Anthony Wallis Email and Phone Number

Using Australia's existing copyright laws I have improved the bargaining position of Australian Indigenous artists for reproduction of their work. This has occurred gradually over decades of seemingly insignificant deals with public galleries, libraries, schools & universities, government departments and advertisers, just to mention a few of the likely users of Aboriginal art images. Past projects include the first Australian postage stamps designed by Aboriginal artists ('Music & Dance'1982)… Show more Using Australia's existing copyright laws I have improved the bargaining position of Australian Indigenous artists for reproduction of their work. This has occurred gradually over decades of seemingly insignificant deals with public galleries, libraries, schools & universities, government departments and advertisers, just to mention a few of the likely users of Aboriginal art images. Past projects include the first Australian postage stamps designed by Aboriginal artists ('Music & Dance'1982), the Parliament House forecourt mosaic & SOH Opera Theatre mural by the late Michael Nelson Jagamara (1985). Outside Australia we have licensed RODARTE, a fashion house in Pasadena, California and in 2015, a major design house in Paris (PIERRE FREY) to use Aboriginal designs. By now you will barely notice the forecourt mosaic reference on Australia's $5.00 note (launched 2016) and Australians are unlikely to have noticed KENZO PARFUMS (Paris) use of Gloria Petyarre's work as part of packaging design for their launch on the Russian market in FY18. In 2019 the focus was at home, where farsighted philanthropists are funding the public collections to increase online access. Those who pay our modest levies so far include QAGOMA, AGWA, AGSA, NGV, AGNSW, MAGNT, UQ Anthropology Museum, Newcastle City Gallery and more. Credit is due to Tracey Dall AGSA (with help from SANTOS), among the first to foresee how the internet would enable so much more online exhibition activity. Major initiatives overseas were delayed by COVID 19 but then lay 'embargoed' for years afterward. Stay tuned though for something big in the USA: clues-new interior design at Australian Embassy, Washington, DC (you have to call on the Australian Ambassador to see that one!) and the BREVILLE promotion of 'an Aboriginal Culinary journey' (completed in 2023). Both these were memorable and earned well for the artists involved. 2024 opened with a deal with AMAZON Seattle for their new streaming service FIRE TV. Show less

Guided this not-for-profit company through very difficult times from massive losses to a break-even point. With up to 6 galleries around Australia, the company was horribly exposed to the ups and downs of inbound tourism and was liquidated under the orders of its financial backer ATSIC, (then an Australian government agency) in the recession of 1991 which followed the pilots strike. Internecine warfare between First Nations power brokers played a part in this & it was unfortunate as we… Show more Guided this not-for-profit company through very difficult times from massive losses to a break-even point. With up to 6 galleries around Australia, the company was horribly exposed to the ups and downs of inbound tourism and was liquidated under the orders of its financial backer ATSIC, (then an Australian government agency) in the recession of 1991 which followed the pilots strike. Internecine warfare between First Nations power brokers played a part in this & it was unfortunate as we achieved sales of $12 mil. over my tenure. We had already laid a secure foundation for an ethical trade in Aboriginal & TSI art using our dominant position. If we had been allowed to continue our work I believe we could have repeated the success of the co-op trading Inuit art and craft in the NW Territories of Canada which was our model. Instead under John Howard's government, interventions in the market place suddenly went right out of fashion ! Arthur Andersen, the liquidators, were forced to dump the record of our achievements into the shredder, as is so often the case with these early initiatives. Show less

Prior to the creation of the Aboriginal Arts Board (AAB) occupied the project officer position covering the development of arts programmes for Indigenous artists under the newly created Australia Council ; thereafter continued as a project officer for AAB until May 1978.

Apprenticed at the Commonweatlh Film Unit together with Peter Weir, Kit Guyatt, Tom Cowan, Michael Edols (b.1942 d.2018) and many other yet-to-be-discovered talents. As a cinematographer my credits include short sequences in a massive study of marsupials across Australia & PNG and later, in one part of the Ian Dunlop (b.1927 d.2021) series on social change in Arnhem Land NT. This important series traced the impact of bauxite mining on the people of Yirrkala & the development of their arts. In… Show more Apprenticed at the Commonweatlh Film Unit together with Peter Weir, Kit Guyatt, Tom Cowan, Michael Edols (b.1942 d.2018) and many other yet-to-be-discovered talents. As a cinematographer my credits include short sequences in a massive study of marsupials across Australia & PNG and later, in one part of the Ian Dunlop (b.1927 d.2021) series on social change in Arnhem Land NT. This important series traced the impact of bauxite mining on the people of Yirrkala & the development of their arts. In the last months of my employment there I shot "Homesdale" (see pic; also IMDB) for Peter Weir and left for the US with him shortly afterwards to film reports for CH9 & to take up a bursary with BBC Bristol, UK. https://www.imdb.com/name/nm1235921/?ref_=nv_sr_srsg_1 Show less

Got the boot for teaching myself to touch-type in the afternoons (after my filing !)