Ethical Aboriginal Art

Ethical Aboriginal Art: What You Need to Know

ART ARK exists because I couldn’t keep quiet after a decade working for remote Aboriginal art centres and seeing the market from the inside. I built this platform from the ground up on values I wouldn’t compromise. And while others market Aboriginal art as a product, we see it as something far more important. It is a form of cultural and economic self-determination, rooted in history, knowledge, cultural resilience, and community.

What makes this industry so difficult to clean up is that most of the unethical behaviour isn’t illegal. That’s the loophole. If it were illegal, it would be easier to stop. But much of what happens sits in a grey area, just within the law but far outside what’s fair.

Years ago, ABC's Four Corners (investigative journalism) aired an episode called Art for Art’s Sake (July 2008) that pulled back the curtain on some of the worst practices in the Aboriginal art market. After an Aboriginal art dealer filed a defamation claim, the program was quietly removed. You can still find references to it, but good luck trying to watch it.

You won't find a list of offenders here. Not because we’re afraid to tell the truth, but because naming names without legal grounds can derail everything. What we can do is explain the system, show you what to look out for, and help more people understand what’s really going on.

If you can make ten times your money on a single painting, you can buy ten more. It snowballs. That model works perfectly if you're willing to leave integrity behind.

When you buy Aboriginal art, outside of what it looks like, you're deciding whether to back exploitation or fairness. At ART ARK®, we work only with not-for-profit, community-run Aboriginal art centres. That’s not a slogan. It’s the foundation of how we operate.

This page lays it all out. The good and the bad. What to ask, what to avoid, and what you’re supporting when you choose better.

The Problem with the Aboriginal Art Market

I remember one Sunday, while working at a remote Aboriginal art centre, a beat-up blue Corolla rolled through the community. The centre was closed. I watched it pull up and wait. After a while, Ronnie, a senior artist and respected elder, got in. He’s one of the greats of the Western Desert Movement. That same man now appears in online videos painting beside highways. His works sell for tens of thousands, but the ones made that day didn’t go through the art centre. He likely saw only a small fraction of the final price.

That memory doesn’t fade. Because it wasn’t unusual.

Some dealers fly artists into town, pay them a few hundred dollars a day, and sell the works for ten thousand or more. Others drop off rolls of canvas in remote communities. That’s where the term “carpetbagger” comes from. Then they return later to collect the finished works. The artists are paid just enough to make it feel worth it in the moment. And the buyers are never told the truth.

Big operators run their own studios where artists are encouraged to come and paint. It is targeted and relentless. They want the famous artists. They chase and call them, often using family members to apply pressure.

You’ll hear a lot of buzzwords. "Authentic." "Ethical." Certificates are waved around. Photos and videos are shown. The language is convincing. But it’s often empty.

It’s not illegal. But it is wrong.

While the dealers profit, the artists are often left with nothing but the memory of being taken advantage of. Sometimes an old car that barely runs.

Would you hang something on your wall if you knew it was supporting exploitation?

This is the side of the art market most people don’t see. We're the ones who want to talk about it.

What Ethical Aboriginal Art Really Means

Ethical Aboriginal art is not about marketing terms. It’s about how the work was made, who facilitated it, and who benefits from its sale.

The highest standard is when an artwork is created through a community-run Aboriginal art centre. These centres are directed by the artists themselves. They don’t just protect the art. They protect the culture, the income, and the structure around it. Most operate in remote areas and support hundreds of artists with everything from materials to financial literacy.

Each artwork is unique. There are dot paintings, bark paintings, screen-prints, woven sculptures, and more. Each reflects the knowledge of Country and kin. Many centres reinvest proceeds into local infrastructure, health programs, and cultural preservation.

ART ARK works in partnership with Aboriginal art centres, promoting and celebrating their work. The vast majority of artworks we share are held on consignment. That means we don’t own them, we are simply their safe keepers, sharing them on behalf of each centre.

Up to 80% of each sale is returned to community-run Aboriginal art centres. This includes a minimum of 60% to the centre that created the work, which sets the standard among ethical galleries. The additional 20% referral commission is our new initiative (June 2025), designed to create new opportunities across the network. Either way, they leave the carpetbaggers in the dust.

The percentage we receive is our only income. It goes towards marketing our mission, paying staff, covering freight, rent, and running the platform. Your support helps us keep doing the work that matters.

What About Authenticity?

Authenticity is about more than a signature or a certificate.

Real provenance tracks where the work was made, who supported it, and how it reached the market. The best provenance comes from an Aboriginal art centre. These centres issue Certificates of Authenticity with catalogue numbers and identifying details. You can verify them on the Public Register at Office of the Registrar of Indigenous Corporations.

Be cautious of certificates made by private galleries or dealers. They are not equivalent. Even a video of the artist holding the work means nothing if the system behind it is questionable. The real question is not just, "Did the artist make this?" but "Were they supported, respected, and fairly paid?"

There is no standard format for Aboriginal art centre certificates, but they will always include the organisation’s name and a catalogue number that matches the artwork. You can check the legitimacy of art centres using oric.gov.au. Certificates issued by galleries or dealers should prompt further questions. Even polished photos or videos are not proof of ethics. What matters is the structure behind the sale and whether the artist was properly supported.

Example Art Centre Certificates

Example of Aboriginal Art Centre Authenticity Certificate

What You Should Ask Before Buying

Take a minute. Ask:

Is the work from a community art centre?
Was the artist paid fairly?
Can the provenance be verified?
Who issued the certificate?

If the answers are unclear or too smooth, that’s a warning sign.

Red Flags to Watch For

The artist is flown in or paid a flat daily wage, rather than paid per artwork.
The seller claims some of their works are from art centres, but won’t clarify others.
They cite "artist privacy" as a reason for not explaining payment or background.
The certificate of authenticity is issued by the gallery or dealer, not a recognised art centre.
When questioned about artist payments or percentages, they avoid the question or shut down the conversation.

If something feels off, it probably is. A little questioning can save you from buying into exploitation.

Independent Words from Tim Klingender

Tim Klingender was one of the leading figures in the Aboriginal art secondary market. Before his passing in 2023, he shared this with us:

ART ARK: Thanks for your time, Tim. Could you please mention how ethical trading defined your work at Sotheby’s Auction House in those early years?

Tim: The policy I started at Sotheby’s, where an artist is represented by an art centre (e.g., Papunya Tula Artists), was to only include paintings with art centre provenance and not accept works commissioned independently outside the centre.

ART ARK: That makes sense, Tim. How is this policy seen elsewhere?

Tim: The policy aligns with state and national galleries and has been adopted by Deutscher and Hackett, Bonhams, and Sotheby’s internationally. However, it is not implemented by other auctioneers such as Leonard Joel, Cooee Art Market Place, or Shapiro.

ART ARK: How does this affect someone wanting to buy an artwork for the first time?

Tim: Unfortunately, private operators and gallerists often fail to mention that there is a limited secondary market (re-sale) for the paintings they are selling.

ART ARK: Are there any exceptions to art centre provenance in the secondary market?

Tim: These policies are not absolute. For example, in the case of Rover Thomas, the independent dealer Mary Macha is the preferred provenance, as the art centres of Waringarri and Warmun started after he began painting for Mary. Similarly, when an artist leaves an art centre, as Clifford Possum did with Papunya Tula Artists, we occasionally sell their post-PTA work.

ART ARK: Why should we care?

Tim: The policy helps prevent artist exploitation, ensures artworks are professionally recorded, supports art centres that manage artists' careers and nurture their practices, and contributes to the well-being of remote communities.

ART ARK: Thank you, Tim, for sharing your insights and time.

Why ART ARK Exists

Every painting on ART ARK has a clear path. It comes from a publicly-audited, not-for-profit Aboriginal art centre. We do not work with private dealers. We do not sell works commissioned outside the centres. We do not take shortcuts. We know the people behind the work. We’ve sat beside them, worked with them, and built lasting partnerships.

This isn’t about gatekeeping. It’s about giving buyers a clear way to do the right thing without having to second-guess the entire system.

You don’t need to be an expert. You just need to care.

There Is a Better Way

Despite the mess, this is still one of the most extraordinary art movements on earth. At its best, Aboriginal art builds futures. It teaches, sustains, and celebrates. It speaks of place and kin. Of story and survival.

Over 87 Indigenous art centres across Australia are doing the work. They are the beating heart of their communities. Supporting them is not charity. It’s fairness. And it works.

What About the Indigenous Art Code?

You might have come across the Indigenous Art Code or its logo and may wonder about our association. Yes, we are members. We don’t believe the presence of a logo or code membership alone is a meaningful measure of ethicality.

The idea of a formal code of conduct is a step forward for the Aboriginal art industry, and we support its intentions. But symbols, by their nature, invite shortcuts. In behavioural science, these shortcuts are called heuristics. They help us make fast decisions without deeply analysing every detail.

Take the health star rating system on food packaging in Australia. A product with four stars might seem like the healthier choice. But unless you understand what goes into that rating, it can be misleading. The Indigenous Art Code can work the same way. A logo is not proof of fairness. It’s a symbol that may or may not reflect the reality behind the sale.

The Code was launched in 2010 to address exploitation in the Aboriginal art market. It was voluntary then, and it remains voluntary now. I remember when it was introduced. I was working at an art centre in the Kimberley, wondering how such a system could make an impact without teeth.

The Code promotes principles like honesty, respect, and fair pay. But it lacks robust enforcement. Members can follow the rules in letter, not spirit, and still use the logo. For example, it is possible under the Code for an artist to receive just 15 to 20 percent of a painting's final retail price. That might tick the compliance box, but it doesn't feel like a high standard.

The company behind the Code is a member-based organisation with limited liability. If a dealer breaks the spirit of the Code, consequences are vague. Directors are not required to explain their decisions. There's no public accountability around who stays a member and why.

So yes, the logo matters. But it is not a guarantee. It should not be the sole thing you rely on.

Here’s an excerpt from Section 2.1 of the Indigenous Art Code:

Dealer Members must at all times act fairly, honestly, professionally and in good conscience when dealing with an Artist, whether they are dealing directly with the Artist or dealing with the Artist through an Artist’s Representative.Examples of conduct that would not meet the required standard include, but are not limited to:(a) unfair or unreasonable conduct
(b) undue pressure or influence, including threats
(c) not acting in good faith
(d) paying an Artist by means of alcohol or drugs
(e) unfairly taking advantage of, or exploiting, an Artist
(f) paying or agreeing to pay an Artist an amount or other consideration for the Artist's Artwork that is, in all the circumstances, against good conscience

These are admirable principles. But the issue is not in the intent. It’s in the lack of enforcement.

Outside of the Indigenous Art Code, which is government-funded, you may also come across other codes of conduct in the sector. While they may appear official, many are operated by dealer groups themselves.

At ART ARK, we go further. We work only with audited, community-run, not-for-profit Aboriginal art centres. That structure gives artists control. It ensures transparency. And it means we don’t have to trade on appearances. We let the process speak for itself.

What Makes ART ARK Different

100% of artworks come from not-for-profit, community-run Aboriginal Art Centres.
We sell on consignment, with pricing set by the centres.
We spent over a decade working in remote Aboriginal art centres before starting ART ARK, which we've now run for over 9 years.
Every sale supports the artist, their family, and their community.

When you buy from ART ARK, you're not just buying something for your wall. You're investing in people. In culture. In stories that matter.

If that makes us unpopular with the carpetbaggers, so be it.

This is how you honour the art. And the people behind it.

Please remember, because it’s not illegal, the only way to make a difference is by sharing and educating others.