Resale Royalty Scheme – Australia

The Australian Government’s Resale Royalty scheme is about to take effect on the 9th of June 2010.

The royalty will apply to works by living artists and lasts for 70 years after death – so currently to all artists who died after 1941.

Basically, all such works of art purchased after the 8th of June 2010 will be subject to a resale royalty of 5% when next sold.
Importantly, all works purchased before that date will be exempt on the next sale – but not subsequent sales.

For example
If you buy a work on the 1st of June 2010 and sell in 2013, the royalty will not apply. If you buy it on 15th of June 2010 and sell in 2013 it will apply. If the work is a Streeton, (who died in 1943) you pay; if you defer the sale to 2014 you won’t.
Royalties will apply to sales of $1,000 including GST and over.

Resale Royalty is triggered by a change of ownership – and this includes inheritance and gift. So, a painting bought in 2005 and then inherited or gifted in 2015 and then sold in 2020 will attract the 5%.

Demonstration of exemption for future sales will rely on providing evidence. The collection agency (CAL) is advising collectors to make an inventory of their current holdings as at 8th June 2010, and lodge it with their accountant.

I have asked, but received no answer, about the status of ‘internal’ sales eg between say John Smith’s personal collection, Smith Investments Pty Ltd, Smith Superannuation Fund, etc. I suggest that if you are contemplating any such move, that you take professional advice and act before the 8th of June 2010 if applicable.

The same will apply to any works of art you are currently contemplating buying. Any sale finalized before the starting date will at least be exempt on the next sale.

The above is essentially a matter of law, not art. I’m not a lawyer, and don’t fully understand the ramifications and complexity of the situation. This email is offered as a friendly suggestion and not as professional advice. It is made without liability.

Charles Nodrum

Director, Charles Nodrum Gallery

Street\Studio book launch

We’ve managed to keep this pretty quiet – now it’s finally ready.

STREET/STUDIO By Alison Young, Ghostpatrol, Miso & Timba Smits

Featuring work by Niels Oeltjen / Tom Civil / Tai Snaith / Ghostpatrol /
Ash Keating / Al Stark / Miso / Twoone / Mic Porter and the Everfresh Crew

“Through a series of intimate conversations, Street/Studio offers an exclusive behind-the-scenes look at how street art has entered the mainstream and become one of the most collectable new art forms. It offers an unparalleled insight into the work of ten of Australiaís most influential, dynamic and creative artists living in Melbourne.”

Join us for the official launch of Street/Studio
4th of June at 7pm, No Vacancy Project Space, Federation Square Atrium, Melbourne
This will be the first chance to get your hands on this book and have it signed by the artists and authors. A handful of original Ghostpatrol watercolours have been randomly inserted into 10 of the books available on the opening night.

If you can’t make the opening night keep an eye out for:

6 June ::: Sunday 2pm :::
Screening of Exit through the Gift Shop
the new Bansky film at ACMI and panel with Miso and Alison Young, followed by book signing at 5pm

12 June ::: Saturday 1pm :::
Book signing with Miso, Ghostpatrol and Alison Young
Outre Gallery, 249 Elizabeth Street, Melbourne
+ surprises

15 June ::: Tuesday 6.30pm :::
Book signing with Alison Young, Miso, Ghostpatrol, Niels and Meggs
Readings Carlton

For those outside Melbourne there will be additional signings around Austrlia annoucned soon on the offical website,
you can also preorder a copy here

– Miso and Ghostpatrol at the National Portrait Gallery
– Ghostpatrol Junior Talk online
– Keep up to with the ghostpatrol ‘deathtron mountain‘ blog
– New ghostpatrol pasteups
– Visit the new Nice Produce website

thanks for reading
-david ghostpatrol

Exhibition – Connie Noyes




FROM 5:30 – 7:30,


WEEKDAYS 9:00 AM – 4:30 PM

Connie Noyes is a mature girl painter.

The energy is insane.  The aggressive push to explore is palpable. The results fabulous.

Of course with a pursuit like hers, Noyes sometimes misses – and misses big, but she scores big more often than not.  She takes sizeable risks and doesn’t bemoan the failures, learns always and invariably kicks ass.  Her drive and excitement permeate the work.

Often a viewer encountering a single work gushes. Seeing several can overwhelm.  She’s scurrying in multiple directions simultaneously.  From the girly, translucent pinks and gossamer whites that make me feel like a happy voyeur to the overlaid black paintings that allude to darker thoughts and ostensibly a comment on society, this is an artist who loves to paint.

And though paint is everywhere it isn’t all there is.  There are a lot of remnants, found materials, garbage, detritus; the castoffs we throw away, Noyes picks up and transforms, though compositional juxtaposition and smears of paint, to worthy constructs of all sorts of sizes.

Noyes is a seemingly soft (don’t count on it) a blonde who has danced most of her life. Sometimes she looks elfin and the work that pours out of her body belies her demur demeanor. Her work is powerful, full of soul and physicality.

Earlier this year I blind juried (I couldn’t see the names or gender of the artists whose art I was evaluating) a show for the Indianapolis Art Center and included a piece of Noyes’.  I don’t know about you, but when I look at art I get a psychological and/or sociological portrait of the artist and extrapolate from that information to a dialog with the art.  I was pretty certain a 70-something year-old Black man did the hulking 7 x 10 foot canvas I’d included. The way it riffed on urban issues could only have been done by someone who’d spent time sleeping in alleys or under bridges.  It had that kind of authenticity pouring from it.  I was shocked when I learned the piece was by Connie Noyes.

Her work is like that; lush, rich, authenticate and contains polar opposites. Not often in one piece, but frequently from one piece to the next.  There is always a love of process and materials, a feeling that in making it she’s in there up to her elbows.
Noyes is an artist of deep thoughts, concerns and experience that she mines daily to push us to better know ourselves and the diversity we all touch but rarely delve into with the same honesty Noyes does.

Lots of artwork informs the artist about themselves (Noyes’ does) and lots of other art is didactic – expressing a point of view (Noyes’ does that too) but very few do both.  Noyes is special, pushing hard(er), with brave honesty and vulnerability.  She’s on top of her game, making more art and better art than most. She’s driven.  And we are the fortunate benefactors.

-Paul Klein, 2010
Chicago based curator, critic and writer

Beth Nicholas – Artist in Residence


Beth Nicholas is working in an Artist In Residents position in England and is allowing us to get an inside view of the role, and her part in it. I thinks it’s a great chance for us to all learn more about ways artists can interact with various communities and in this case a secondary school environment. lets look into whats, taking place. Oh and do you have a question for beth? add it in the comments section at the end of the article so she, I we can respond… perhaps with some encouragement she will add more info over time in other posts, both on her blog and here in other articles.


Beth, where is the residency based?
Wycombe Abbey School – High Wycombe, Buckinghamshire is a private all girls boarding school is considered to be one of the best schools in England.

How did they select you?
To be honest I’m not entirely sure, I think it was a mixture of things. I really like interviews, because I like people and when I met the deputy head she and I immediately got on and I did something I have never done before… I sang in my interview! When asked what my teaching style was I sang “make ‘em laugh, make ‘em laugh do do doo do do dooo do do”- I think that clinched it with her!

With Frances the head of the art department I had found the garment that has been the inspiration for this years work a few days before the interview and cleaned it up. I had also been given a book on the Japanese aesthetic Wabi-Sabi. I think showing her this garment, which was basically disintegrating in front of our eyes and having the concept to talk to her about was a really good thing. I had the very beginning of something and it was something unconventional and exciting. I think one of the things, which might also have pushed her buttons was the idea of the girls being encouraged to find the beauty in something rotting.

However I do know one of the other candidates called the girls “brats”… Not a good idea at an interview for a school!


What is expected of you in this role?
I am expected to be involved with six lessons a week lasting 1hr 20 mins. I have four different groups of girls working with me through my own scheme of work and two classes where I go in under another teacher and encourage and inspire the girls on their own work. I also have a four hour workshop on a Sunday. However saying that at the moment I am “off timetable” so that I can prepare for the exhibition. My studio is supposed to be open to the girls to come and talk to me if they need to. The final part of the job is the exhibition of my own work and the pieces produced by the girls I’ve worked with during the year.

What sort of guidelines do you have to adhere to?
I don’t really have guidelines. The school hasn’t had an artist in residence for years and when they had one before it was worked in a completely different way – The artist had the studio and to pay for it they worked part time as an art department technician. So it’s a learning curve for both of us.

How did you apply for it?
I found the advert for it on a teaching website called TES, there was a long online form to fill out – being a dyslexic it was exactly the kind of thing I dread.

What sort of hours do you have to put in and what’s the reality! (Usually I hear it’s much more than they ask…)
Well, yes, if you counted up all the lesson time as well as the weekend workshop it would work out at 12 hours. However I think its important for the work I do with the girls that I give them examples at nearly every stage, and having gone through a variety of different textiles techniques with them they needed examples to understand how the technique worked.

I take a long time designing the scheme of work, finding links to my own stuff and images of other artists- mainly because these girls are so bright they absorb everything extremely quickly and I don’t want them to get bored, so it has to be an exciting and challenging project. The other thing I find a nightmare is popping into the department to pick up art materials or use some equipment, I ALWAYS get stopped! Especially by the 6th form whom I have got to know pretty well, and their work is exciting and they are fun to bounce ideas around with so I end up staying for ages giving advice even on the days I’m supposed to be in the studio. So it is much more, but also I am a procrastinator so any distractions and I’m up for it!

At the end of the residency do you have one exhibition or…
Part of my remuneration is an exhibition at the end of the year of my work and the work I have done with the girls. At the moment it is due to run for a week but there is talk of it staying up till the end of the academic year.


What are some of the surprises you have encountered along the way?
I think probably the artist I am becoming is the biggest surprise for me. Working now the way I do – exploring what self-expression means to me and the work I am producing is so far removed from anything I have done in the past.

The girls have also been a surprise; it has been such a pleasure learning to teach. Being the Artist in Residence means I’m not really a teacher – the girls have a chance to get to know me on a bit of a different level and it challenges their perceptions of an artist. They are excited and interested in what I do, which is lovely. I think sometimes students at schools forget the teachers around them are people too…

Apparently they have extended the term of the residency, tell us about what it might mean…
I’ve been very lucky here and loved it for many reasons, the space, the freedom and the free food!
What will be a change next year is my lesson time will double, it’s been a bit of a struggle financially surviving on the stipend and more teaching will definitely help, although it will hinder the time I have in the studio, however the other good thing is there will be another exhibition at the end of next year and I have to produce the work for it, so there is a deadline and a goal.


Your website shows beautiful scarves how does that fit… is it “bread and butter” income to feed a starving artist or???
My degree was in textile design with a very strong commercial aspect to the course. When I graduated I produced the two ranges of scarves, which I loved but the roll hemming by hand I hated! I sold a commission and exhibited in a couple of galleries with them but basically earned enough to eat maybe half a packet of crisps a week. Selling myself has never been a strong point for me and when I was offered work in the television industry I jumped at the chance, content at the time to leave behind the pain of the sell.


As an emerging artist getting a “gig” like a residency must be a huge bonus…
It’s fantastic! Teaching these girls has been extremely rewarding, seeing them getting inspired. But also having the time as well for my own practice and not having to worry about the bills is such a weight off my shoulders. With the exhibition I have access to all the parents of the girls and so a wide and diverse database of people in interesting industries.

How would you describe your work?
My work has changed so much this year, at the moment I would describe it as deeply personal self-expression, my subject matter is myself and my inspiration the rotten garment.


Tell us about how things may have changed for you from before the residency to after, influences motivation etc…
I’ve changed immensely as a person, I had a really tough year in 2009 and escaping to Buckinghamshire, to the school gave me space to rebuild what was left of me, my work has helped me do that.

My work has also changed hugely, it’s deeper now, more personal, it flows from me more readily, sometimes I feel like I haven’t even been involved in the making of it. Before everything was a struggle, racking my brain for the next idea, rather than accepting the ebbs and the flows and perhaps understanding the fact my brain isn’t working that day and I should take some time off!

Initially I would have called myself a textiles artist but for me that was extremely limiting, it boxed me in when all I really want and wanted to do was let everything out in whatever way I saw fit at the time, so I went from textiles to canvas. I don’t think I will ever not work in textiles but thinking outside that box gives me the freedom I want.

Influences and motivation wise, hmmm… motivationally I don’t have a choice anymore, if I haven’t worked for a while something will pop into my head at some point and I can’t sleep till I have started to work on the idea. I get a panicky knot in my stomach and an itch in my feet. Influences? I am influenced all the time, I read quite a lot and this sparks me off, an example of this was “The Artists Way” by Julia Cameron, her morning pages (three pages of long hand every morning of a stream of consciousness) influenced me to produce the “Letters to my past, my present and my future” series which spurred “Letters in landscapes”. So I guess I’m influenced by myself, things around me and my reactions as well as my initial studies, I constantly return to them to find new paths.

Your works on the blog feature a lot of figures, has this always been the case?
Figure/life drawing has never really shown itself in my work before now, I’ve taken life drawing classes, but the work is different, its self-portraiture really. When I actually put the garment on the work became about me, my empathy with it and exploring that relationship, so I haven’t really had a choice, the work is extremely personal and has become very cathartic.


Where to from here with your work?
To be honest I’m not entirely sure, my work seems to progress pretty organically meaning the next phase is always a little bit of a surprise. However I generally look back to my initial studies to spur me on to the next stage, which is why I like to have a big store of drawings and I always work in mixed media with those, just having a play with the media I suppose. I really enjoy progressing and working this way, because it keeps the work fresh and surprising, especially with using different media as much as possible.

However I have a little suspicion the “Letters to my past, my present and my future” need to find a way to sit within the “Lost and alone” pieces, it’s something I’ve been thinking about for a while, but haven’t yet found the right piece.

For me I agree an artist’s job is “Learning to work on your work” which is a phrase from Art and Fear by David Bayles and Ted Orland and for me that is my constant goal.


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Kelly Feil – Artist

Kelly Feil is a West Australian Photographic Artist and I spotted her and had a chat about her work while she was exhibiting as part of Art Melbourne In April 2010. She has a web presence at

Kelly has been involved in photography for over 10 years. She was fascinated by the dark room at a young age and marvelled at the image appearing on the page as the chemicals reacted with the paper. These days she works in a very different dark room and creates her images with digital manipulation.

Her surroundings have always been of interest to her and are often featured in her work. Influenced by the Surrealists and the more recent work of Australia’s own Jeffrey Smart. Kelly’s work varies from semi real to the very surreal or somewhat magical. It is this surreal sense she wants to portray to the world. For the audience to take a little piece of magic into their reality.

Kelly’s photography has won awards over the years and continues to be widely acclaimed. In 2009 she earned her Master of Photography ribbon through the Australian Institute of Professional Photography. One of her prints received a Gold Award in the Australian Professional Photographer of the Year Awards, this is one of the highest honours a print can achieve at a national level.


Who or what fascinates you?
Salvador Dali

How did you get into art?
I’ve been interested in photography since I studied it in high school. I worked in the photographic field for 10 years but always pushed for more than the everyday print. In pushing for something different I experimented with my style and started producing art pieces. It wasn’t until about 6 months ago that I decided to test the waters and make the transition to the art field.


Was your education helpful, or a hindrance?
It was helpful. I think any information is helpful, if u decide to take the positives from any education or seminar you will always learn something.

Was art a “thing” that was encouraged in your family?
My family have always been encouraging and supportive. I am the only art buff in my family and whilst they wonder where it comes from, they have always been supportive and I wouldn’t be where I am without them.


Has your work changed much since your early efforts? (e.g. as a student).
Absolutely, as I have matured so has my work. There is always so much of me in my work so when I am influenced my things so is my work.

Do you get to other artists exhibitions, openings etc?
As much as I can. I think its important to be aware of what is around you.


Do you have much contact with other artists?
Again as much as I can. I believe that’s how you learn and I never want to stop learning. I am a member of the AIPP and I attend as many events as I can.

Working towards an exhibition, is it a daunting task?
Of course it is. Other than the fact there is so much to organise, you are putting your heart and soul on a wall for people to fall in love with. There is nothing more daunting!


Some say the lifespan of many “artists” post educationally is about five years, any thoughts on that? I think no matter what industry you are in, you should never stop learning and you should never stop marketing and selling. If you never give up I believe you can go on as long as you want.


Do you keep an Art Journal or Visual Diary of some kind?
Yes and it goes with me to most places. You never know when you might be inspired with ideas.


Do you have a challenge knowing when a work is finished?
No, I think every piece speaks to you and relates to you. You know in your gut when it will go too far.


What about the role of titles with your work, some hate them others revel in them, what about you?
I hate titling my work because I like the audience to take from it what they feel. I don’t like to guide the audience to think, I want them to think for themselves.


Have you won any awards?
Yes, I enter the Australian Professional Photographic Awards every year. In 2009 I received a gold award for on of my prints which aided in my receiving my masters.


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Stefan Gevers – Artist

Stefan Gevers is from Newport, Melbourne, Australia and is represented by one of my favourite galleries, Anita Traverso Gallery in Richmond, Melbourne.


How long have you been making art?
Since I was 17 after deciding I would enjoy making art more the working in a Laboratory.

Interests you have other than art you feel are important to mention?
I have an interest in Botanic Art and it’s history.


What are the main medium/s you work in…
I work with Acrylic on canvas and watercolour on paper. In my sculptures I do use Felt, thread and leather.

How do you describe your work?
While there is a sense of lingering melancholy in my images, their graphic nature reflects a particular artistic practice. The landscapes have been abstracted, rendered in flat solid blocks in a limited and muted range of colours. The landscape has been stripped back to bare essentials in a process of abstraction which is close to screen-printing or contemporary stencil art.


Does your work have social, political, cultural and or personal messages?
I would like the viewers to realise the beauty of the Australian landscape. The history it comes with and the care it needs.

What are you currently working on:
An Exhibition “Forgotten Places” which opens May the 5th at Anita Traverso Gallery in Richmond Victoria. It’s a selection of acrylics on canvas and works on watercolour.


What fascinates you?
The power of nature.

Artist Statement for the exhibition:
“Forgotten Places”. May 2010, Anita Traverso Gallery

There is something about abandoned places, which is very intriguing.

A place that was once a centre piece in a few people’s lives, is now all but forgotten.

Those places are left in silence, surrounded by a sense of stillness that makes us reflect on our selves. Depicting moments in time, present and past, taking us on a journey of silhouettes and horizons of the Australian landscape.

These abstracted landscapes are the results of many road trips, scanning the fields searching for Forgotten Places. Capturing the essential elements of a visual and spiritual experience, eliminating unnecessary details.

The absence of Human presence intensifies the stillness and abandonment.


Why are you an artist?
I Ask my self that at stages! I think people should really follow their instinct and try to do in their life what they would love to do. Something, which keeps you happy and throws challenges at you, in my case it’s Visual Arts.

How did you get into art?
I got really bored with studying Science when I was 17 years of Age and started doodling to fill up time. I noticed I did okay and decided I would have more satisfaction at School of Arts.


How important is art for you?
Without it, life wouldn’t be as meaningful.

Your art education was…?
The best change I ever made. I loved every bit of it. It changed my life from being a withdrawn teenager into a person who started to discover things in life.


The craziest thing you did at art school was…
I always felt I was the only one not crazy at Art School!

Was your education helpful, or a hindrance?
It was helpful but only the beginning of what was to come. In terms of skills the school wasn’t spending much time developing that. You had to work out by your self outside school. In terms of creativity it was excellent though.


Have you always been interested in art?
No, but I did always loved to work with my hands. At the age of 17 I became interested and never looked back since.

What is your earliest memory of art?
Going to the Dali Museum in Spain and thinking what is all this weird stuff about!


Do you remember your first painting or artwork?
Yes, It was a portrait of Jim Morrison, The Doors. Taken from one of their Albums.

Did the place where you grew up have an influence?
I grew up in a small town in The Dutch country side. We were always outside playing in the Forest or fields. I used to show a lot of interest in nature and as a young boy would get up at 4am to record bird songs and photographing them. I still love nature which is one biggest source of inspiration for my Art.


Was there a big turning point in your art journey that caused you to think that “it’s all worthwhile”, or “oh yeah I get it…”?
After I finished the Jim Morrison portrait I remember having this absolutely clear feeling of which direction to take my life and from that moment having the energy, dedication and drive to make Art.

What caused you to choose the medium you currently work in?
I work in 3D as well as 2 D. Sometimes they go together but usually I need to focus on either one. At the moment it’s painting on canvas.


What can you tell us about your planning and making process for making art, and has that altered over the years?
Usually new work stems from the previous show. I will schedule road trips and plan the months ahead to get the new show together. The paintings are time consuming these day’s as apposed to my earlier years.

Does the “creative process” happen easily for you?
I have no trouble in setting a specific time to create and work on Art. I don’t wait for ideas to come to me and believe I need to be actively searching for them.

Creative streaks do they come in waves for you?
They come when I plan them and otherwise I record ideas whenever they come to mind.

Do you get creative glimpses of urges happening and how do you work with these?
I keep sketch books and surround myself in the studio with ideas. Write on the wall, collect colours, etc.. It feels a bit like a personal library.

How important is the clarity of concept to you, prior to starting an artwork?
I would like to know what my goal, direction is before starting, but are not afraid to take a side road here or there. My paintings and sculptures are very structured and planned but the water colours are free and loose.

How important do you think craftsmanship is to artistic creation?
Very important. “ what ever you do, do it well”. When people by your art and pay a lot of money for it and expect it to last, you need to make sure you have done the best you can for every piece you make..

Do you have much contact with other artists?
Not on a daily basis. I am part of the “thelittlestforum” which is great for artist working from home, to share information. But really it is pretty solitary most of the times.

Some say the lifespan of many “artists” post educationally is about five years, any thoughts on that?
I am not sure about Post Educational but from 30 students starting School of Arts in my year, only 5 finished. I think it is important to keep challenging yourself and dive into projects, which are interesting. Keeping balance in life, between Art, family and work is important not to burn out.

What has been a turning point in your career thus far and why?
I think my turning point came in 1998, when working in Holland. My work started to sell and I felt I was doing something I absolutely loved. I started to look more seriously about making it my career.

If you could have any piece of artwork in your personal collection, what would it be and why?
One of Eduardo Chilida’s works. He has always been a great inspiration.

Can you name a favourite artist or three… and why?
Eduardo Chilida, he changed my direction into Art. I started working with Felt after seeing shows in Spain.

What sort of depth or meaning is there behind the work you do?
I am not trying to change the world with my work but I do hope to create more appreciation for the landscape we live in.

Do you hope the viewer will “get” what you are trying to communicate or do you feel compelled to spell it out to them?
I try to use my Titles so the viewer will be guided in a certain direction. The Artist talks I do explain my work in more detail.

What discourages you from doing art?
Seeing people spending money on copied digital art while they should be spending money on Emerging artists.

Is motivation to work an issue for you and how do you overcome it?
Motivation has never been an issue. I have to many ideas and the problem is which one to take on and do well.

Your first show at a “gallery” you thought was of value, how was the whole thing for you?
Every show is of value as it adds up everything’s you worked on so hard. It’s the best time to analyse and start planning ahead for the new work.

The business or marketing side of Art can be a challenge to some, what are your thoughts?
It’s necessary and it’s the reason why I am being represented by a Gallery.

What is the most unexpected response you’ve received from a viewer of your work?
My children come up with good ones, like “ why do you always paint?” Can I help you?, which I usually allow and then spending the next hour retouching. They are very honest.

Our Artists love to see comments on their interviews, so feel free to add comments in… Note they are moderated and so may take a little while before they are seen on the site.

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Compiled and edited by Steve Gray © 2009+

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