Annual Report 2009

annual report 2009viscopy

Cover Merilyn FairskyeWater (The Gap), 1999© Merilyn Fairskye/ Licensed by Viscopy

viscopy ANNUAL REPORT 2009

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2. messagefromthechairman3. chiefexecutive’sreport4. aboutviscopy4. ourlicensingservices5. viewfromalicensingcustomer7. 10goodreasons9. viewfromaviscopymember11. artist’sresaleroyaltyright12. johnfriesmemorialprize13. blackfriarsoffbroadway15. financialinformation16. boardofdirectors18. outreach20. paymentstoartists

From left to RightJohn Coburn, Fiery Landscape with Birds & Snake, 1986© John Coburn/ Licensed by Viscopy

Andy Warhol, Campbell’s Soup 1, 1968Image: National Gallery of Australia, CanberraThe Poynton Bequest 2006© The Andy Warhol Foundation for the Visual Arts, Inc./ARS. Licensed by Viscopy

Bibi Barba, Desert Flowers© Bibi Barba/ Licensed by Viscopy

Please be advised that this publication contains the names and images of some people who have passed away

program of change possible. The John Fries Memorial Prize, which Viscopy launches this year in partnership with the Fries family, will provide the winner with $10,000 and a solo exhibition at Viscopy’s new gallery. The Prize will provide a wonderful opportunity for artists to advance their careers whilst serving as a fitting tribute to John, who understood the financial challenges faced by most artists.

Looking forward, Viscopy will be recruiting additional expertise to our organisation as we grow the staff team and expand the membership of our board so we can capture the widest and most informed views and expertise that the visual arts sector has to offer.

While 2008-09 has seen the commencement of dramatic changes within Viscopy, the coming year will, with the energy and professionalism of our staff and directors, witness a true transformation of the organisation. It is an ambitious challenge which will not be achieved without dedication, fortitude and vision and for all of this I would like to congratulate and sincerely thank all of my colleagues at Viscopy.

MichaelKeigheryChair

messagefromthechairman

our licensing customers and the establishment of an exhibition space at our new Sydney premises.

With our membership in Australia and New Zealand increasing to well over 7,000, visual creators are showing their need of Viscopy’s services and their support of our role in advocating for legislative changes such as the introduction of the Artist’s Resale Royalty Right, which this year became a reality in Australia.

Unfortunately, the year did not pass without tragedy: we lost our much-valued colleague John Fries who died suddenly in 2009 following a catastrophic accident. John was appointed to the board of directors in 2004 and his contribution to Viscopy was enormous. His commitment, attention to detail, high standards and expertise drove the successful transformation of Viscopy’s financial performance which has made our current

Viscopy was established in response to the need for visual artists and craftspeople in Australia and New Zealand to have a membership driven organisation dedicated to managing their rights and campaigning on their behalf to maximize the economic potential of their creative work. In the twelve years since Viscopy was created, the copyright environment in which we operate has changed enormously.

In 2008, the board of directors embarked upon an organisation-wide review to investigate how we might improve our services for both our artist members and licensing customers in response to this new reality.

To this end, this year has seen Viscopy appoint a new chief executive, Joanna Cave who joined us in 2009 from amongst the most experienced and knowledgeable administrators and policy developers in the area of artists’ rights. With her experience as an artist, campaigner and chief executive of one of the worlds’ most successful visual arts collecting societies, Joanna has been engaged by Viscopy with a clear brief to undertake a frank analysis of our operations and develop our strategic thinking in ways that will best meet the needs of our members and customers and make Viscopy work better.

In the short time that Joanna has been on board, tangible results can already been seen in lower administration charges and more frequent payments for members, improving services for

Photo: Cybele Malinowski © Cybele Malinowski, 2009

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as an uncapped royalty rate of 5% which will apply to works that resell for $1,000 or more and provision for the families of deceased artists to receive royalties for 70 years after the artist’s death.

Viscopy wholeheartedly supports the Government’s plan to appoint a single organisation to manage the collection and payment of resale royalties through a competitive tender process to ensure that the best possible services are provided for artists and the commercial art trade in Australia. It is hoped that the scheme will be up and running by mid 2010.

In this changing rights landscape, Viscopy plans further changes and developments in the year ahead so that we can continue to improve the ways in which we help artists to receive recognition and reward for their creative work.

On behalf of the team at Viscopy, I would like to thank you, our members, for placing your trust in us. We look forward with great excitement to serving you in the year ahead.

JoannaCaveChiefExecutive

chiefexecutive’sreport

One of Viscopy’s great strengths is our membership. The support Viscopy has developed in its short history is remarkable: today we represent approximately 43% of the total population of visual artists in Australia and New Zealand, of whom half are Indigenous.

In order to build on this achievement, better serve our membership and also to improve the service experience for our licensing customers, this year we commenced a program of change and development.

Our first task was to refine our systems and processes which has significantly improved our efficiency. This means we have been able to increase the frequency of our royalty payments from two to four times a year. As well as receiving payments more promptly, members will also benefit in a reduction of our charges from 25% to 10% on royalties we collect from overseas.

Our extensive copyright education program, which Viscopy delivered across Australia during 2008-09, continued to attract enthusiastic participation from artists. We are delighted that the Government has demonstrated its support for this important work by awarding Viscopy further grant funding which will enable us to deliver this program to Indigenous artists including those living in remote communities.

At the beginning of the year, Viscopy relocated to new premises which offer significantly improved facilities as well as accommodating Blackfriars off Broadway, a new exhibition space for artists.

An annual program of exhibitions is planned which aims to showcase the quality, beauty and diversity of the visual art created by our members, providing opportunities to stimulate new licensing ideas amongst our customers. Alongside all of these changes, we continued to operate our copyright licensing services, providing a bridge between artist and customer so that rights are properly licensed and visual artists receive appropriate recognition and reward for their creative work. The Code of Conduct for Collecting Societies continues to guide Viscopy in the standards artists, licensing customers and the general public are entitled to expect from our organisation.

As we go to press, the Artist’s Resale Royalty Right, which has long existed in many other countries around the world, has become law in Australia. Whilst imperfect, the new legislation does contain some excellent provisions, such

Photo: Cybele Malinowski © Cybele Malinowski, 2009

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ViscopyisAustralasia’snot-for-profitrightsmanagementorganisationforthevisualartsprovidingcopyrightlicensingservicesinAustraliaandNewZealandforawideandvariedcustomerbaseonbehalfofourmembers.

Membership of Viscopy is open to all Australian and New Zealand artists and others (such as artists’ beneficiaries or arts centres) who own or control copyright in visual works of art. Membership is open to all artists, regardless of commercial success, including painters, sculptors, photographers, illustrators, cartoonists, craft practitioners, potters, architects and many others. It is free to join.

Viscopy is governed by a voluntary board of directors which includes artists and business experts. We operate on a not-for-profit basis which means that we charge artists a fee (deducted as a proportion of the royalties we collect on their behalf) to cover the costs of providing our services. Currently, our administration fee is 25% (and 10% for royalties collected from overseas).

Viscopy operates two licensing services which generated over $2 million for artists in 2008-09:

Copyrightlicensing

Viscopy manages the rights in artistic works on behalf of the artists (and their beneficiaries) who create them. We do this by providing copyright licensing services to customers in Australia and New Zealand who wish to reproduce or communicate copies of art works. Art works can be used in a wide variety of ways including in books, on websites, greeting cards and posters, in newspapers, magazines, television, exhibitions catalogues, merchandise, novelty products, advertising and film. Viscopy provides licensing services to customers working in all of these sectors.

During 2008-09, the trend towards licensing artworks in online environments continued with increasing requests for eBooks, virtual auction catalogues, websites, education kits and journals. We have adapted our services to cater for this development and to ensure our members are properly protected and renumerated in the digital environment.

Statutorylicensing

Rights in artistic works are also licensed collectively under statutory schemes which are set up under law. Viscopy participates in two statutory licensing schemes in Australia:

1.Photocopying of books, magazines and newspapers in educational institutions, companies & public sector organisations. This scheme is operated by Copyright Agency Limited.

2.Copying of broadcasts (mainly television) for use as educational resources in schools, colleges and universities. This scheme is operated by Screenrights.

aboutviscopy

ourlicensingservices


the potential and could see the quality of the reproduction and packaging of the jewellery. Viscopy provided not only the professional structure to enable licensing but also advice and services which allowed our project to happen. They really got behind the project and we are very grateful for their support.

Carolyn DaniellDesigner, Mondo Rondo Jewellerywww.mondorondo.com.au

From the beginning we were very aware of the moral and legal importance of properly acknowledging the artists and their works. We knew what was the right thing to do, but didn’t know the right process of going about doing it.

We approached Viscopy as the copyright licensing organisation that represents artists with our ideas and vision for the Imprint Indigenous Collections. They were fabulous – they were enthusiastic about our concept and

Mondo Rondo Jewellery designs and produces jewellery for both the local and international market. We are proudly Australian made and designed.

Our jewellery collection, Imprint Indigenous Collections, features full colour details from the amazing works of Central Desert, Utopia artists Emily Kame Kngwarreye, Minnie Pwerle, Gloria Petyarre and Barbara Weir.

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Mondo Rondo jewellery featuring Emily Kame Kngwarreye’s artwork, Untitled (Awelye), 1994

“Itisasadrealitythatapproximately50%ofartistsinAustraliastruggletoearnmorethan$8,000ayearfromtheirart.TheroyaltiesViscopycollectsonbehalfoftheseartistsprovideavitalsourceofadditionalincome”Virginia Judge MP

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Michael Riley, Untitled, from the

series cloud [feather], 2000© Michael Riley estate/

Licensed by Viscopy


10goodreasonstobecomeamemberofViscopy

9.SupportfellowartistsViscopy needs strength in numbers in order to campaign in support of artists’ rights. Becoming a member helps us to stand up for artists.

10.HaveyoursayViscopy is a democratic membership organisation. All members have a vote. If you are interested in actively participating in our work, you will have opportunities to be elected to the board of directors.

8.It’sfreeIt is free to join Viscopy. Once you become a member, Viscopy will deduct a proportion of any royalties we collect for you to cover our administration costs.

7.Information&guidanceViscopy is committed to keeping our members informed of the latest developments in artists’ rights through our website and also at workshops delivered by our team of experts.

6.ChoiceinlicensingViscopy currently offers two licensing services. You can join for one or both – the choice is yours. And remember, you retain your copyright whichever Viscopy service you use.

5.InternationalrepresentationIt is very difficult for individual artists to control their copyright internationally. Membership of Viscopy means you are represented in 39 countries around the world.

4.PotentialtoearnmoneyMany of our members receive royalties regularly. Whether large or small, most artists agree that royalty payments are welcome additional income.

3.StrongerbargainingpositionNegotiating to protect your rights can be challenging for an artist working alone especially if the customer is a large organisation with a lot of bargaining power. Viscopy is a known and respected copyright licensing organisation. We have been licensing copyright for over ten years to customers throughout Australia and New Zealand and we represent almost 50,000 artists.

2.MoretimetomakeartLicensing can be time consuming. Becoming a Viscopy member relieves you of the administrative burden involved in managing your rights.

1.PeaceofmindCopyright can be complicated. Our staff are copyright experts and will ensure that your rights are properly respected and appropriately rewarded.


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In2009ViscopylicensedthisstampforAustraliaPostonbehalfofourmemberJudyNapangardiWatson

55c Australia Post stamp from the ‘Indigenous Culture’stamp range featuring Judy Napangardi Watson’s,

Mina Mina, 2004© Judy Napangardi Watson /Licensed by Viscopy

Image courtesy of Australia Post


viewfromaviscopymember

Following the onset of the first Gulf War my father, Gray Smith, an artist of some renown and husband to my mother, Joy Hester, also an artist, died. It was not long after that when books, films, newspaper articles and reproductions of my parents’ artworks appeared, seemingly everywhere. At the time I was parenting, working as a shop assistant, an active member of a housing association and holding at least one solo exhibition annually; needless to say I was kept busy. I became a whole lot busier when copyright became a huge issue in my life. I was fighting for recognition of our copyright and also trying to get family members to understand our rights. The apple cart tipped.

In 2000 we discovered Viscopy. Viscopy now manages the rights for the estates of both of my parents: Joy Hester and Gray Smith. I also joined as an artist in my own right. Membership has been a godsend. People,

organisations and companies know that Viscopy receives and manages licence requests. Sometimes I get inquiries directly and happily pass these on to Viscopy.

The small fee Viscopy receives for looking after our copyright doesn’t even touch the sides of what had then become a huge political, social and emotional battle for me personally. Most people would disapprove of someone stealing a set of plates. Although you cannot see copyright, reproducing artwork without permission is still theft.

I received copyright royalties via Viscopy in my own right this year, I can’t live on it but did it taste sweet!

Fern Smith, artistwww.fernartz.com

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left Joy Hester,

Mother and child, 1955Image: National Gallery of Australia, Canberra

Purchased 1976© Joy Hester Estate/ Licensed by Viscopy

right Fern Smith, Rose and Move, 2008© Fern Smith/ Licensed by Viscopy

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artist’sresaleroyaltyright

During 2008-09, Viscopy continued to campaign in support of the right of artists (and their beneficiaries) to receive a royalty each time their work is resold through an auction house or commercial gallery.

History was made when the Resale Royalty Right for Visual Artists Bill 2008 was finally passed on 26 November 2009. This new right, which probably represents the biggest new development for visual creators since modern copyright legislation, means that artists can benefit from an income stream in much the same way writers, composers and other artists already earn royalties when their works become popular or increase in value over the years.

In announcing the new legislation, Arts Minister Peter Garrett said: “The passage of this legislation through the Australian Parliament is an important development for the Australian art market and a significant result for visual artists, recognising the value and esteem in which they’re held by the wider Australian and international community.” The Government has announced its intention to appoint an organisation to manage the scheme so that it can be up and running by mid-2010.

oppositeEmily Kame Kngwarreye, Untitled (Awelye), 1994© Emily Kame Kngwarreye/ Licensed by Viscopy

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johnfriesmemorial

prizeThis year Viscopy launched a new annual prize for artists. The John Fries Memorial Prize will be open to all artists in Australia or New Zealand, whether Viscopy members or not, who have not yet secured recognition through a commercial gallery. Artists of all ages and disciplines, whether members of Viscopy or not, will be eligible to enter. The winning artist will receive a $10,000 cash prize plus a solo exhibition at Blackfriars off Broadway.

The prize remembers John Fries, who died suddenly following an accident earlier this year. John served on the Viscopy board of directors for 5 years and made a remarkable contribution to the life and success of the organisation. The cash prize has been generously donated by the Fries family.

Entries will open in April next year and the winner will be announced at an exhibition of finalists’ work in October 2010.

topKim Yong Hun, Tiburonia granrojo (Still), 2009GIF animation (continuous loop)Photography Kim Yong Hun© Kim Yong Hun/ Licensed by Viscopy


Blackfriars off Broadway is Viscopy’s new exhibition space for artists located at our premises in Chippendale, Sydney.

An estimated 200 people attended the opening event of the inaugural exhibition, Cache which features work by 14 artists from every state and territory in Australia. Included in the show were several famous names such as Tracey Moffatt and Janet Laurence as well as up and coming artists such as Kim Yong Hun and Eva Marosy-Weide.

An annual exhibition program is planned to commence in 2010 so that Blackfriars off Broadway can showcase the quality, beauty and diversity of the visual art created by our members, providing opportunities to stimulate new licensing ideas amongst our customers.

blackfriarsoffbroadway

top leftVirginia Judge MP with Viscopy chairman

Michael Keighery enjoying a tour

top rightFeatured artist Kim Yong Hun in front of John Citizen’s work Interior

(Stacking Chairs)

bottom leftArtist Mikala Dwyer standing next to her work 31

bottom rightGuests alongside Clifford Possum Tjapaltjarri’s Bushfire Dreaming,

1986, Tapestry

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auditors’independencedeclarationundersection307cofthecorporationsact2001tothedirectorsofviscopylimitedAuditors’IndependenceDeclarationA copy of the auditors’ independence declaration as required under section 307C of the Corporations Act 2001 follows the directors’ report. Signed in accordance with a resolution of the Board of Directors:

Director: _________________________________________________________ Michael Keighery

Director: _________________________________________________________ Anne Plummer Datedthis 13th day of October 2009

We hereby declare, that to the best of our knowledge and belief, during the financial year ended 30 June 2009 there have been: (i) no contraventions of the auditor independence requirements as set out in the Corporations Act 2001 in relation to the audit; and (ii) no contraventions of any applicable code of professional conduct in relation to the audit. NameofFirm: Rosenfeld Kant & Co Chartered Accountants

NameofPartner: _________________________________________________________ Gary Williams Address: Level 24, 101 Grafton Street, Bondi Junction NSW 2022 Datedthis 29th day of September 2009


2009 $ 2008 $Revenue 2,431,398 2,623,236

Distribution to members (1,547,752) (1,516,867)

Accountancy expenses (70) (115)

Auditors’ remuneration (6,800) (3,000)

Depreciation and amortisation expenses (6,342) (4,199)

Employee benefits expenses (387,502) (549,358)

Lease expenses (2,200) (2,422)

Other expenses (489,107) (265,653)

(Loss) Profit (8,375) 281,622

Retained earnings at the beginning of the financial year 632,825 374,919

Prior year tax adjustment 36,405 -

Transfer to Reserves (225,000) -

Profit attributable to members of the company 435,855 632,825

balance sheet year ended june 20092009 $ 2008 $

ASSETS

CURRENT ASSETS

Cash and cash equivalents 1,306,222 1,850,650

Trade and other receivables 297,062 124,463

Other current assets 3,821 3,878

TOTAL CURRENT ASSETS 1,607,105 1,978,991

NON-CURRENT ASSETS

Property, plant and equipment 103,476 10,033

TOTAL NON-CURRENT ASSETS 103,476 10,033

TOTAL ASSETS 1,710,581 1,989,024

LIABILITIES

CURRENT LIABILITIES

Trade and other payables 998,572 1,198,880

Current tax liabilities - 13,486

Short-term provisions 16,154 108,834

TOTAL CURRENT LIABILITIES 1,014,726 1,321,200

TOTAL LIABILITIES 1,014,726 1,321,200

NET ASSETS 695,855 667,824

EQUITY

Reserves 260,000 35,000

Retained earnings 435,855 632,824

TOTAL EQUITY 695,855 667,824

Income statement 2008-09

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boardofdirectors

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8Photos: Cybele Malinowski© Cybele Malinowski, 2009


Photos: Cybele Malinowski© Cybele Malinowski, 2009

5.Joyce Parszos MAICDJoyce has worked as a campaign director bringing arts, medical science and sports projects successfully into the national and international public arena. Joyce was the first Public Relations and Development Manager of the Museum of Contemporary Art currently also serves as Director on the boards of the Australian Paralympic Committee, the Music and Opera Singers Trust and Disabled Winter Sport Australia. In 2000 she was awarded the Australian Sports Medal in recognition of her contribution to the Sydney 2000 Games. Joyce is a marketing and communications consultant and a Member of the Australian Institute of Company Directors.

6.Anne PlummerAnne has long been involved in the arts and copyright, having spent fifteen years as a classical musician. Following an MBA, Anne joined Music Sales as Copyright and Royalty Manager, looking after diverse catalogues of music ranging from Philip Glass to Paul Simon. Anne played a major role in establishing Viscopy’s licensing service and royalty payment system. Anne has recently established True Accounts, which integrates business strategy, business development and accounting.

7.Alida Stanley Following her graduation from the University of New South Wales Law School in 1998, Alida worked as a Solicitor in telecommunications, intellectual property and information technology in Australia and the USA. Upon returning to Sydney from New York in 2005, Alida worked as the Senior Solicitor at the Arts Law Centre of Australia representing artists and arts organisations and as a Solicitor in the Office of General Counsel at The University of Sydney. Alida is a passionate supporter of the arts in Australia.

1.Bronwyn BancroftBronwyn is a descendant of the Djanbun clan of the Bundjalung nation. Bronwyn works as an artist across many mediums and has participated in more than 200 exhibitions . Her work is held in public and private collections in Australia and internationally. Bronwyn is currently a Doctoral candidate at the University of Western Sydney. Bronwyn also holds board positions with Museum of Contemporary Arts Artist Board, Tranby Aboriginal College and Copyright Agency Limited. Bronwyn is a Viscopy member.

2.Merilyn Fairskye Merilyn works with photo media, video and installation and has a longstanding interest in the relationship between the still and the moving image. Her work is represented in national and international collections. Merilyn is Associate Dean, Research at Sydney College of the Arts, University of Sydney and has previously served in several non-executive roles including as President of the IMA and as a member of the Arts Advisory Committee of Arts NSW. Merliyn is a Viscopy member.

3.Des GriffinDes graduated with a Masters degree in science from Victoria University, New Zealand and obtained his PhD from the University of Tasmania in 1966. He joined the Australian Museum in 1966 as an Assistant Curator eventually becoming the Director from 1976 through 1998. He is presently the Gerard Krefft Memorial Fellow at the Australian Museum. Des was the first President of Museums Australia and was appointed a Member of the Order of Australia (AM) in 1990 in recognition of services to museums.

4.Michael KeigheryMichael is an artist and object maker whose work features extensively in public and private collections in Australia and around the world. Graduating with a Postgraduate Diploma from Sydney College of the Arts, Michael combines his practice with lecturing and teaching at art schools throughout New South Wales. Michael has served as a non-executive director of many arts organisation and is a former President of the Crafts Council of Australia. He is a Viscopy member and currently chairs the board of directors at Viscopy.

8.Jeremy ThorpeJeremy is a regulatory economist and a partner at PricewaterhouseCoopers. One of his areas of specialisation is in the economic analysis of copyright issues. Such work includes: the determination of appropriate level and structure of copyright licences and royalty rates; the assessment of the impact of piracy; the valuation of copyright industries; and the assessment of costs and benefits associated with changes to copyright law. Jeremy is currently completing a PhD in law from the University of Technology Sydney, looking at empirical assessment of Australian copyright litigation.

JohnFriesservedontheViscopyboardofdirectorsfrom2004untilhisuntimelydeathinAugust2009

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Viscopy invests considerable time and resources in promoting awareness of the importance of copyright, the role and functions of collecting societies, and the services provided by Viscopy, among members, licensing customers and the general public.

Given our scale and limited resources, we are especially proud of the copyright education program we deliver for artists, students and arts organisations throughout Australia. We are committed to reaching artists living in the remote areas of Australia to ensure that we are effective in serving our significant Indigenous membership.

During 2008-09, Viscopy received a grant from the Department of the Environment, Water, Heritage and the Arts (DEWHA) which contributed significantly towards the costs of delivering copyright education in Indigenous communities. We delivered 33 copyright education workshops and seminars across Australia.

In a new initiative, Viscopy designed the Western Australia section of the program, which took place in remote Indigenous communities, to also include colleagues from the Arts Law Centre of Australia and APRA (the collecting society for songwriters, composers and music publishers). This co-operative approach worked extremely well: record turnouts were achieved for these events and the new format and style was very well received by participants.

With the aid of renewed Government funding, we intend to build on this success during the year ahead.

Venue Location StateEora Centre

Boomali Indigenous Artists Cooperative

Euraba Paper

Jambama Artists

Laddie Timben Arts & Crafts

Wreck Bay Community Centre

Mingjunbal Cultural Centre

Aboriginal Catholic Ministry

Les Elvin Studio

Cessnock Correction Centre

Sydney College of the Arts, University of Sydney

Australian Institute of Professional Photographers

ArtsLink

Sydney

Sydney

Boggabilla

Casino

Huskission

Gerringong

Tweed Heads

Penrith

Cessnock

Cessnock

Sydney

Sydney

Sydney

NewSouthWales

St. Kilda Festival

East Gippsland Aboriginal Arts

Morwell TAFE

Koorie Heritage Trust

St.Kilda

Bairnsdale

Morwell

Melbourne

Victoria

Tandanya National Aboriginal Cultural Institute

South Australia Ceduna Arts & Cultural Centre

ArtsLink

Adelaide

Ceduna

Adelaide

SouthAustralia

Mangkaja Resource Centre

Fitzroy Crossing School

Mownajum Arts and Culture Centre

Mangrove Hotel

Fitzroy Crossing

Fitzroy Crossing

Derby

Broome

WesternAustralia

Sandover Artists Co-op

Footsteps Arts

Maningrida Arts & Crafts Co-op

Ananguku Arts & Cultural Corporation

Engwala

Ali Currung

Darwin

Umuwa

NorthernTerritory

Warnayaka Arts

Regional Larrakia workshop

Epenara Arts Group

Queensland University & Artworkers Alliance

Brisbane

Brisbane

Brisbane

Brisbane

Queensland

Tram Shed Aboriginal Arts Launceston Tasmania

outreachSummary of Viscopy’s copyright education program and related activities 1 July 2008 – 30 June 2009:

oppositeMervyn BishopGurindji Handover Picture of Gough Whitlam & Vincent Lingiari at Wattle Creek, NT, 1975© Mervyn Bishop/ Licensed by Viscopy

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paymentstoartists2008-0975% of the royalties we collect in Australia and New Zealand (and 90% of the royalties we receive from overseas) is paid to artists. The remaining 25% (10% on overseas royalties) is retained by Viscopy to cover the costs of providing our services.

Following recent refinements to our databases and payment systems which have improved our efficiency, Viscopy has been able to increase our payment routines from two times to four times per year. Our new payment deadlines are:

• Royalties collected 1 October – 31 December will be paid by 28 February

• Royalties collected 1 January – 31 March will be paid by 30 June

• Royalties collected 1 April – 30 June will be paid by 31 August

• Royalties collected 1 July – 30 September will be paid by 30 November

This year, the highest payment we made to an artist was $55,386 and the lowest was less than $1 (resulting from a payment from overseas). The average payment received by a Viscopy member during 2008-09 was $673.

10mostpopularAustralianandNewZealandartistslicensedbyViscopyin2008-09

1. Emily Kame Kngwarreye

1. Roy Lichtenstein

2. John Olsen

2. Pablo Picasso

3. Margaret Preston

3. Lyn Wendon

4. Charles Blackman

4. Andreas Gursky

5. Arthur Boyd

5. Andy Warhol

6. Robert Seal

6. Jack English

7. Fred Williams

7. Madeleine Vionnet

8. David Dickson

8. Jackson Pollock

9. David Boyd

9. Joan Miro

10. Judy Napangardi Watson

10. MC Escher

10mostpopularinternationalartistslicensedbyViscopyin2008-09

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1BlackfriarsStreetChippendale

NSW2008Australia

+61293102018www.viscopy.org.au

viscopy

CodeofConduct

As a recognised collecting society, Viscopy is bound by the Australian Code of Conduct for Copyright Collecting Societies. This year, Viscopy submitted a report to the Code Reviewer which demonstrated our compliance during 2008-09.

Viscopy has complied with the Code every year since its introduction in 2002.

Auditors

Rosenfeld, Kant & Co.Level 24 Tower 2101 Grafton StreetBondi Junction NSW 2022

Bank

WestpacKings CrossSydney NSW 2000

Registeredofficeaddress

1 Blackfriars StreetChippendaleNSW 2008Australia

ABNnumber

ABN 98 069 759 922

CompanySecretary

Virginia Morrison

Documents

Annual Report 2009