A genuine need to make reparations for the historical abuses inflicted on Indigenous people is not best achieved by quarantining work in narrowly focused institutions.
This explosion of Indigenous cultural institutions raises some important questions:There is only so much Aboriginal art and heritage to go round, and the most important items are already in public collections.It’s considered imperative to put Indigenous people in leadership roles, but there is not enough expertise to fill so many jobs. In making crucial appointments there are often bitter rivalries between local communities as to who should be in charge.
When Steven Marshall’s Liberal government came to power in March 2018, one of the new premier’s first initiatives was to scrap plans for Adelaide Contemporary in favour of an Australian National Aboriginal Art and Cultures Gallery. The thinking was that Australia already had a number of contemporary art museums but no dedicated gallery of Aboriginal art. Marshall saw an opportunity to get in first and leave an important legacy. It was to be his jewel in the crown.
In this, I was only echoing the opinion of Lynch, who told the local press in September 2020: “I just don’t buy the notion of what they’re proposing to do … I’m really distressed and disappointed that what was a fabulous proposal, a fabulous architectural competition and a fabulous celebration of both contemporary and Aboriginal art is still struggling despite the fact that we’re two-and-a-half years down the track since the premier came up with the idea.
If Tarrkirri is set up as a fully independent institution, as envisaged by Steven Marshall, it opens the door to a perpetual conflict of interests with the other museums. Will the AGSA and the SAM be pleased to hand over items on demand when this may clash with their own plans and protocols? Only someone who has no experience of the possessive, territorial nature of museums would imagine this could be easily achieved.
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