CITY OF DAREBIN

PUBLIC ART DISCUSSION PAPER

JANUARY 2017

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Author BiographyThis discussion paper was prepared by Lindy de Wijn. She was commissioned by the City of Darebin to investigate the current position of public art within the municipality, nationally and globally; and to examine future possibilities for public art in Darebin. It aims to generate local discussion and feedback to Council on any matters relating to public art.

Lindy de Wijn is an artist and art coordinator specialising in public art who has lived in Darebin for over 10 years. She has a Bachelor of Occupational Therapy and a Masters of Art – Art in Public Space. Inspired by the role that art plays in connecting people, ideas and space,

her practice includes the exploration of art in places as diverse as playspaces and health care settings. Lindy loves exploring the arts and the outdoors; she loves being surprised, inspired and challenged by creative expression and by the magic of nature. In her spare time she can be found making bobbin lace and dreaming of ways to create things with her hands.

lindy@dewijn.net

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EXECUTIVE SUMMARY

January 2017Darebin has a rich history of public art, and a recently lapsed Public Art Framework. This Public Art Discussion Paper reviews the current climate of public art locally and globally, and explores the possibilities for the future of public art in the fast-changing demographic of Darebin. Further, this paper aims to inspire the Darebin community about the future of its public art. In doing so, it poses and answers the questions: what is public art and why does the City of Darebin need it?

Public art is identified as art located in a space with public visibility, use and access. It can be permanent (like a sculpture), temporary (an installation), or ephemeral (a performance).

To begin with, Council’s position regarding public art is examined, and the way public art features in existing Council plans is identified.

Council is responsible for open spaces, reserves and parks; it is the owner of civic infrastructure (town halls, libraries); and it is the planning authority. Therefore, Council has the power to create opportunities for artists to use public spaces, provide opportunities for partnerships with private developers, facilitate community engagement into local arts, and enable community connections between people and places.

Five key themes of public art are acknowledged. These are: Activator of Public Places; Heritage, Infrastructure and Maintenance; Masterplans and Urban Design; Private Developments; and Cultural Tourism. Proposals and opportunities for future actions are highlighted within each section.

As an Activator of Public Places, public art and artists activate spaces and breathe life and expression into the public sphere. This section identifies that artists need to be valued, and that a new public art framework must be broad and agile, allowing for innovation.

The theme of Heritage, Infrastructure and Maintenance allows for the historic value of public art. Proposals are made to update

documentation, and review and improve maintenance, as well as to support additional capital works as needed.

Masterplans and Urban Design is focused on integrating public art into urban design and planning. This suggests engaging artists at the preliminary stages of urban renewal projects, finding ways to ensure that artists are supported, and appointing a public art officer to help manage this process.

The focus of Private Developments is to encourage private developers to engage artists at the design stage, which could involve developer guidelines and mandatory planning permit commitments.

Public art is a gateway to strong Cultural Tourism. Amongst other things, this could include recording and digitising artworks, the development of trail walks to take advantage of key cultural precincts, and the completion of a Public Art Discovery Map.

The paper thoroughly explores the role that public art plays in the City of Darebin in a fast-changing demographic. Using existing examples, it looks at the history of Darebin’s commitment to public art, and highlights the importance and relevance of increasing the support for public art. It then identifies the challenges and opportunities for integrating public art into capital works and operational programming.

Obstacles are discussed, and examples from other Councils, successful and otherwise, are used to highlight potential ways forward. Further, this paper provides examples of the diversity of public art in urban design and in private development. Finally, it explores the secondary benefits of marketing, communication and tourism.

In conclusion, the paper asks people to respond. Residents with thoughts about what to prioritise are encouraged to be in touch.

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PUBLIC ART DISCUSSION

PAPER

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Fairfield Industrial Dog Object (FIDO), Alistair Knox, Jacqui Staude, Ian Sinclair, David Davis, 2000, Fairfield Station. Photographer: Lara di Lizio.

What is public art, and why do we need it in the City of Darebin? This paper aims to inform and inspire the Darebin community about the future of its public art. Five key areas of public art are identified and explored. Opportunities and challenges are discussed, and finally, ways in which council can embrace and inspire a diversity of public art are proposed.

BackgroundIn 1996, Darebin took on an ambitious five-year Art in Public Places program that focused on four precincts: Reservoir, Westgarth, Fairfield and East Preston. A permanent public artwork was made for each area (Appendix 1). Each project used a different methodology but all focused on enabling the community to help shape their environment. The aim was to produce public art that created a sense of pride and captured the uniqueness of each neighbourhood. One of the pieces, FIDO (2000, Alistair Knox, Jacqui Staude, Ian Sinclair & David Davies) was installed in Fairfield to respond to the friendliness and vitality of dog-loving Fairfield Village, and improve the sense of community. Darebin City Council received much positive feedback regarding this ambitious contemporary work.

Ten years later, In 2006, Darebin City Council formed its first public art strategy – Beyond FIDO, Darebin’s Public Art Strategy, 2006-2015. Today, Darebin City Council has over forty permanent public artworks in its outdoor collection. Beyond FIDO had a focus on creating permanent pieces using extensive community collaboration. Since 2006, both the demographics and the infrastructural landscape of City of Darebin have rapidly changed. Furthermore, the role, diversity and benefits of public art are more widely recognised, and cultural experiences are now a part of everyday life. It is timely to review the role of public art in City of Darebin, and create a framework that responds to this shift.

This discussion paper has been developed following an extensive consultation and benchmarking process (Appendix 2). It aims to:

—Demonstrate the role that public art plays in City of Darebin in a fast-changing demographic – in the past twenty years, City of Darebin has seen a 30% increase in artists as residents;

—Highlight the importance and relevance of public art;

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Ornamental Grille, Carla Van Laar, 2000, Fairfield Library. Photographer: Lara di Lizio

—Identify the challenges and opportunities for integrating public art into capital works and operational programming;

—Provide examples of the diversity of public art in urban design and master planning;

—Provide examples of public art in private development; and

—Explore the secondary benefits of marketing, communication and tourism.

This discussion is underway so that a new framework for Public Art can be developed, one with a keenly focused artistic and conceptual foundation that is responsive to Darebin City Council’s vision for a vibrant, innovative and connected community that is both thriving and resilient.

What is Public Art?Public art includes art located in a space that has public visibility, use and access. It can be permanent, like a sculpture or mural, temporary, like an installation, or ephemeral, like a performance or event-based work. It brings art out of a gallery or theatre space and into the public, for all to discover and enjoy.

Public art can promote enquiry, contemplation, wonder, joy and surprise; it can provoke debate and challenge views. It can act as a significant artistic temporal marker for a community or societal issues. It can connect a community, create a community, and create an identity for a space.

PERMANENTFor the purpose of this document, ‘permanent public art’ is work designed to last over two years. These works identify a location and have a sense of permanence. Permanent works may include sculptures like FIDO or be integrated into a facade, architectural element or street furniture. Examples of such works in Darebin City Council’s collection include Ornamental Grille, (2000, Carla Van Laar) a piece fitted to the facade of the Fairfield Library and Community Centre, and The Ramp, (2000, Caroline Beach, Adam Dettrick & Dale Stephens) a laser-etched work integrated into the entrance of Bundoora Homestead. Permanent pieces tend to require a higher level of community consultation, collaboration, financial outlay and long-term maintenance.

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Shadow Creek, Down Street Studios, 1999, WR Ruthven V.C Reserve. Photographer: Lara di Lizio.

TEMPORARY – EPHEMERALTemporary public art creates a dialogue between people and place. It might be playful, thoughtful, or experimental. It can surprise the public and it can challenge views. These works can offer immense insight into the way the community identifies with a space, including what is important and what is valuable. This information can help support council to shape masterplans, develop public spaces, and inform future policies. Temporary works tend to be less expensive and do not have such intensive maintenance requirements. For the purpose of this document, ‘temporary works’ are considered to be anything up to two years, and ‘ephemeral works’ are artworks that only last a few hours or days. Examples of temporary works in City of Darebin include Outside Living, (2016, James Voller) a photographic installation on the outside of the Reservoir Community and Learning Centre, Here, (2016, Kirrily Anderson & Shannyn Higgins) a paste-up on Donath Dole Central Pavilion and Kite Bunting (2016), an artists-in-school program with a public art outcome for the Darebin Community and Kite Festival.

What is Council’s Role in Public Art?Darebin City Council has a unique role in shaping City of Darebin’s urban environment in three key areas:

—It is responsible for the open spaces, including all of City of Darebin’s parks, reserves, and streetscapes;

—It is the owner of, and investor in, major civic infrastructure such as Preston and Northcote Town Halls, the libraries and leisure centres, Bundoora Homestead, and Darebin Arts and Entertainment Centre; and

—It is the planning authority for all private developments in the area.

Experiencing art in public places ensures that our encounters with our streetscapes, open spaces, gardens and public buildings are distinct, new and surprising.

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Our experiences of public art can range from a fleeting encounter or a permanent feature in our parks, within our playspaces, on our street corners, within our civic squares, integrated into our public seating and lighting, and on the facades and forecourts of private developments.

Public art is diverse and complex by nature. Hence, a whole-of-council approach is integral to the successful development, delivery and maintenance of public art in City of Darebin. Local Government can enable public art by:

—Creating opportunities for artists to use public spaces as their canvas, stage or public studio;

—Providing opportunities for partnerships with private developers;

—Promoting and facilitating community and civic engagement into local arts and culture;

—Enabling community connections and facilitating new relationships with people and place.

Where does Public Art sit within Darebin City Council’s existing Plans, Policies and Departments?Collaborations, partnerships and communication are key to coordinating a successful public art program within Darebin City Council and in supporting and encouraging public art externally. A new Public Art Framework will aim to set the foundations for the integrated delivery of public art across council departments and within the landscape of the City of Darebin.

The following departments are key contributors to the successful design, implementation and maintenance of public art:

—Creative Culture and Events

—Strategic and Statutory Planning

—Planning/Capital Improvements and Maintenance

—Public Places/Urban Open Space and Planning

—Asset Management/Capital Works

—Risk Management

—Family and Children’s Services

—Project Management

—Media and Communications

—Economic Development

A number of strategies, plans and policies can be linked to public art. For the purpose of this paper, two key documents have been reviewed in relation to public art: Council Plan 2013-17, and Creative Darebin – Darebin Arts Strategy 2014-20.

The current Council Plan lists six goals – :

1 Vibrant city and innovative economy

2 Healthy and connected community

3 Sustainable and resilient neighbourhoods

4 Thriving and creative culture

5 Excellent service

6 Open and accountable democracy

Creative Darebin – Darebin Arts Strategy 2014-20 lists five key focus areas. The aim is to be:

1 Inclusive – Increase access and meaningful participation in the arts for a diverse range of community groups

2 Enterprising – Make Darebin the home of choice for artists and creative industries.

3 Regenerative – Develop creative spaces and places.

4 Connected – Create connections across communities and between generations.

5 Vibrant and Visionary – Lead by example and commit to best practice principles in all of our work.

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Five Key Themes of public art emerged in the review:

1 Activator of Public Places

2 Heritage, Infrastructure and Maintenance

3 Masterplans and Urban Design

4 Private Developments

5 Cultural Tourism

The remainder of this paper will focus on each of the key themes. For each theme, Darebin’s current commitments and goals will be identified, opportunities and challenges listed, and examples of local and international benchmarks in each area provided. Finally, a set of proposals will be made.

1 Activator of Public PlacesPublic art breathes life and expression to the public sphere. Artists are the key to activating spaces and sharing their creative vision.

Current Commitments and GoalsCouncil Plan states that a thriving creative culture fosters ‘innovation, creativity and diversity’ and that Darebin City Council will ‘encourage this sector to thrive, entertain, challenge and delight’. The plan aims to ‘strengthen the community’s access to and appreciation of its diverse history and cultural heritage; and create opportunities for the community to participate in the arts in everyday life’.

Creative Darebin states the goal of creating a vibrant and innovative community.

‘Permanent and temporary public art and welcoming creative spaces are the key to creating the kind of neighbourhood we like to live in and want to show our visitors’.

One of its guiding principles is diversity in practice as well as recognising council’s role, both in initiating projects and in knowing when to step back, empowering creatives to ‘make a business of art within Darebin’.

‘If you watch children, they play all the time. But what are they doing when they are playing? They’re imagining. They’re feeling things out. They are trying to understand what other people feel about things. So children learn through playing. Adults learn through art. Culture is the lubricant of society’s evolution.’

Brian Eno

Opportunities and Challenges Artists are integral in shaping the innovation, diversity and vibrancy in the fabric of a community. They are the key to activating the public realm.

Phillip Barash and Nina Chase of Sasaki Associates, in an article titled ‘Exploring the Changing Landscape of Pubic Art (Building Design + Construction January 2016), state that ‘as the boundaries shift, the most exciting stuff is located at moments of intersection, moments of ambiguity and drift’. This constant shift presents the challenge of keeping up. How can Darebin City Council embrace this shift and provide artists the opportunities to express, explore, entertain, challenge and delight? Darebin City Council has a goal to integrate art and culture into the everyday, into urban design and into masterplans. This enables opportunities for council to create partnerships and to commission more public art.

Public art is diverse in style, form and life expectancy. The qualities and skills that an artist brings to a project are unique and valuable. One of the guiding principles of Creative Darebin is diversity in practice. The new Public Art Framework should be agile and innovative. An agile framework will allow diverse models and processes to be used for engaging artists to support them in delivering their unique vision.

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Darebin City Council currently commits $80,000 for a permanent public art commission every two years. That is not enough to produce an artwork of significance. Matthew Harding’s’ Fruition (2013) at the Gateway to Royal Park was commissioned by the City of Melbourne’s Public Art Program for around $360,000, and Bruce Armstrong’s Owl (2011), a piece on a smaller scale to Bunjil in Docklands, was commissioned in Canberra for $400,000. When integrated within urban renewal and masterplans, partnership funding opportunities can create works of significance, like Stockyard (2010) in The City of Greater Dandenong, a partnership between Vic Roads, Vic Urban and The City of Greater Dandenong

When engaging in the design development phase, an artist can act as a site’s activator. An agile framework can result in an array of permanent and temporary projects of varying scale, ensuring that City of Darebin’s public art is diverse, responsive, innovative and enticing for artists and the public alike.

Benchmark Examples Darebin City Council’s recent exhibition at Bundoora Homestead, Re-visioning Histories, is an example of how a well-curated exhibition can present a challenging topic – in this case, the history of colonisation and its impact on Indigenous Australians.

The exhibition was co-curated by the Indigenous artist Yhonnie Scarce and by the Curator at Bundoora Homestead Art Centre, Claire Watson. Within the exhibition, Indigenous and non-Indigenous artists from

across Australia presented works in a range of media. Two of these pieces are public art: Fergus Binns and Steven Rhall’s Untitled (2016), and Steven Rhall’s Givbax (2016). Untitled comprises of a lone photograph of a fallen, carved tree hanging in the gallery room, with woodchips from the carving piled centrally on the floor. The original work is text carved into a fallen tree located at the entrance to Bundoora Park. GivBax is located in the garden of the homestead. At first glance, it looks like a ‘for sale’ sign and states that the site is being reclaimed by ‘Kulin Nation specialists’. This curatorial approach supported artists to present a challenging issue using innovative contemporary methods. Gina Fairly’s article, ‘Indigenous Stories Heard Through Public Art’ (ArtsHub, July 2016) states that ‘with the international penchant to promote cultural cities, placing Indigenous storytelling central to that public footprint is a savvy and responsible choice’.

The City of Melbourne uses a similar curatorial model in its delivery of the Biennial Lab program led by Chief Curator, Natalie King.

The 2016 lab titled, What Happens Now? provides ten mid-career artists the opportunity to explore bold, creative ideas in an aesthetically and intellectually rigorous situation, while testing the reception of their work in an extraordinarily diverse Melbourne context, the Queen Victoria Market.

Natalie King (Chief Curator – What Happens Now?)

The lab places the artists in the centre, supporting them in a live-in laboratory to research, explore and experiment. The lab is co-convened by international affiliate Claire Doherty, (Director, Situations, UK) and Professor David Cross (Head of Art and

‘Stockyard humanises a new piece of urban infrastructure, reminding us that ultimately it is the presence of people that makes a city work, whatever its scale. It also reminds us that their spiritual as well as their physical needs deserve to be recognised and given a place in all of a city’s parts.’

Dr Catherin Bull AM

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Performance, Deakin University). The outcome, a culmination of commissions of temporary public art pieces or interventions, launched as part of the Melbourne Festival. This project complements the City of Melbourne’s Public Art Framework, which places the artist at the centre of the process. It also uses a partnership approach for delivery, pairing with the Melbourne Festival, and incorporates artists into exploring a site currently identified for renewal by the City of Melbourne. This project has been publicised widely, placing the City of Melbourne in the global spotlight in terms of public art.

The City of Melbourne also delivers smaller scale temporary projects through the Test Sites program, geared at emerging public artists. Test Sites encourages artists to explore their creative vision and contribute to the thriving public art scene. The artist’s vision is realised through workshops and mentoring. The model is process-driven rather than product-driven, allowing artists to explore ideas and use the public sphere as their studio. The acquittal process involves artists providing concise visual and written documentation that can be presented on the City of Melbourne Public Art website and Facebook page, allowing temporary works to have a lasting memory.

Situations, an arts organisation based in Bristol UK, is ‘dedicated to commissioning and producing compelling and imaginative new forms of public art’. The fundamental belief that drives Situations is that ‘artists are charismatic agents of change’. Situations deliver projects that are unique, and challenge the traditional views of public art. Their single-page document, available on their website and cited widely within the art community, ‘The New Rules of Public Art’ (APPENDIX 4), articulates in twelve points their core beliefs.

‘Places don’t remain still and unchanged, so why should public art?’

Situations has a core focus on temporary works, leaving room for the unplanned and being wary of pre-defining an audience.

‘We believe in the capacity of artists to imagine new visions of the future for our environment, and to sustain and enrich our lives.’

These core values allow Situations to deliver projects like US-born Theastre Gates’s Sanctum (2015), where a temporary structure, built from discarded materials from former places of labour and religious devotion, was constructed within the shell of a fourteenth century temple church. For a month, a continuous programme of performance was delivered, becoming an intimate space of diverse new encounters, from headlining bands to spoken word. Visitors would book a time to enter Sanctum, not knowing who would be performing.

In contrast, Berlin artist Michael Sailstorfer was invited to conceive a project for the Folkestone Triennial 2014 to ‘respond to the particularities of the English coastal town and former port’. Sailstorfer buried thirty pieces of 24-carat gold under the sand of the Outer Harbour beach in Folkestone. Visitors were invited to ‘dig for the gold, or to watch the hunt unfold’. Professional fossickers sat alongside children armed with plastic shovels. The searching for treasure was a medium to connect a myriad of people.

The key factor in all of Situations projects is that the artist’s idea is the activating key to the public art process.

Proposals1 The new Public Art Framework be broad,

agile and innovative to accommodate the depth and breadth of public art practice now and in the future.

2 Artists are valued as innovators, activators and creatives who can challenge, delight and engage the public, and enrich City of Darebin’s public spaces.

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Shadow Creek, Down Street Studios, 1999, WR Ruthven V.C Reserve. Photographer: Lara di Lizio.

2 Heritage and MaintenancePublic art is highly valued by the community and is a significant asset to City of Darebin’s history. Maintenance and documentation of public art can ensure the collection be enjoyed now and in the future.

Current Commitments and GoalsIn 2013, Darebin City Council reviewed council’s current public art assets and created a Public Art Register. Insurance valuations were made and works were identified for decommissioning. Around forty artworks are listed as current in Darebin’s Public Art Register. These works sit within Arts and Heritage as assets, maintained through a dedicated capital works program budget, and insured at nearly $3 million.

Opportunities and Challenges The current permanent public art within City of Darebin is eminently substantial. Together, the works form a narrative of City of Darebin and highlight trends in public art practice. Fido was a benchmark contemporary permanent public artwork in 2000. Shadow Creek (1999) at Ruthven Reserve was created by then emerging artist Cameron Robbins, now considered one of Australia’s leading contemporary public artists. Untitled 8/73 (1973) by Reg Parker, in the forecourt of Preston Library, is classified by the National Trust of Australia (Victoria) as an example of a ‘classic formalist work by one of the early practitioners of this style in Australia’. Such works are significant assets and therefore need to be maintained in accordance with professional museum industry standards.

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Public art in City of Darebin is valued by the community – it sees many visitors and is rarely defaced or intentionally damaged. The council has a clear maintenance schedule for public art listed on the Public Art Register. This is carried out annually with an allocated budget of $20,000, which is enough to cover the general maintenance of the existing collection.

The materials and maintenance requirements of public art should be thoroughly considered in the commissioning process. Items that are a lower cost to fabricate, like wood, may have higher long-term maintenance costs. Commissions that utilise emerging technology may date quickly, making the purchase of replacement parts difficult. Permanent works can be commissioned with a lifespan in mind, and when a work is identified for deaccessioning, efforts should be made to involve the artist.

The current Public Art Register is not an all-inclusive list of the public art within the City of Darebin. Appendix 3 lists six public artworks identified by the Public PlacesUnit of Darebin. Five of these are not listed in the Public Art Register. The register does not include statues, historical markers and some memorials. A more comprehensive and up-to-date register will go some way to ensuring that council recognises the significance of these items, monitors their integrity, and arranges maintenance as needed.

Benchmark Examples The Darebin Arts and Heritage Department is MAPS-Accredited (Museum Australia Accreditation Program). This ensures that Darebin City Council follows the National Standards for Australian Museum and Galleries. Provided that Darebin City Concil’s outdoor collection is maintained as per these standards, they will meet national benchmarks for heritage and maintenance.

Proposals1 Darebin City Council maintain its public art

assets by supporting additional capital works funding to decommission or significantly repair public artworks if they are deemed unsafe or in need of significant maintenance.

2 The public art maintenance schedule be updated regularly to include new works, both permanent and temporary.

3 Life expectancy and maintenance requirements of all permanent and temporary public artworks be considered during the commission process and clearly stated in contracts and in the Public Art Register.

4 The current Public Art Register be reviewed to include a more representative list of works in City of Darebin’s public spaces. The City may also want to consider statues, memorials and fountains in this list as items of historical interest.

3 Masterplans and Urban Design Integrating art and culture into urban design and planning at the preliminary stages ensures that the urban landscape of City of Darebin is responsive, innovative and agile, making it a place we want to live, work and explore with visitors.

Current Commitments and GoalsDarebin Council commits $80,000 biennially for the production of permanent public artwork. The Council Plan states that major capital works and the refurbishment of council infrastructure is to have 2% dedicated to the production of public art. A recent research study commissioned by Darebin, ‘The Economic Value and Social Benefit of The Arts And Creative Sector In Darebin’, found that City of Darebin has a higher number of creatives, and its gross regional product in this area is higher, than national standards.

Section 4.9 of the Council Plan states the aim to ‘integrate art and culture into urban design and planning at the preliminary stage’. When artists are used to investigate a space and engage the public creatively they can inform

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Darebin City Council of critical information to ensure that designs are responsive, innovative and agile. It enables multiple opportunities for the creative sector to be engaged in shaping the landscape, supporting local creative industry, and encouraging partnerships between industry sectors. These are all key points in the Council Plan and Creative Darebin.

Opportunities and Challenges The City of Darebin has a number of masterplans listed at present including:

—Preston Central Structure Plan

—Reservoir Streetscape Masterplan

—Reservoir Structure Plan 2013-2017

—Bundoora Park Precinct Masterplan – April 2013-2025

—Donath and Doles Reserves Masterplan – August 2014

—Junction Urban Masterplan: From Pavement to Place – March 2014

—Northland Urban Renewal Project

These provide a great opportunity for Darebin City Council to involve artists in the future footprint of City of Darebin from inception. Artists can engage the public through a diversity of art, responding to each unique site and context. Commissioning artworks in the research and development phase of projects can also create a dialogue with the community.

Darebin City Council has delivered some small-scale projects within playspace upgrades, like Lahinch Vessels (2013) and Cochrane Stories (2015). These projects connected a local community with local artists to integrate artistic elements within a playspace, creating a community around the project and drawing strong connections to the space. There is scope for larger projects, using a similar model.

Eddy (2016) in Mt Beauty is a project incorporated into a masterplan for a playground upgrade that stemmed from the removal of a well-loved slide for reasons of safety. The local children were consulted and they promptly asked the Alpine Shire to build something ‘just as scary’. This was included in the brief. Eddy, built by Agency of Sculpture, demonstrates how a site-specific work can reference place and history – in this instance, the hydro-electric scheme, with a contemporary take – and remain playful. The slide, climbing frame and array of spinners were built with a budget of $120,000, excluding the design development component which was incorporated into the overall masterplan.

Benchmark examples

City of Greater Dandenong When reviewing current Public Art Strategies of Greater Melbourne, the City of Greater Dandenong was identified as a benchmark council. The majority of Greater Dandenong’s public art projects over the past ten years have been delivered by the Placemaking Department. Dandenong is incorporated into The Places Victoria Initiative via the Revitalising Central Dandenong Initiative, in response to Melbourne 2030. The City of Dandenong vigorously advocates for an integrated planning and design approach in urban renewal and development projects, and encourages artists to be part of the design team. An example is Aslam Akram’s Lamp (2014) at the Afghan Bazaar Cultural Precinct. The solid lamp base references the traditional artistry of Afghan cultures, including mosaic and geometric patterns.

‘Light relates to all living things and everyone benefits from it. Light is a symbol of knowledge, culture, friendship, respect to one another and purity of heart.’

Aslam Akram

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This piece is integrated seamlessly into the landscape. The geometric shapes in the framework are echoed in the pavement, green landscaping and public seating. This reference extends the full length of the precinct.

The City of Dandenong used a ‘Consult Before Brief’ process for this commission. Significant time was spent consulting with the community to clearly define a vision for the space prior to writing a project brief. Landscape architects were required to involve an artist in the design process.

The City of Dandenong is currently undertaking a major wall project for a site using the ‘Consult Before Brief’ process. This project has a budget of around $154,000. $15,000 was set aside for the consultation phase, prior to the development of the brief. Another $15,000 was set aside for five preferred artists to develop their designs for review. These designs will then be reviewed by the community and feedback will be given to the Internal Reference Group, which includes a representative from the Public Art Reference Group, a representative from the designated Activity Centre, a council Urban Design representative, and a council Arts and Culture representative. Councillors are given a presentation of the five shortlisted pieces. It is this team that selects the final artist and piece. Public art is diverse and so is our community, and it is unrealistic to try to achieve universal approval for any work. Informing Councillors and the general public about each project and process allows individuals to engage in an informed dialogue about public art.

Dandenong also has a strong focus on the use of temporary works to activate forgotten spaces and mark the process of change. A clear example of this is Depot (2008), in which a series of artists were engaged to honour the decommissioning of the Grenda’s Bus Company site. Seven artists were commissioned to create installations on site using only materials found there. The site was open for public exhibition, and former Grenda’s employees were invited, to mark the

major transition of this iconic site. This project, which gained national coverage, exemplifies how a temporary artwork can act as a significant marker for change. It was funded as a partnership, with financial costs being split between Grenda’s and Vic Urban, and the project delivery and management being provided by the City of Greater Dandenong.

‘Depot is about seeing value in everyday working spaces and the items left behind; their ability to be arranged, transformed and built upon, into spaces and objects of reflection, contemplation, inspiration and final contemplation.’

Jenny Pemberton-Webb – Place Manager, City of Greater Dandenong

Nocturnal was an event-based public art project designed to address the safety concerns of Dandenong at night and to invite the community to recognise that Dandenong can be a place of interest at any hour. It ran successfully for ten years before becoming unsustainable. Event-based public art is also a feature of Moreland with Moreart, Yarra with the Projection Festival, Art in Public Places in Hobsons Bay, Immerse at the City of Knox, the City of Wyndham’s Red and, on a larger scale, the City of Geelong’s Mountain to Mouth and Geelong After Dark. The City of Darebin also introduced a festival-based program as part of True North from 2013 to 2015, part of which involved artists using shop fronts and other locations to activate spaces within the northern parts of City of Darebin.

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True North Edwardes Street shop front, 2014. Photographer: Andrew Watson, Semiconductor Media.

Be Free

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Street ArtStreet art is appearing on City of Darebin’s walls at a rapid rate. It is a complex form of public art that blends curated and non-curated expression, both legally and illegally. It is found hidden in the lanes, on the facades of private dwellings, and even in schools. It can be a small expression or a large-scale commission, like the one at Preston Market’s Fresh Hood, or the paste-up, Here, in Donath Dole Central Pavilion in Reservoir.

Darebin’s Graffiti Management Strategy defines graffiti as ‘the deliberate act of defacing a property without permission’, and street art as ‘works produced with permission that are characterised by a high level of skill and a strong aesthetic dimension’.

‘The City of Darebin acknowledges that graffiti is a highly complex social activity that remains a consistent issue for inner city councils across Melbourne.’

In 2013/14, the City of Darebin spent $296,000 on graffiti management, which included some graffiti removal, prevention activities, and the appointment of a dedicated graffiti management officer. As part of a larger management strategy, street art projects are often incorporated into buildings that are prone to graffiti. In a community consultation on graffiti management by City of Darebin in 2013-2014, 86% of respondents supported the use of street art, both as a form of graffiti prevention and as a medium to enrich the area.

The City of Port Phillip has developed a partnership program to address graffiti on specific sites. The Public Art Officer is the curator of this project. The City of Melbourne has a prolific legal and Illegal street art scene that is internationally recognised. Some of the challenges were addressed by the creation of legal walls for painting but it is clear that street art remains a contentious issue in inner

Melbourne. The influx of street art projects correlates both with an increase in the use of street art projects to manage graffiti, and with a growth in community acceptance for street art.

Proposals:1 Artists be engaged in masterplans and urban

renewal projects from inception.

2 Darebin City Council supports artists in delivering their creative vision to ensure the successful delivery of projects. (This could be done in a variety of ways including access to a space, a mentor, or financial support.)

3 Public art projects are presented to Councillors and the public via briefings and artist talks to maximise the opportunity for public understanding of artworks, and for informed debate regarding public art.

4 A Public Art Officer be appointed within Darebin City Council. Their role would be to assist in building partnerships internally and externally for the successful design, delivery and maintenance of the public art program.

5 The City of Darebin review its Graffiti Management Strategy, and liaise with the Creative Culture department on graffiti management, and on advice to provide to property owners.

4 Private DevelopmentsCity of Darebin’s urban footprint is being shaped by high-density housing at an increased rate. Encouraging the private sector to engage artists at the design phase can help ensure that developments are innovative and dynamic, and that they integrate into the public sphere.

Current Commitments and GoalsMelbourne 2030 identifies both High Street, Preston and Northland as Key Activity Centres, and the increase in private development is especially prevalent around these areas.

Both the Council Plan and Creative Darebin refer to the need for good urban design and public spaces incorporated into private

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developments. This ensures a seamless transition between public and private spaces. Both identify the goal of ‘integrating art and culture into urban design and planning at the preliminary stage of precinct design’ and the delivery of ‘aligned and innovative’ programs.

Council Plan states the need to investigate the ‘feasibility of introducing a developer contribution levy or special rate to fund new works of public art’. In Creative Darebin’s section 4.3, titled ‘Regenerative’, actions are identified, including ‘establishing a Public Art Resource Service within council to assist property developers in the commissioning of public art in private developments’, and the introduction of a compulsory contribution percentage from major property developments for works of art.

Opportunities and Challenges There is a significant increase in the number of apartment blocks and private developments in the growth corridors of Darebin. In the 2015/16 financial year 37 planning applications with costs of over $3 million were submitted to Darebin Council. These developments will make a significant contribution to the shape of City of Darebin’s footprint and landscape. Darebin City Council has a role in ensuring that this influx is planned carefully and that the public spaces, streetscapes and surrounds create a seamless interface.

The integration of public art into a private development can ensure that such developments are innovative and dynamic. The Australian Institute of Architects states: ‘Integrating public art into building projects and public places can contribute to the transformation of our urban landscape’. Its public art policy makes strong reference to collaborative frameworks between artists and architects, the importance of engaging artists as early as possible in the design phase, and ensuring that funding for projects does not get eroded by construction costs.

Benchmark examples When reviewing the current public art strategies of Greater Melbourne, two councils – the City of Yarra and the City of Port Phillip – were identified as having a strong focus on the role of public art in private development. Both have the same general aim: that the provision for public art in private developments have a clear approval process in the planning stages of the development to ensure that commissions are in line with council’s overall public art principles and objectives. Both councils acknowledge that the commission of public artworks may not be suitable for all developments. The City of Port Phillip is considering the establishment of a trust fund for developers to contribute to if they choose not to integrate public art into their development. These funds would be used towards public art and cultural projects within the greater council area. In contrast, the City of Yarra encourages developers to consider the development of creative spaces like galleries, studios and office spaces for creative or cultural organisations. If public art is not feasible, they are encouraged to consider affordable residences for creatives instead.

YARRAThe City of Yarra has developed Guidelines for Public Art in Private Developments in Yarra. These guidelines are stated to come into effect on a ‘case by case’ basis. Developments are eligible if they are five or more storeys high, if they are mixed use, or if they have a significant amount of publically accessible space.

At present, the inclusion of public art is encouraged but not mandatory. Council’s role at present in regards to this is primarily curatorial, assisting developers through the process and encouraging them to consider public art from the earliest possible stage. Yarra City Council may also provide advice as to the type of artwork that may suit a design or in assisting a developer to find an artist.

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While in their planning stage, developers are advised of the Guidelines for Public Art in Private Developments in Yarra document by the Statutory Planning Team, and encouraged to consult with an officer in the Arts and Culture department.

For these large-scale developments, developers submit a Preliminary Public Art Proposal identifying the scope, rationale and methodology for the work, including a budget estimate. This is reviewed by Council’s appointed Visual Arts Panel in line with the criteria listed in the Public Art Policy 2015-2020.

Smaller developments join the process after a permit has been given with a condition requiring that the developer prepare a Detailed Public Art Plan. This includes concepts, rationale, a program for fabrication and installation, engineering assessments (if needed), maintenance schedules, and caretaker duties. This plan is reviewed by the Visual Arts Panel for comment in line with the criteria outlined in the Public Art Policy 2015-20.

Finally, the third step requires the provision of a Final Public Art Report prior to the occupation of the development in order to demonstrate to council that the commitments to public art have been fulfilled. This includes artist details, images of fabrication and installation, evidence of signage to credit the artist near the completed work, and information regarding ownership and maintenance.

As this policy was only developed in 2015, no relevant projects are yet to reach completion. All projects remain in the initial discussion phase and none have progressed to the review stage by the Visual Art Panel. Although developers are interested in incorporating public art, many wish to keep expenditure to a minimum.

CITY OF PORT PHILLIPThe City of Port Phillip was reviewing its Public Art Strategy at the time of writing this paper. The previous document, Urban Art Strategy, developed in 2002, had a strong reference to the commitment of developer contributions to public art. The City of Port Phillip introduced an Urban Art Clause to planning permits for developments of over $2 million. It states that urban art must be incorporated into the development, to the value of 0.5% of the total cost. In 2015, the newly appointed Public Art Officer for the City of Port Phillip wrote a set of Developer Guidelines to assist this process.

Developers contact the Pubic Art Officer who oversees the process, providing information on artists and processes that may assist developers with their vision. The City of Port Phillip stipulates that an artist must be hired in the process even when an architect has been consulted in the design of a development. A list of appropriate and inappropriate examples of artists and artworks are provided to the developer at this stage.

The City of Port Phillip has a two-stage process for applications. The first is an Application of Public Artwork Design Approval, which includes information about the artist, CV, concept, location, budget, details on its accessibility to the public and on its life span, as well as maintenance requirements. On completion, a Notification of Artwork Completion is to be lodged and the Public Art Officer cites the work prior to occupation of the building.

In the past two years, around forty developers have made contact with the Public Art Officer and two projects have been signed off. The Public Art Officer is the only person to review the Application of Public Artwork Design using the Developer Guidelines as the assessment criteria, so the onus is on them.

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The City of Port Phillip recently approved the incorporation of an arts space in the STK Apartments in St Kilda, built by Cayden Property Group. This space is run as a gallery space by local emerging artists who also run workshops there for residents and community members. The developer, council, as well as the artists involved would all consider being involved in something like this again. However, the process, responsibilities, timeframes and offset potential need to be further explored to make such projects feasible in the long-term.

The City of Port Philip and the City of Yarra’s models of delivery both have benefits and challenges. The City of Port Phillip model is much more time-intensive for the Public Art Officer. However, it is anticipated that as developers see the benefit of public art in their developments, the demands on the City of Yarra’s officer will also increase.

While writing this paper, Darebin City Council was contacted by a private developer wanting to incorporate a street art style mural in their development. As there is no formal process at this point, the developer was provided with the advertising standards for content as a guide. This poses the question: whose role is it to assess what is appropriate public art for private developments? The City of Yarra uses an Arts Advisory Panel; Port Phillip uses the Public Art Officer. In either model, it is integral that the assessment process be transparent and professional because any artwork that appears in public is greeted with a range of responses.

Recently, a second local developer, P3, included a black and white photographic image as a surface treatment to the facade of a development located on the corner of Newcastle and Dundas Sts in Thornbury. The photo references the history of the site itself, where the Cozzella Brothers, a continental deli and supermarket, have been a significant part of City of Darebin’s history. Darebin City Council and developers are starting to recognise the value of public art in design. Developer Guidelines on Public Art would assist this process. However, as evident at the

City of Yarra and at Port Phillip, a specialist in the field is required to oversee the process.

Proposals:1 Darebin City Council consider writing

Developer Guidelines to encourage private developments to incorporate public art and cultural hubs into their design.

2 Council considers making public art commitments mandatory to planning permits.

3 For either of the above recommendations to be delivered effectively, it is advised that a Public Art Officer or equivalent role be considered to oversee such processes.

5 Cultural TourismPublic art is engaging, enriching and enlightening. Darebin City Council can use this resource to promote City of Darebin as a rich, diverse and inviting community. Public art can be used to enhance branding in general marketing, cultural tourism, and in the digital domain.

Current Commitments and GoalsThe current Council Plan’s fourth goal, ‘a Thriving Creative Culture’, states the priority action of initiating ‘a Cultural Tourism Development Strategy to promote the value of cultural assets, heritage sites and facilities, encourage an online arts community, and digital media projects’. Creative Darebin states that the Art Collection will be digitised and that a Cultural Tourism strategy will be developed.

The City of Darebin is currently in the process of digitising its indoor art collection. Bundoora Homestead Arts Centre, the home of the indoor collection, is MAPs-accredited (Museum Australia’s Accreditation Program). This program aligns with the National Standards for Australian Museums and Galleries. The digitised collection ensures that national standards are met and includes features such as loan agreements and condition reports. A key feature is that the program has a public interface, allowing the public to search the

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collection online. The viewer can search for a specific artist, title, year of production, or type of object. Photographs and details of each work are listed on the site.

The Darebin Arts page also has a ‘What’s on’ section, listing arts and cultural activities and callouts. A fortnightly email is sent to subscribers to update individuals on local arts and cultural events and items of interest, including an update on public art and associated events.

Opportunities and Challenges The digitising of the indoor collection with a public interface allows Darebin City Council’s art collections to be accessible to all. Darebin City Council has a significant permanent outdoor collection that could also be added to the digital collection. This is an important opportunity to allow the public to access information about Darebin City Council’s permanent public art assets, including where they are located. A permanent Public Art Map could be linked to the program. Given that the database is already developed, the cost for implementing this project would be minimal, and it would connect Darebin City Council’s permanent indoor and outdoor collection seamlessly. Furthermore, it would ensure that Darebin City Council exceeds the standards for Australian Museums and Galleries as well as demonstrating transparent governance by being publically accountable in managing Darebin Ciity Council’s public art assets.

As Darebin City Council recognises the benefit of temporary and ephemeral artworks, and commissions more pieces of this nature, it is vital that the artworks also be digitally documented. This allows council accountability in governance by clearly demonstrating the outcomes of projects. As these pieces are not permanent and therefore cannot be accessioned by council it seems inappropriate for them to be listed in the same manner as the existing Digital Art Collection.

Darebin has also developed a Public Art Discovery Map listing all of Darebin’s current permanent public artworks. This is a handy resource that could be linked to Darebin City Council’s website and interfaces to allow the public to explore these amazing artworks and assets.

Darebin City Council has an active marketing strategy. The Cultural Tourism Strategy and other marketing strategies can showcase the artworks and, in so doing, capture the vitality, diversity and creative nature of City of Darebin’s public spaces. Public art, whether temporary or permanent, can be promoted by council on multiple platforms. Such pieces create great visuals to complement Darebin’s Tourism Strategy.

Benchmark Examples Darebin City Council’s Digital Art Collection is a benchmark example of the creation of a public interface for an art collection.

The City of Sydney has developed a Sydney Culture walk app that allows the public to discover Sydney’s public art on foot. Brisbane City Council has a number of downloadable Public Art Trails listed on its website, including an Art and the River Public Art Trail, a Contemporary Art and Architecture Public Art Trail, and a Cultural Heritage Public Art Trail. They are vital resources for the community to learn about and discover public art in the local area. Walking trails also allow visitors to slow down and notice other items of interest, including local businesses, where, as a follow-on effect, shops have new customers. This has a secondary economic benefit to City of Darebin, as well as encouraging exercise and social engagement, and connecting the community.

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Proposals:1 The Permanent Public Art Collection be

incorporated into the Digitised Art Collection.

2 Darebin City Council investigates ways in which temporary works can be recorded and digitised.

3 The Public Art Discovery Map be released publically and modified as further permanent public artworks are identified.

4 Further art walks and trails be developed around City of Darebin, taking advantage of key areas like Darebin creeks, the Bundoora Homestead, and surrounds.

5 Temporary and permanent works be integrated into masterplans and developments to allow cultural tourism to be incorporated into the fabric of City of Darebin.

What Now?City of Darebin is your community, so what are your thoughts and priorities for public art?

Whether you are a resident , employee, developer, artist or visitor, we want your views on the future of public art in City of Darebin. During the next six weeks, Darebin City Council will collect community views on public art through online surveys, vox pops, discussions and forums. These views will help shape the future framework for public art in City of Darebin to ensure the delivery of an agile, diverse and exciting public art program.

To contact City of Darebin directly regarding your thoughts on Public Art contact DarebinArts@darebin.vic.gov.au or call 03 8470 8888.

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APPENDICES

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Appendix 1

Public Art Practice – Art in Public Places Program 1996-99

Reservoir Precinct

The Feather (1999)

Helen Bodycomb, Enver Camdal and Chris Rak

Text by Shane Moloney

Budget – unknown

Location – Relocated to Bundoora Park. Decommissioned in 2005.

DESCRIPTION OF WORK“The sculpture features a feather acting as a sail for a ‘boat’, the latter depicted as a curled piece of bark or other piece of creek detritus, to which is affixed a piece of text (a letter).” – the artists

Westgarth Precinct

Westgarth Precinct Public Art (1998)

Helen Bodycomb, Chris Rak & Enver Camdal

Budget – $50,000

Location – High St, Preston

DESCRIPTION OF WORK The artworks installed in Westgarth shopping strip and High Street, Northcote form a series of works that include aerial, street-level and inlaid pieces. The aerial installations consist of eight pairs of steel dragonfly wings. The street-level component includes ten sculptural pieces of welded steel depicting enlarged body/skeletal parts of fauna that are indigenous to the area. The third element is a series of stainless steel, ceramic and glass mosaic inlays in the pavement.

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East Preston Precinct

Shadow Creek (1999)

Cameron Robbins – Down Street Studios

Budget – $50,000

Location – Ruthven Reserve, Albert St, East Preston

DESCRIPTION OF WORKThe work is an ornamental seat and fountain. The serpentine curve of the structure is built in rock, with a rivulet carving its way along the spine to allow the passage of reticulated water. The seating is hand-carved timber. A variety of animals, reptiles and insects are cast in aluminium on the rock surface

Fairfield Precinct

Fairfield Industrial Field Object (FIDO) (1999-2000)

Alistair Knox, Jacqui Staude, Ian Sinclair, David Davies

Budget – $50,000

Location – Station St, Fairfield, near the railway

DESCRIPTION OF WORKThrough the use of sensors and digital controls, FIDO talks to passers-by, wags its tail, wiggles its ears, and lights up at night. The materials used, the form and the interactive nature of this monumental work were chosen specifically to respond to the friendliness and vitality of Fairfield Village and enhance the sense of community for this dog-loving precinct.

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Appendix 2

Consultation ProcessThis paper was written following a thorough review of Public Art Guidelines for Greater Melbourne Councils and after reflection upon Darebin’s Adopted Council Strategies. Current practice locally, nationally and internationally was reviewed, followed by direct consultation with the Greater Melbourne councils, artists and developers who have delivered inspiring programs. Many thanks to the people, listed below, who shared their knowledge, insights and experience to help shape this discussion paper.

City of Darebin DocumentsArt and History Collections Policy 2004

Beyond Fido – Darebin City Council Public Art Strategy 2006-2015

Community Safety Strategy 2012-2016

Council Plan 2013-2017

Creative Darebin Arts Strategy 2014-2020

Darebin Open Space Strategy 2007-2017

Darebin Playspace Strategy 2010-2020

Darebin Public Art Register June 2015

Graffiti Management 2014-2018

Direct Consolation within DarebinArts and Culture – Vicky Guglielmo and Vickki Woods

Bundoora Homestead – Ella Hinkley and Claire Watson

Planning – Kate Williamson

Project Management – Nadia Combe

Public Realm – Alison Breach, Jules Martin and Jacqui Monie

Strategic Planning – Yvonne Rust

Greater Melbourne DocumentsBanyule City Council Public Art Strategy

Beside Public Art Strategy 2016

Boroondara Public Art Strategy 2010-2015

Cardinia Shire Council Public Art Policy 2012-17

City of Casey Public Art Policy 2005

City of Greater Dandenong Public Art Strategy 2008-2013

City of Melbourne Arts Strategy 2014-2017

City of Melbourne Public Art Framework 2014-2017

City of Monash Public Art Policy

City of Port Philip – Public Art Developers Guidebook 2015

City of Stonington Public Realm Strategy

Depot – produced by City of Darebin, Written by Geraldine Barlow & Photography by Hilton Stone, 2008

Epping Central Public Art Strategy 2012

Guidelines of Pubic Art in Private Developments in Yarra

Hume City Council Art in Public Places Policy 2011

Kingston A Liveable Creative City – Public Art Strategy 2012-26

Maroondah Public Art Policy 2015 (DRAFT)

Maribyrnong City Council Art in Public Spaces Strategy – Incorporating Footscray Public Art Plan

Melton Public Art Policy 2010

Moreland City Council Public Art Guidelines

Moved by Grenda’s – City of Greater Dandenong, 2008

Urban Art Strategy – City of Port Phillip 2002

Wyndham City Council Art in Public Places Policy 2015-2020

Yarra City Council Draft Public Art Strategy 2015-2020

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Direct Consultation with Greater Melbourne CouncilsCity of Casey Simon Doyle – Cultural Development Officer

City of Greater Dandenong Jacki Gatt – Team Leader, Arts and Cultural Development

Jenny Pemberton Webb

David O’ Halloran – Visual and Community Arts Coordinator

City of Port Phillip Georgia Rouette – Public Art Officer

City of Melbourne Lynda Roberts – Curatorium, Program Manager, Public Art Melbourne

City of Yarra Kara Rees – Public Art Officer

Nillumbik Shire Council Clare Leporati – Arts and Cultural Program Officer

Other Consultation

Alpine ShireFrancine Stacey – Project Officer/ Landscape Architect

RMIT Public Art Cohort – past and presentA seminar presented in conjunction with Clare Leporati (Nillumbik Shire Council) to past and present Public Art Students at RMIT. This included a forum and discussion following the session.

DevelopersCaydon – http://caydon.com.au/ Jarrod Stratton – Chief Operations Officer

P3 – http://www.p3capital.com.au/ Richard Cozzello

State, National and International Documents

PoliciesAustralian Institute of Architects – Public Art Policy, 2009

City of Sydney – City Art Public Art Strategy, 2011

ArticlesBarash, Phillip and Chase, Nina 2016, ‘Exploring The Changing Landscape of Public Art’, Building Design and Construction, 4 January.

Bennett, Jamie 2016, ‘Why Building Arts-Based Communities Is So Important’, Next Avenue, 11 May.

Canteor-Navas , Judy 2016, ‘Why People Play: Brian Eno Delivers Broad Inspiring Speech On Art And Life In Barcelona’, Billboard, 17 June.

Cummins, John 2016, ‘That Sinking Feeling: Public Art and Its Uncertain Future’,The Citizen, 24 June.

Davis, Alan 2016, ‘Public Art: Does Context Matter?’,Crikey, 15 August.

Farley, Gina 2016, ‘Indigenous Stories Heard Through Public Art’, Arts Hub, 29 July.

Ross, Madeleine 2016, ‘Gallery Without Walls: The Case For Public Art in Hong Kong’, Arts and Culture, 14 March.

Pool, Sarah and Wilkinson, Mark 2007, ‘Putting the Public in Public Art’, Expanding Cultures – Arts and Local Government Conference, Melbourne.

Siegal, Nina 2016, ‘Dutch City Makes Most of its Parks and its History’ New York Times, 16 June.

Urist, Jacoba 2016, ‘The Psychological Cost of Boring Buildings’, Science of Us, 12 April.

WebsitesBrisbane City Council Public Art Trails – https://www.brisbane.qld.gov.au/facilities-recreation/arts-culture/public-art-trails

Future Farmers – http://www.futurefarmers.com/

Land Art Flevoland – http://www.landartflevoland.nl/en/

Public Art Now – https://publicartnow.com/

Situations – http://www.situations.org.uk/

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Appendix 3

Public Art identified by Public Realm Unit in Playspaces

1 Gellibrand Village, ReservoirTitle – Totem Poles

Artist – The Play Works , lead sculptor Julianne Booth

Medium/description – Ironbark timber totem poles carved with native animals and plants.

Installed – January 2015

2 Link Reserve, Kingsbury Title – Untitled

Artist – Colleen Burke

Medium/description - Painted slides and panels on a play unit and painted table tennis table (corella theme). Car paint on Fibreglass Slides, marine ply play unit panels, and steel table tennis table.

Installed – August 2013

3 Ruthven Reserve, East PrestonTitle – Shadow Creek

Artist – Down Street Studios

Medium/description – The work is an ornamental seat and fountain. The serpentine curve of the structure is built in rock, with a rivulet carving its way along the spine to allow the passage of reticulated water. The seating is hand-carved timber. A variety of animals, reptiles and insects are cast in aluminium on the rock surface.

This piece is currently being modified as part of a playspace upgrade, in collaboration with the artists. It will include the installation of climbing grips on the rock wall.

Installed – 1999

4 Lahinch Reserve, PrestonTitle – Lahinch Vessels

Artist – Nick and Mary Hackett and Lindy de Wijn

Medium/description – A series of twenty forged steel vessels integrated into Lahinch Reserve. The pieces were initially made in clay by community members , then recreated in forged steel by local blacksmith Nick Hackett. Lahinch Vessels is a subtle work placed within the landscape of Lahinch Reserve for the community to discover. It holds a special place in the hearts of the community members who participated in the project, and assisted in establishing a strong sense of community, ownership and respect for the upgraded playspace.

Installed – 2013

5 Woolhouse Reserve, ThornburyTitile - Unknown

Artist – Unknown

Medium/description – Cement, tile, glass.

Installed – 20+ years ago

6 Cochrane Reserve, Preston SouthTitle – Cochrane Stories

Artist – Debbie Qadri, Nick Hackett, Lindy de Wijn, and Indigenous Elder Judy Nicholson

Medium/description – a series of six mosaic sculptures and four additional text works placed around the Reserve. The project was completed by Grade 5/6 students at Preston South Primary School, as part of their enquiry-based learning program. Stories about the history of the reserve were collected from the community and pieced together as low-relief clay mosaic works and text. One panel was completed in collaboration with Indigenous Elder Judy Nicholson: it is titled A Star Is Born, and combines contemporary and traditional storytelling about the students of Preston South and their role within the community.

Installed – 2015

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Appendix 4

The New Rules of Public Art – Situations

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