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Front cover: Arthur Boyd Shoalhaven Reflections c 1980 ŠArthur Boyd. Reproduced with permission of Bundanon Trust. Image courtesy of Menzies Art Brands

Copyright Agency I Viscopy

Annual Review for Artists 2013 CONTENTS 04-05 06 07 08-09 10 11 12-13 14-15 16-17 18

Messages from the Chair and Chief Executive About Copyright Agency | Viscopy Payments to artists Licensing at work Working with Indigenous communities Direct support for visual artists Honoured Viscopy member John Olsen Resale royalty scheme John Fries Memorial Prize 2013 Viscopy’s board of directors

Maureen Baker Ngayuku Mamaku Ngura (My Father’s Country), 2012 © Maureen Baker/ Licensed by Viscopy

Level 15, 233 Castlereagh Street Sydney NSW 2000 Australia T: +61 2 9394 7600

code of conduct Copyright Agency | Viscopy is bound by the Australian Code of Conduct for copyright collecting societies.

auditors Pitcher Partners Level 22, MLC Centre 19 Martin Place Sydney NSW 2000

Please be advised that this publication may contain names and images of some people who have passed away.

ABN Viscopy 98 069 759 922 Copyright Agency 53 001 228 799


“We have consolidated the Viscopy operations and created a professional partnership that will enhance the interests of Australian artists.”

Viscopy has always had an important role in supporting our member artists commercialise their artistic endeavours. The challenge for Viscopy has been to establish credibility amongst licensees and to operate in an efficient and effective scale to ensure the organisation’s financial sustainability. By entering into a cooperative relationship with Copyright Agency in July 2012, we have consolidated the Viscopy operations and created a professional partnership that will enhance the interests of Australian artists. These changes have brought some renewed optimism about how we can support our member artists. Year one of the services agreement has seen the integration of Viscopy staff, systems and processes at Copyright Agency, all while continuing to deliver licensing services to members and customers. The result saw more than $2.2 million in royalties distributed to members. Whilst the overall result is down on the previous year, the return to Australian and New Zealand artists grew 12%. We also reached a significant milestone with more than 10,000 Australian and New Zealand artists as members – a growth of 9%. However, just as we are on the brink of achieving and developing new


services, Viscopy’s very existence is threatened by the ALRC’s fair use recommendations, which could reset user expectations and roll back the legal precedent of payment for use that Viscopy and others have worked so hard to establish. Viscopy and Copyright Agency will continue to resist any change which creates an unfair situation, where fairness already exists. In this, my last message as chair, I’d like to pay tribute to the able directors I have had the privilege of serving with on the board, who continue to work for members and are responsible for the company’s strategic direction. The board also monitors Copyright Agency’s delivery of services, as prescribed in the services agreement. The publication of this combined Visual Arts Annual Review for Copyright Agency and Viscopy is an example of how the two organisations are working together for the betterment of visual artists. I commend the review to you and welcome your feedback on all we do.

Jeremy Thorpe CHAIR


Creators and users of copyright works are at the heart of all we do. We connect content creators with content users – creating fair access for fair payment. This works just as well in the digital age as it did before, with new services for accessing even more materials to be used in new ways. It will continue to work as long as access is easy and fairly priced. Sharing artwork in publications or on merchandise is valuable and that value is reflected by a copyright payment. As we saw in the submissions to the Australian Law Reform Commission’s current review of copyright, teachers value the freedom that the educational statutory licence, which we administer, gives them to deliver results in the classroom. Writers, artists and publishers value the existing licensing system as it supplements income from direct sales and encourages them to invest their time, skills and money in developing and publishing great new Australian content.

“Our key goal is to connect content creators with content users to support their education, their business, and for their sheer enjoyment.”

It is 12 months since we entered into an agreement with Viscopy to administer their activities, thereby reducing costs and increasing payments to artists. The union has been fruitful and artists have been the beneficiaries. The resale royalty scheme, which is also under review, has continued to pay artists income from the resale of their works, generating almost $2 million to date. More than 90% of the artists receiving royalties are still creating and more than 65% are Indigenous. The year ahead looks challenging but exciting, with many new developments on the horizon which serve our key goal, to better connect content creators with content users to support their education, their business, and for their sheer enjoyment.

Jim Alexander Chief Executive



Copyright Agency and Viscopy are not-for-profit rights management organisations that connect the users and creators of creative material.

Viscopy Licensing

Statutory Licensing

Viscopy provides licensing services on behalf of 10,000 Australian and New Zealand artists and 40,000 international artists.

Resale Royalty

John Fries Memorial Prize

Copyright Agency Cultural Fund

Copyright Agency Career Fund

International partners Copyright Agency | Viscopy has an extensive network of international partners. This enables the works of Australian and New Zealand artists to be used in another country and likewise we can enable the use of an international artist’s work here.


Copyright Agency manages statutory licensing and the resale royalty scheme and has more than 26,000 members – authors, publishers, visual artists, illustrators, photographers, cartoonists and more. In July 2012, Viscopy and Copyright Agency entered into a services

Argentina.................. SAVA Austria....................... VBK Belgium..................... SABAM Belgium..................... SOFAM Brazil.......................... AUTVIS Canada...................... CARCC, SODRAC Chile........................... CREAIMAGEN Côte d΄Ivoire........... Burida Czech Republic...... OOA-S Denmark................... COPY-DAN Ecuador..................... ARTEGESTION Estonia....................... EAU Finland....................... KUVASTO France........................ ADAGP, SAIF

Georgia...................... GESAP Germany................... BILD-KUNST Greece....................... OSDEETE Hungary.................... HUNGART Ireland........................ IVARO Italy............................. SIAE Japan......................... JAA /APG Korea.......................... SACK Latvia.......................... AKKA/LAA Lithuania................... LATGA-A Mexico....................... SOMAAP Netherlands............. PICTORIGHT Norway...................... BONO Peru............................ APSAV

agreement whereby Copyright Agency provides cost-saving day-to-day management and administration of Viscopy’s licensing and membership services. The agreement will see artists receive additional income and makes it easier for organisations and businesses to license copyright material. The agreement brings together the licensing services provided by both organisations to visual artists, and because of organisational synergies, access to benefits such as the resale royalty scheme, John Fries Memorial Prize for emerging artists, and Copyright Agency Cultural Fund and Career Funds.

Portugal..................... SPA Romania.................... VISARTA Russia........................ RAO Slovak Republic...... LITA South Africa............. DALRO Spain.......................... VEGAP Sweden..................... BUS Switzerland.............. PROLITTERIS United Kingdom..... DACS USA............................. ARS, VAGA Uruguay.................... AGADU Venezuela................ AUTORARTE

Payments to artists

In 2012/13 Viscopy distributed $2,244,843 to over 967 Australian and 625 international artists with an average payment of $1,045 per artist. Whilst the overall result is down on previous years, the licensing fees generated for Australian and New Zealand artists grew 12%. Under the statutory licences administered by Copyright Agency, $15,118,862 was paid for artistic works. The Australian Government’s resale royalty scheme, paid $608,896 to Australian artists in 2012-13. Copyright Agency l Viscopy retains between 10 and 25 per cent of the royalties collected to cover the cost of providing our services. The percentage retained is based on the service provided. As a not-for-profit agency, we endeavour to keep our costs low for members.

The Top 5 most popular Australian and New Zealand artists represented by Viscopy in 2012-13 were: 1. Charles Blackman 2. Rosalie Gascoigne 3. Fred Williams 4. Arthur Boyd 5. Emily Kame Kngwarreye The Top 5 most popular international artists represented by Viscopy in 2012-13 were: 1. Pablo Picasso 2. Roy Lichtenstein 3. Ian Fairweather 4. Francis Bacon 5. Andy Warhol

Membership growth Viscopy’s membership grew by almost 1200 to just over 10,000, with membership split almost 50/50 between Indigenous and non-Indigenous artists. A greater proportion (65%) of new members in 2012-13 were Indigenous with growth of almost 16%.

Above: Charles Blackman Suddenly Everything Happened, 1956 © Charles Blackman/Licensed by Viscopy Below: Pablo Picasso Dove, 1961 © Pablo Picasso. Succession Pablo Picasso/Licensed by Viscopy


Viscopy licensing Viscopy provides licensing solutions for a diverse range of projects every year. Here are examples from 2012-13.

Third Drawer Down

The Art of Sound

Viscopy worked closely with the design team from Australian art retailers Third Drawer Down and the Trust of FrenchAmerican artist Louise Bourgeois (1911-2010) to license her work for limited edition merchandise. Bourgeois is best known for her contributions to both modern and contemporary art, and for her spider structures, titled Maman, which resulted in her nickname, the Spiderwoman. The ever-expanding range, featuring Bourgeois’ work in new and witty contexts, has become a best-seller. It’s produced and distributed by Third Drawer Down.

This collaborative project between the National Film and Sound Archive (NFSA) and selected regional art galleries examined the intersection between sound and the visual arts.

Viscopy licensed works for the exhibition guide and the website, where the exhibitions are preserved in digital format. Artists included Simone Eisler, Victor Majzner, John Dahlsen and Judy Cassab. Curators at the partner galleries explored a sound palette compiled by NFSA for the project, which included Australian recordings of songs, speeches, experimental works, spoken word, orchestral compositions and environmental recordings. These were presented with selected Australian artworks from their collections, creating exciting new combinations.

100% Linen Tea Towel with embroidery featuring Louise Bourgeois’ Champfleurette #2 © Louise Bourgeois Trust. VAGA/Licensed by Viscopy. Bone China Mug Set (4 mugs) in Special Box featuring Louise Bourgeois’ 10am is When You Come To Me © Louise Bourgeois Trust. VAGA/ Licensed by Viscopy


Judy Cassab's Mother’s Love, from the Grafton Regional Gallery’s collection, was teamed with Badu Island singers’ traditional women’s song Buma. © Judy Cassab/Licensed by Viscopy

Andy Warhol, Queen Elizabeth II of the United Kingdom, from ‘Reigning Queens’, 1985. Photo courtesy Christie’s Images / The Bridgeman Art Library. © 2013 The Andy Warhol Foundation for the Visual Arts, Inc/ARS. Licensed by Viscopy.

Warhol: Immortal exhibition at Museum of New Zealand Te Papa Tongarewa Viscopy worked closely with the Museum of New Zealand Te Papa Tongarewa to license Andy Warhol’s work for the recent blockbuster exhibition, Warhol: Immortal, which ran from June 1 to August 25 this year. As a founder of pop art and one of the 20th century’s most enigmatic artists, the exhibition celebrated Warhol’s enduring influence on contemporary culture. Featuring more than 150 works from the Andy Warhol Museum in Pittsburgh, his iconic portraits of friends, celebrities, socialites, politicians, royalty and rock stars were showcased across multiple media. Viscopy liaised with the museum to license Andy Warhol’s work for use across a range of platforms. This included a promotional campaign comprising print and television advertising, and a prominently sited billboard featuring one of Warhol’s striking self-portraits. Viscopy was able to navigate the museum’s staff through an otherwise complicated approvals process, working with exhibition and marketing teams.


Working with Indigenous communities Trish Adjei with Mrs Eunice Porter from Warakurna arts, WA, approximately 330km from Uluru near the border with the Northern Territory. Photo: Alicia Moody

In delivering Copyright Agency | Viscopy’s services to visual artists, we understand that education is a vital component. Our Indigenous Education Program is underpinned by Copyright Agency l Viscopy’s focus on Indigenous creators and culture. The program provides artists in remote, rural and urban communities with practical skills for the protection, documentation and remuneration of their artwork, often delivered in local languages. This includes education about copyright licensing, the resale royalty scheme, the importance of wills and Indigenous cultural intellectual property. The program is delivered via our websites, email, radio, brochures, and fact sheets, and in person, through presentations and workshops. Copyright Agency | Viscopy’s Indigenous communications co-ordinator and legal officer Patricia (Trish) Adjei, a Torres Strait Islander and Ghanaian woman, travels about 5000 kilometres a year to remote parts of the country in the Northern Territory, Western Australia, Queensland and South Australia to deliver the program.

APY lands trip 10

During 2012-13, Copyright Agency’s Cultural Fund supported a trip to Anangu Pitjantjatjarra Yankunytjatjarra (APY) lands. A team comprising Copyright Agency’s Trish Adjei, a lawyer from Arts Law Centre Australia and two pro bono lawyers from Gadens visited Ninuku Arts, Tjunga Palya, Tjala Arts, Ernabella Arts and Mimili Maku Arts. In addition to writing approximately 30 wills, the resale royalty message in Pitjantjatjara language was played to the artists.

Direct support for visual artists

Copyright Agency sponsors many events relating to its visual artist members, both directly and through the philanthropic Cultural Fund, which designates 1.5 per cent of annual income for projects supporting the Australian visual arts and publishing industries. In April 2013, the Cultural Fund supported the education and engagement programs of Kaldor Public Art Projects’ contemporary exhibition 13 Rooms. It brought together 13 artists and more than 70 performers to present an innovative group exhibition of ‘living sculpture’ within 13 purpose-built rooms at Pier 2/3 in Sydney’s Walsh Bay. The event was curated by two of the world’s most respected museum directors: Hans Ulrich Obrist of London’s Serpentine Gallery and Klaus Biesenbach, Director of MoMA PS1 in New York. Through school visits and workshops, students connected with the cutting edge artists and works of 13 Rooms. Copyright Agency’s newly renamed Career Fund also assists artists to enhance and develop their practice. Melbourne artist Natasha Frisch painstakingly creates high-realism sculptures out of the world’s most fickle material, tracing paper. “Tracing paper is completely unforgiving. It dints, buckles, bruises and melts when it gets wet,” she says.

Through a Career Fund grant, Natasha travelled to the United States to participate in an artist-in-residency program at the Contemporary Artists Centre: Woodside in upstate New York. While she was there, she secured a solo exhibition. In April this year she again received funding, this time for her current project, a three-month art residency from October to December at the New York Art Residency and Studios Foundation, at which time she will deliver her solo exhibition at Gallery Brooklyn. In 2012-13, Copyright Agency once again sponsored the prize for the best Single Gag at The Stanleys, described as “the Oscars for Australian cartooning”. The winner was Dean Alston of The West Australian newspaper. The Stanleys are presented in six categories, including the Gold Stanley for Cartoonist of the Year. They’re named after Stan Cross, who drew what has been acknowledged as Australia’s funniest cartoon, “For Gorsake Stop Laughing, This is Serious”.

Clockwise from top: Natasha Frisch Somebody else’s shadow (NY) 2012; the artist at work, Since I Met You #4 (Murrays Cottage) 2012; Since I Met You #2 2010. © Natasha Frisch


John Olsen: honoured artist and Viscopy member John Olsen is one of Australia’s most recognised and celebrated landscape painters. Born in Newcastle in January 1928, Olsen studied at the Datillo Rubbo Art School and the Julian Ashton School in Sydney until 1956. Following his studies, Olsen travelled to Europe where, in 1957, he trained in etching at S.W. Hayter’s Atelier 17 Workshop in Paris, before travelling to Spain. Upon returning to Australia, Olsen firmly established his reputation as a painter through the You Beaut Country series in the early 1960s. By the late 1970s Olsen had completed his most ambitious project to date Salute to Five Bells, a commission bequeathed by William Dobell for the Sydney Opera House, which this year celebrated its 40th birthday. He was awarded the Archibald Prize in 2004 and the Wynne Prize in

Clockwise from right: John Olsen, Wetlands, 2000; Frog Pond, 2011; Kingfisher and Frog, 1979. © John Olsen/ Licensed by Viscopy


1969 and 1985 amongst many other important awards throughout his career. In a tribute to his incredible contribution to the arts, Olsen was awarded an O.B.E. in 1977 and an Order of Australia in 2001. In 2011, he was awarded an honorary doctorate from the University of Newcastle. Viscopy is proud to have a longstanding relationship with John Olsen. Joining Viscopy in 2000, Olsen was instrumental in building awareness of our organisation and its function in the arts community. Since then we have worked on a range of licensing solutions for him, from auction house and exhibition catalogues, annual reports, merchandise for State and Federal Galleries and documentary and film work.

“Most days I’m in the studio, involved with a struggle with freedom and the impossible, it’s hungry and greedy for my time. As for copyright, my routine offers no time to review or keep pace with that matter. Viscopy has been a lifesaver, taking care of copyright.” John Olsen

Resale royalty scheme

After reaching the milestone of $1 million in royalties generated for artists in November 2012, Australia’s resale royalty scheme reached $1.7 million by 30 June, 2013. The relatively new scheme has been growing steadily, with royalty benefits flowing to nearly 700 artists, 65% of them Indigenous. Since the scheme began in June 2010, 7,000 resales have qualified for the 5% royalty payment. At 30 June 2013, 78% per cent of royalties have been paid directly to artists, with the balance to artist’s estates and beneficiaries. There has also been an increase in reporting of resales, with growth of 20% this financial year due to greater awareness of and industry engagement with the scheme. The Commonwealth Government’s Ministry for the Arts commenced a review of the scheme in June 2013.

Australian artists Mandy Martin and Kamahi Djordan King recently lent their support to an international campaign for resale royalty schemes to become a global right. Such schemes currently exist in Argentina, Australia, Belgium, Finland, Germany, Hungary, Ireland, Portugal, the United Kingdom and many others. Ms Martin said resale royalty and artists’ moral rights had been ongoing concerns for her, and that even small amounts of income generated from resale royalties could help support artists and their careers. “Copyright and resale royalty payments appear in my account periodically, often during periods where there have been no primary sales, and are very welcome.”

Artists support for the scheme has been positive, particularly in Indigenous communities.

“Copyright and resale royalty payments appear in my account periodically and are very welcome.” Artist Elton Wirri Photo: Guy Louanglath


Royalties benefit Indigenous families Albert Namatjira is one of the most famous Aboriginal artists to date for his beautiful watercolour paintings of his country in Central Australia but the copyright in his work is held by a third party, meaning his family has missed out on copyright fees for many years. Because of the resale royalty right, Mr Namatjira’s descendants now receive benefits from the resale of his works on the secondary art market.

Her works are highly collected and popularly sell on the secondary market. Mother to a large family, her many children are now benefitting from resale royalties through her estate.

Artists’ response positive In a survey conducted by the National Association for the Visual Arts as part of the review of the scheme, artists gave the following responses to the question: How has the resale royalty been of value to you?

Daughter and beneficiary of Australian artist Russell Drysdale, Mrs Lynne Clarke, has chosen to donate her royalty payments to the Rowan Nicks Russell Drysdale Fellowship which supports people working in Indigenous health and welfare.

• It’s a great way of keeping track of what’s happening to the art.

Mrs Clarke said she felt the donation was a good way of using royalties from the resale of her father’s paintings to help the Aboriginal communities that inspired so much of his work.

• Acknowledgment of professional integrity as with most other creative persons in all fields who receive professional financial royalties

“I like the idea that, if there are royalty payments from the resale of an artwork, it can go towards helping the artist or, as in my case, giving back to the community,” Mrs Clarke said. Alice Springs artist Dorothy Napangardi, who won the National Aboriginal & Torres Strait Islander Art Award in 2001, sadly passed away on 1 June 2013.

Artist Sarrita King Photo: Saville Coble

• The money is always useful – but knowing what resales are taking place is also of value. • Has helped me to pay debts

• I was amazed and delighted to receive the amount. It also allowed me to track a sale of a long forgotten work that had been painted so many years before the advent of computers etc. It also reaffirmed that I was included in the history of art in that auction records showed the sale and payment and we don’t have a lot of historical records of artists and their works in Oz.

Artist Nick Harding Photo: Richard Birch


John Fries Memorial Prize draws out emerging artists

The John Fries Memorial Prize for emerging artists is a major highlight of the Copyright Agency | Viscopy arts calendar. As the $10,000 nonacquisitive prize is awarded in August each year, very close to the end of the financial year, this report features the 2013 prize.

2013 Winner Jess Olivieri Photos: Susannah Wimberley

Top: Jess Olivieri & Hayley Forward Harlequins V’s Visitors (with The Sydney Chamber Choir), [video still] 2012 © Jess Olivieri & Hayley Forward/ Licensed by Viscopy


Donated by the Fries family in memory of former Viscopy director and honorary treasurer, John Fries, the prize is open to all artists resident in Australia and New Zealand who are not enrolled as a student and whose work is not represented in the collection of a state, territory or national public art gallery.

based sculptural-installation artist and winner of the 2011 John Fries Memorial Prize, Dr Sanné Mestrom and artist and Viscopy board member Kath Fries. Of the 22 finalists, it was collaborative artists Jess Olivieri and Hayley Forward who won the fourth John Fries Memorial Prize with their video work Harlequins V's Visitors, featuring the Sydney Chamber Choir. The judges also highly commended video works by Brisbane’s Chris Bennie for his evocative car park imagery featuring a family of swallows, The Western Fields, and Melbourne’s George EgertonWarburton’s work Boredom is a desk with human legs in a fish spa, featuring a dramatic monologue.

2013 was a transitional year for the prize with the service agreement between Copyright Agency and Viscopy adding additional resources and expertise to its management. In addition to this, 2013 also saw the appointment of guest curator Sebastian Goldspink, whose work with emerging artists through artistrun initiative Alaska Projects, brought a unique insight to the short listing of potential finalists and exhibition design.

Jess and Hayley shot Harlequins V's Visitors at Sydney’s Campbelltown Showgrounds, home to the Harlequins rugby team. The work calls an imaginary game between art and sport through a series of vocal warm-ups sung by the choir. Curator Sebastian Goldspink said the judges felt the work was “a beautiful meld of sound and video working together”. The work was subsequently purchased by Dr Mudie Cunningham for the Artbank collection.

This year’s prize was judged by four recognised identities within the arts sector: senior curator at Artbank, Dr Daniel Mudie Cunningham, senior lecturer and chief curator (National Institute of Experimental Arts) at UNSW Galleries, Felicity Fenner, Melbourne-

Jess Olivieri commented, “Arts vs sport is something which is often bandied around and we were interested in the warming up that happens for both. So we asked the choir to perform vocal warm ups in this small sporting field. I think this is a really important

The exhibition’s opening night at Gaffa Galleries featuring George Egerton Warburton’s Boredom is a desk with human legs in a fish spa [video], and Sophia Egarchos’ Levels #2 © George Egerton-Warburton © Sophia Egarchos/Licensed by Viscopy

prize because there are never enough opportunities for artists to be paid for their work. But I think this one in particular is really important because the work that Viscopy does is important. Artists should be paid for their copyrighted images and the more people who know about that then the more power that will have.” The accompanying finalists exhibition was held at Gaffa Galleries in Sydney between the 24 August and the 14 September and featured the works of Lucas Abela, Aaron Anderson, Svetlana Bailey, Maureen Baker, Ella Barclay, Chris Bennie, Serena Bonson, Sarah Contos, Keg De Souza, John A

Douglas, Sophia Egarchos, George Egerton-Warburton, Benjamin Forster, Dara Gill, Greedy Hen, Samuel Hodge, Simon MacEwan, Vincent Namatjira, Liam O’Brien, Jess Olivieri & Hayley Forward, Tom Polo and Bryden Williams. Copyright Agency | Viscopy would like to thank our venue partner Gaffa Galleries and sponsors Nightingale Wines, Little Creatures Brewery, Pipsqueak Cider and International Art Services. We would also like to thank Dr Gene Sherman for opening the exhibition.

Chris Bennie The Western Fields [video still] 2012 © Chris Bennie

“This is an important prize because it is generous, it is relatively high profile... for the artists, it really helps establish their profile.” 2013 Judge Felicity Fenner – Chief Curator UNSW Galleries COFA


VISCOPY board of directors

CHAIRMAN: Jeremy Thorpe Jeremy is an economist and partner at PricewaterhouseCoopers, specialising in the economic analysis of copyright issues.

Gary Carsley Gary is an artist and senior lecturer at the College of Fine Arts, UNSW.

Chris Westworth Chris is currently Chair of the Kolling Foundation and a board member for the Australian Institute of Management.

Kath Fries Kath is a Sydney installation artist and was recently awarded a post-graduate MVA from Sydney College of the Arts, University of Sydney.

Marcus Clark Marcus is a commercial solicitor and a partner of international law firm Allens.

Viscopy’s board is comprised of artists and professionals with an interest in the arts and copyright. The board works to fulfill the organisation’s objectives: • To encourage, promote and advance the understanding and appreciation in Australia and overseas of artistic works, and

Megan Cope Megan is an emerging Queensland Indigenous artist and a member of the Aboriginal art collective proppaNOW.


Tim Denny Tim has worked in copyright for more than 20 years, and is currently the Deputy Chief Financial Officer of music collecting society APRA|AMCOS.

Matthew Sleeth Matthew is a multidisciplinary artist who lives and works between Melbourne and New York.

Cass Matthews Cass is senior legal counsel at Google, specialising in arts and media. She has an MA in Arts Administration and is a director of dlux Media Arts.

• To ensure the representation and defence of the professional economic, legal and moral interests of the originators and authors or owners of artistic works. The board also monitors Copyright Agency’s delivery of services to its members and licensing customers.

resale royalty it’s about australia’s artists

The resale royalty scheme is recognising artists’ rights by giving money back when their eligible works are resold. 1800 066 844

Elton Wirri. Photograph by Guy Louanglath

resale royalty The Australian Government has appointed Copyright Agency to manage the resale royalty scheme. Elton Wirri. Photograph by Guy Louanglath

Copyright Agency | Viscopy Annual Review for Artists 2013  
Copyright Agency | Viscopy Annual Review for Artists 2013  

Highlights of 2012-13 featuring information about the Resale Royalty Scheme, a profile of artist John Olsen, licensing of artists' work, our...