kilometres from home rested in isolation from families and communities, which only sdded the stress and less Que of the few bright spots in this picture was art. Remarkably, approximately 500 actives were on the APY Landsand most were working out of one of the art centres located in the communities. The Cenes, sochas Embella Arew out of ort room top in the mission by provided tre inctoring and community (see Exhibits 4 and 5). They also offered meency financial apporto in the form of small jobs that might y encroghtower atunk of petrol of Biod for a week. Over cach community developed a distinctive style of art, but across the APY Landsprederved and reviewed culture ponerated continuity across generation and provided one of the only sources come independent of government Alyans were force in the Australian art world. For example, in 2017. APYccount for 14 of 15 for the AUSS0.0007 Wynne warded for the best landing of Air scenery or for the best example of figure scolare by Australian wel wat forte SIO Archibald Pia, warded all the best parti piedi Aliment, nation for the Teva National Aboriginal and Tere Strait Islander Art And Astrongest ring in progras Indigenous art word Nationally, of recognired APY could comman 10.000 manat established in the big cities compted to showcase the art or the wrist, chances were few and risky hrupulos destestelle Adelaide of the watch Mancare commonly we do Conde 2008 220000 hayop Adora 20to%20the%20City.pdf : 3/12 - 100 * d APY ART CENTRE COLLECTIVE COMBO Rom 200 In response to these abuses, the APY An Centre Collective was organized to create new markets, support region-wide collaborative art projects, and increase the money flowing to the art centres and the artists. The Collective was controlled by a board of elders, each elder representing a community art centre One example of an APY Art Centre Collective project was the canvas painted for and presented to the mosque in Christchurch, New Zealand, after the March 2019 massacre there. Elder, artist, and board member Nyunmiti Burton conceived the idea of giving a canvas after seeing television coverage of the massacre. She felt sad for the families and a connection with the spirituality of those in the mosque: she decided that the APYcommunity needed to use its ant to make a statement about the insanity of this kind of killing Reflecting on her inspiration, Burton spoke eloquently about looking back to the time when we were strong back when we walked around with no clothes to find elements of our culture to become strong again moving into the future." She was talking about making art, but art rooted in culture stories, and oral and visual histories leading from water source to water source. She spoke about how all these elements were interconnected into one narrative told and retold, painted and repainted. But the artists did not just retell the old; they spoke of the current and future using techniques and colours that made sense for the present Burton went on to talk about "sorry camps."another cultural practice that had evolved. When someone died, the clan dropped everything and gathered in the desert for a week or more to moum, tell stories, and bury their relative. A newer tradition invoed placing yellow plastic flowers on the coffin and on the grave. These yellow flowers were a prominent feature of the canvas the APY Art Centre Collective gave to the Christchurch mosque The canvas was painted in a weekend by a group of women artists old and young. After conversation about the massacre and the goal of the canvas, about sorry camps and grieving about the connections they saw and felt, two or three of the elders painted the basic scalfolding the black lines in the picture and then the rest filled in the colours, each working on a small putch of canvas. Besides being a moving offering in and or itself, the finished painting was valodat well over $100,000 due to its beauty and the notoriety of some of the artists. It was an all-star canvas Windo 4 / 12 100% BIG CITY LIGHTS To circumvent the carpetbagger art dealers and support emerging artists, the APY Art Centre Collective decided to open its own gallery. The Collective's goals were to command higher prices, build the reputations of emerging artists, protect them from unscrupulous dealers, and channel more money back to the APY Lands The elders envisioned not just a gallery space but an urban version of an art centre a space that would provide support for the APY community members in the city, a communal studio, a launch pad for emerging artists, and an economic engine that would send money back to the APY Lands. The brick-and-mortar APY Art Centre Collective gallery would also provide a rich experience for art buyers by creating opportunities for customers to view and buy finished pieces and to learn about the art and its cultural roots from APY artists working on site. The gallery would educate customers and the broader community about APY art and about the workings of the market for Indigenous art. Finally, art buyers could be confident that the art they bought through the APY Art Centre Collective gallery was genuine and that the proceeds would provide financial support to both an APY artist and the APY community at large. The elders asked O'Meara, a trusted "whitefella", to represent the Collective and interact with the urban world. O'Meara had spent 12 years in the APY Lands, working at first for the government and later for various art centres. Although she had no dealer or gallery experience, O'Meara had proven to be a good administrator, a passionate advocate, and critically, a trustworthy employee." O'Meara estimated that about 200 rising artists had work that could be priced at $1,000 to $3.000 per piece if sold in an urban centre. From the outset, the Collective was determined to challenge existing industry commission structures. Working with the elders, the Collective decided that the gallery would pay 60 per cent of the sales price to the artists and keep 40 per cent for operations; in addition, the gallery would channel any profit back to the art centres on the APY Lands. This payment structure was in marked and intentional contrast to the conventional gallery structure in which the gallery kept 60 per cent of the proceeds from the sale of the established artist's work (see Exhibit 6). The Collective's gallery fees were even further removed from the carpetbaggers practice of paying artists a small, flat fee and then keeping the entire selling price for the dealer At first, the APY Art Centre Collective wanted to open its gallery in Adelaide, the capital of South Australia South Australia was a sparsely populated desert state about the size of France, and approximately 13 million of its 2 million residents lived in Adelaide. Although Adelaide's economy had suffered from the of Automotive manufacturing in Australia, Adelaide remained the economic and service hub Can Westby Dr Ramsay from 95/2021 to 1/31/2002 W Lorent LAPY%20Art%20Centre%20Collective%20Taking%20Indigenous%20Art%20to%20the%20City.pdf 5 / 12 100% + Page 5 9B21M019 To fund the gallery dream, the Collective applied for government and private support while also raising seed money by producing and selling all-star canvases. After struggling to find enough philanthropic or government support to open in Adelaide, the APY Art Centre Collective received a donor's offer to match the Collective's seed money if the art centre would open its gallery in Sydney. Much larger and wealthier than Adelaide, the Sydney region had a population of more than 5 million residents, a diverse array of firms many with global ties and a burgeoning art scene. Further, Sydney was located in the state of New South Wales, the richest and most populous of Australia's states. But Sydney was more than 2,500 kilometres from the APY Lands, and although it was home to an extremely diverse population, it had virtually no APY community. After painful deliberation, the board decided to take the risk, follow the money, and launch its first gallery in Sydney despite concerns about the distance and lack of APY community there. APY Gallery Sydney opened in March 2018 in a two-story building, just blocks from the National Art School where artists visiting from the APY Lands could participate in professional development opportunities across a diversity of mediums, including printmaking, ceramics, sculpture, new media arts, and photography. Despite a rushed launch, scant initial notice from the art world, and the lack of an APY presence in Sydney, the gallery surprised everyone, including the APY Art Centre Collective, by selling $700,000 worth of artwork in its first year." Part of the gallery's success was attributed to the occasional presence of the artists: gallery goers could interact with visiting artists making art. Also contributing to first year success was a concerted effort to reach art buyers through digital marketing techniques. The APY Art Centre Collective created a presence on the web. Facebook, and Instagram, and developed a mechanism for selling directly to buyers through direct messaging and email. The increased visibility also paid off indirectly with more APY artists winning awards, selling their art works at higher prices, and even being invited to travel internationally to display their work (see Exhibit 7). By the end of its first year, the Sydney gallery had helped the Collective direct 5941,000 to artists and the art centres on the APY Lands. However, as successful as the Sydney gallery's first year was, the Collective remained reliant on donor support (see Exhibit 8). The gallery contributed to an increase in art sales from just over $913,000 in 2018 to just over $1,458,000 in 2019, but the cash proceeds from art sales contributed only $517,000 to cash operating expenses in 2019 of S1,076,000. The balance was made up from donated 13 BUSH en Canada Westion by Ben Rusay from 918/2021 to 1/31/2022 stated the pochi Wir 100% O'Meara was not so sure of the plan. Although the APY community was strong in Adelaide and many more artists would be able to work from a gallery located there, the Adelaide art market was tiny compared to that of Sydney. Also, South Australia's capacity to support both art and Indigenous communities was much smaller than that of New South Wales. Further, the Sydney gallery was just finishing its first year, staffing was thin, and projected profits were uncertain. O'Meara worried that opening an Adelaide gallery would dilute attention time, and money and increase the chance that the Sydney gallery, the digital marketing initiative, and the Adelaide gallery would all fail. Finally, the board had recently asked O'Meara to help several artists tour Europe and to organize a trip to Christchurch to present the sorry camp canvas. She was not at all sure Authored for Claudianna Blanco, 'Opening of Aboriginal APY Artist-Owned Gallery in Sydney a Whopping Success"NITV, March 27 2018, accessed June 19, 2020, www.sbs.com.auitvity-news/article/2018/03/21/apy-gallery-opening-first-aboriginal-art. centre-owned-gallery-sydney-whopping 9B21M019 Page 6 that she could manage Sydney, Adelaide, digital marketing, and the tours, especially given the large distances involved and her commitment to the elders to spend as much as 40 per cent of her time on the Lands With all this in mind, O'Meara argued that she should stay in Sydney to develop both the Sydney and online my extra time to work on special projects such as the tours. She was confident that in 6 / 12 100% 10 With all this in mind, O'Meara argued that she should stay in Sydney to develop both the Sydney and online customer base, using any extra time to work on special projects such as the tours. She was confident that in one or two more years, she could develop the gallery and its online store into a reliable source of income and reputation for the APY community. Once a strong foundation was in place in Sydney and online, the time would be right to open an additional gallery in Adelaide But the elders had been dreaming about a gallery in Adelaide for nearly a decade. A large APY community in Adelaide needed support the state was interested in providing funding, and a gallery and workshop space were available. Further, while the Sydney gallery operations were shnky, its online presence was growing, and there was cash in the bank from previous fundraising, various special projects, and all-star canvas sales The elders were adamant: it was time to launch the Adelaide gallery, O'Meara's challenge was to make the expansion a success without undermining the rest of the APY Art Centre Collective's initiatives 2021012022 There and more Table 2.1 - Analysis of Strategic Options Option 1 Briefly Identity & Describe the option Benefits/ Advantages Critical Success Factors Threats! Risks Inating Table 22-Analysis of Strategic Options Option 2 Briefly identify & Describe the Option Benefits Advantages Critical Success Factors Threats Risks Theo View Honda Table 23 - Analysis of Strategic Options Option 3 Briefly Identity & Describe the Option Benefits/ Advantages Critical Success Factors Threats Risks Theo View Honda Table 23 - Analysis of Strategic Options Option 3 Briefly Identity & Describe the Option Benefits/ Advantages Critical Success Factors Threats Risks w the women and be th Table 3.1 - Critical issues in the context of Recommended Strategic Option- FINANCE CRITICAL ISSUES How is it manifested? Why is it happening? 1) Why Important? 21 Cause(s)? Implications if not dealt with Finance F1 F2 F3 F4 Then and the most Table 3.2. Critical issues in the context of Recommended Strategic Option-HR CRITICAL How is it manifested? Why is it happening? Why Important? ISSUES Causes? Implications if not dealt with? Human Resources HR1 HR2 HR3 HRA v | H H I v 4 THUA PHIM H H I at all the write ti H Huy th gi Table 3.3 - Critical issues in the context of Recommended Strategic Option-IT/MIS CRITICAL ISSUES How is it manifested? Why is it happening? Causes? Why Important? Implications if not dealt with Info Tech IT1 IT2 IT3 in new Table 3.4 - Critical issues in the context of Recommended Strategic Option -POM CRITICAL How is it manifested? Why is it happening? Why Important? ISSUES Causes? Implications if not dealt with? Operations OP1 OP2 OP3 . Table 3.5 - Critical issues in the context of Recommended Strategic Option MARKETING CRITICAL How is it manifested? Why is it happening? Why Important? ISSUES Cause(s)? Implications if not dealt with? Marketing M1 M2 M3 Per Layout Hier The Chat Table 38-Development of What Need to Be Addressed Statements 1. What Needs to Be Addressed Implications if not Addressed Opportunities if Addressed 2 What Needs to Be Addressed Implications Adidased Opportunid Added o Page Benin M View The song in combate Chemie 3. What Needs to Be Addressed Implications if not Addressed Opportunities if Addressed 3. What Needs to Be Addressed Opportunities il Addressed Implications if not Addressed nication and bunt Care Een 4. What Needs to Be Addressed Implications if not Addressed Opportunities Address 5. What Needs to Be Addressed Implications if not Adred Opportunities il Addressed Table 4.1-Evaluation of Alternative Solutions & Recommendation WNTBA Statement #1 Alternative #1 Pros Cons Alternative 2 Pros Cons (Note: Is there another major alternative? Recommendation & Rationale LILLED Table 4.2-Evaluation of Alternative Solutions & Recommendation WNTBA Statement #2 Alternative 1 Pros Cons cons Alternative #2 Pros Recommendation & Rationale Table 4.3 - Evaluation of Alternative Solutions & Recommendation WN TBA Statement #3 Alternative #1 Pros Cons Alternative #2 Pros Cons Recommendation & Rationale Table 5 - Recommendation Detail Timing Recommendations & STO to 3 months, MT - 3 to 9 months Supporting Detail LT-9 to 15 months, Immediate - 0 to 15 days Rec #1 Priority See Moleto the Market Rec #1 - Critical Success Factors & Risks to be Managed Rec #2 Table 5 Recommendation Detail Recommendations & ST-0 to 3 months, MT -3 to 9 months Supporting Detail LT-9 to 16 months, Immediate - to 10 days Rec #3 Timing Priority Rec #3 - Critical Success Factors & Risks to be Managed Rec #4 Private Dealers Business Ownership and Employment Predominantly owned by non-Indigo people . Do not prioriti Indignus employment the only Indigenous participants are arts The goal of the private dealers modelis to maxime profit to Bears . Private delen oposch high-profile artists from community of care and do te to support young and emerging artists APY Art Centres Business Ownership and Employment 100 percent owned and governed by Aboriginal people Income is returned directly to communities where it makes significant impact on social challenges, according to strategis priorities set by community elders The goal of the art centres is to maximize come to the artist and to the APY communities Many individuals who live on APY Lands live below the poverty line, so painting money is food money. An artist's income always goes toward feeding many family members, which is aligned with broader cultural value systems that prioritize shared resources and wealth The impact of the money refumed to communities through centres is far reaching In APY communities, art centres are the primary source ofron government income and the only rear jobs that provide meaningful training, development and pathways to sustainable employment APY art centres are consible for participation by a community members Art centres de notturn artist way Financial Transparency and Accountability APY art centres work with ful financial transparency . Al centres are exposed to an independent financial audit annually, which is published on the Office of the Registrato Indigenous Corporations (ORIC's) website yearly . Without these sulmudis art centres are not cible to receive the government funding that supports art centre operations Antones are also exposed to rigorous checksunde ORIC with staff regularly visiting APY communities to check france reporting Sint and Best Practice Financial Transparency and Accountability Pilvedelevenements for financiarency and do not with any festes of tanca account Private Detail EXHIBIT 7: SOCIAL MEDIA TRAFFIC, 2018 Social Media Traffic (Jan 2016) Instagram (@apy_ac_collective) 27,000 Facebook (www.facebook.coVAPYCENTREHUB) 10.200 Note: The Twitter for APY Art Center Collectively) w 2019 Source Company doen Traffic (Dec 2018) 40 900 13.267 EXHIBIT 8: FINANCIALS FOR APY ART CENTRE COLLECTIVE Statement of Profit or loss and Other Comprehensive Income, Year Ending June 30, 2019 2019 (AUS) 2018 (AUS) 2,884,63871 1941.220:40) 1284 708.42 (57579836) Income Revenue Raw materials & consumables used Expenditures Accountancy expenses Advertising expenses Depreciation and amortization expenses Employee benefits expenses Freight and cartage Other expenses Profit for the year (7.800.00) (14,913.80) (16,651.75) 1276,80570) (54.575.85) 786.79173 585.673 50 (2,100.00) (2.565.48) (3.981.001 (173.700.363 1504121) 274.78330 246.790.72 2018 (AUS) 12712 1001 EXTORTION Statement of Cash Flows, Year Ending June 30, 2019 2019 (AUS) Cash Flow from Operating Activities Receipts from sales of art 1.456,08245 Employment expenses (286,85404) Receipts from donors and sponsors 5,000.00 Receipts from other source 3.009.00 Payments to artists and art centres (941226 40 Receipts from government and other grants 1.050.700.00 General administration and direct (808.723.301 Not cash provided by operating activities 50.890.83 913.056.63 (164 882 823 35.000.00 1,083 64 (575.79601 561,63545 (163.034 203 508,04228 Cash Flows from Investing Activities Capital expenditure Not cash provided by used in investing activities (16970847 (100708.47) (114023831 (11402383) Cash Flows from Financing Activities Proceeds from borrowings Repayment of borrowings Net cash provided by financing activities 18,497.63 18497.601 4300000 (051) 480049 Net increase in cashed 332 090.73 533 314 Cash at beginning of financial year 537 53038 5.21144 Cash at end of financial year 870 221.11 537530 No Teeded to do they try try to do they