News & Commentary

Australia Council cuts: the companies on the chopping block

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The full extent of George Brandis’ swingeing cuts to the Australia Council is yet to be determined, but with 28% of the Australia Council’s discretionary funding reduced, organisations in the small-to-medium sector will be hardest hit.

Those under immediate threat are the Australia Council’s 145 “key organisations”, which are currently funded on an ongoing basis. Daily Review sister site Crikey has obtained a list of those companies.

There are 40 visual arts organisations on the list, including the Australia Centre for Contemporary Art (pictured above) and Brisbane’s Institute for Modern Art, and several smaller literature publishers including the Australia Book Review and Meanjin. Indigenous organisations will also be hard hit, with performance companies such as Ilbijerri and Yirra Yaakin listed.

These 145 companies collectively produce more new Australian work than the 28 major performing arts companies (AMPAG) whose funding has been quarantined. Griffin Theatre Company, for example, is a leading presenter of new Australian plays while there are several companies on the list which export celebrated new dance and physical theatre work to the world.

Crikey estimates that the overall impact of the cuts to key organisations could be as much as $1.44 billion over six years, with thousands of jobs at risk.

Read the full story at Crikey


Read more on Brandis’ Australia Council raid:

Editorial: Shameful silence over arts cuts

The Brandis Heist

2 responses to “Australia Council cuts: the companies on the chopping block

  1. Well ACCA was a closed shop really for Juliana Engberg and Kaldor etc. What exactly did ACCA do that NGV can’t? Same with IMA, Brisbane and QAGOMA and Artspace, Sydney and AGNSW. These paces could go altogether and few would notice.

    The way visual arts office workers act you’d think it was the end of the world. Now they know what its like to be an artist living from day to day.

  2. Not wanting to pick a fight Scott, but how can you describe QAGOMA as a “closed shop” when they exhibited a major solo exhibition of your very own work less than five years ago?

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