Network

We are working together to build and connect people through the Wesfarmers Arts Indigenous Leadership & Fellowship program, to promote and share knowledge and experiences and to strengthen work practices and professional support within the sector.
Working with arts centres, artist associations and peak bodies, the Gallery will be developing a network of Indigenous professionals and alumni through social networking—Facebook, Twitter, Flickr, Delicious, blogs and other online initiatives.

Alumni

Every Fellow and participant of the Indigenous Leadership program is a valued member of the alumni community and becomes part of the Wesfarmers Arts Indigenous Fellowship and Leadership network. Alumni provide important guidance and leadership to other Indigenous Australians wishing to apply or participate in the Fellowship or Leadership programs.

You automatically become alumni after graduating. You do not have to pay annual fees to receive information or connect to other alumni; you just need to provide updated contact details.

Advisory Committee

The Wesfarmers Arts Indigenous Fellowship program Advisory Committee comprises professionals from the wider Indigenous visual arts community from around Australia. Members of the committee provide strategic advice to the Gallery to implement and develop the Fellowship program.

National Gallery of Australia mentors

Aboriginal and Torres Strait Islander Art department:

• Franchesca Cubillo, Senior Curator
• Tina Baum, Curator
• Kelli Cole, Curator

Reflections

“It was inspiring to be exposed to the incredible collections at the NGA and to get an insight into what it is like to work at one of Australia's premier Institutions.” –Zena Cumpston

“The memorable thing about the Leadership program was, and still is, the immense pleasure I got from meeting my colleagues and 'Countrymen' from all over Australia. Suddenly - we weren't alone any more. I can't tell you just how much that meant to me then and - still means to me today.” –Ron Bradfield Jr

“The great thing about this programme is that one does not have to be nor is expected to be the ultimate of professional prior to applying to participate. Wesfarmers and the National Gallery of Australia have a focus and passion for harnessing and growing arts industry workers.” –Jack Jans

“The first time I came to Canberra in 2011 for the Leadership Program changed the way I perceived the national Indigenous art community, and also gave me a firm understanding of how a major national art institution operates.” –Bradley Harkin

“Being around some of the best art in the world and one of the best Australian Indigenous Art Collections was inspiring both in my Curatorial and Art practice aspirations. Being a part of the Wesfarmers Arts Leadership Program changed me not only in a professional way, opening up networks and creating opportunity to learn but in a personal way as well creating friendships and inspiring in my creative path.” –Kimberly Moulton

“Many memories stand out to me, definitely meeting so many people behind the scenes of the gallery and learning of the many opportunities available to young people with a passion for art.” –Victoria Doble

“The Leadership Program provided me overwhelming opportunities through new learnings, friendships and exposure to the day to day running of the National Gallery of Australia.” –Freja Carmichael

“The most memorable part of the Leadership Program is the connections you make with everybody from different areas. I keep I contact with all of the participants from my year and people we met during our time there.” –Robert Appo

Indigenous Arts Leadership participants

There have been three Wesfarmers Arts Indigenous Leadership programs held at the National Gallery of Australia. Participants in the program represented all corners of Australia and had a diverse range of experience, skills and knowledge related to the Indigenous visual arts sector. The 2010, 2011 & 2012 Indigenous Arts Leadership participants were:

Australian Capital Territory

• Georgia Mokak – Studying a Bachelor of Arts (Art History & Curatorship) at the Australian National University, Canberra

  New South Wales

• Robert Appo – Regional Indigenous Cultural Development Officer for Arts Northern Rivers, Alstonville
• Nadeena Dixon – Studying digital media skills at TAFE and Graduate Certificate in Indigenous Arts Management, Sydney
• Shar Goodwin –Aboriginal Cultural Programs Coordinator at Saltwater Freshwater Arts Alliance, Coffs Harbour
• Deborah Knox – Studying a Bachelor of Art Theory at the University of New South Wales, Sydney

  Northern Territory

• Ruby Alderton – High school student and arts worker at Buku Larnggay Mulka Arts, Yirrkala
• Victoria Doble – Art Administration Officer at Mardbalk Arts and Crafts, Warruwi Community, South Goulburn Island
• Alison Furber – Aboriginal Cultural Education Officer at the Araluen Art Centre & Cultural Precinct, Alice Springs
• Faith Love – Aboriginal Customer Service Officer at MAGNT, Darwin
• Janice Murray – Artists & Art worker at Jilamara Art and Craft Association, Darwin
• Sharon Nampijimpa Anderson – Arts Administration Officer at Warnayaka Art and Culture, Lajamanu Community
• Jonathan Saunders – Resource and Development Officer at ANKAAA, Palmerston
• Vivian Warlapinn Kerinauia – Art worker at Tiwi Designs Aboriginal Corporation, Tiwi Islands

  Queensland

• Chenaya Bancroft-Davis – Studying a Bachelor of Contemporary Australian Indigenous Art at Griffith University, Ipswich
• Freja Carmichael – Graphic designer currently working at Queensland Health as a Project & Policy Support Officer, Brisbane
• Amanda Hayman – Digital Officer at the State Library of Queensland, Brisbane
• Jack Jans – Freelance community arts coordinator, Cairns
• Kevin O'Brien (Fellowship recipient) – Architect at Kevin O’Brien Architects, Brisbane

  South Australia

• Robert Fielding – Production Manager at Mimili Maku Arts, Anangu Pitjantjatjara Yankunytjatjara (APY) Lands
• Bradley Harkin (Fellowship recipient) – Exhibition Installer at Tandanya National Aboriginal Cultural Institute, Adelaide
• Renee Johnson – Visual Arts Officer at Tandanya National Aboriginal Cultural Institute, Adelaide

  Tasmania

• Brigitte Wolfe – Practising Artist and Tutor at the University of Tasmania, Launceston

  Torres Strait Islands

• Emma Loban – Communications Officer, Culture, Arts & Heritage Program of the Gab Titui Cultural Centre

  Victoria

• Zena Cumpston – Studying Arts (Double Major in History/Archaeology and Visual Culture) at Monash University, Melbourne
• Jirra Lulla Harvey (Fellowship recipient) – Managing Director of Kalinya Communications, Melbourne
• Kim Moulton – Project Officer at the Bunjilaka Aboriginal Cultural Centre of Melbourne Museum
• Hannah Presley – Curator at the Koori Heritage Trust, Melbourne

  Western Australia

• Suzanne Barron – Aboriginal early year’s coordinator with an Associate Degree in Aboriginal Art and Bachelor of Arts (ART), Armadale
• Ron Bradfield Jr – Manager Regional & Indigenous Development Program at Artsource, Artists Foundation of WA, Fremantle
• Sharyn Egan – Aboriginal Student Support Officer at the Challenger Institute of Technology, Fremantle
• Glenn Iseger-Pilkington (Fellowship recipient) – Associate Curator of Indigenous Objects & Photography at the Art Gallery of Western Australia, Perth
• Gabriel Nodea – Chairman and Indigenous Liaison Officer at the Warmun Art Centre, Turkey Creek