holdfastbayarts COrridor masterplan

contents [P2]introduction

[P5]history

[P8]shiftingsands

[P12]physicalcontext

[P13]culture

[P16]publicartdiscussion

[P19]contemporarypublicart

[P23]artscapecorridormasterplan

[P27]‘random’typology

[P37]‘roam’typology

[P43]‘event’typology

[P55]‘infra-art’typology

[P59]artsmasterplanmapping

[P67]reference

Art is a complex set of experiences, objects, subjects, processes and propositions that stimulate, disorient and re-format our sensesand our cerebration

(Gibson)

02 01

Artscape Corridor Masterplan_____Holdfast Arts_facilitatesthecommissioningofpublicartworksthatarerelevant,contemporaryandincreaseourawarenessoftheuniquequalitiesofCityofHoldfastBayandtheassociatedcoastline.

ThereisanopportunitythroughHoldfast Arts_ tocreateaprogramofpublicartcommissioningthatstimulatesthinking,invitesinteraction,increasesawareness,allowsforcontemplationandevenquestionsassumptions.

Holdfast Arts_collatesinvestigationsofpublicartphilosophies,brieflyreviewsthehistoryoftheCityofHoldfastBay,establishespublicarttypologiesandproposescommissioningprocessestoachievearangeofqualitypublicartoutcomes.

Holdfast Arts_providesa“toolbox”ofresearch,casestudiesandexamples,historicalresearchandpublicarttypologies,whichleadstothedevelopmentofapragmaticplanforcommissioningofart,engagementofartistsandfutureconsultancies.

Holdfast Arts_isbasedonthebeliefthatthebestartworkemergeswhenartistsandtheartisticprocessesarestronglysupportedandresourced.

Theframeworkforcommissioningpublicart,ifnotclearandsupportedbyCouncil,canimpactontheresponsebyartiststothedetrimentofinnovationandexcellence.Thisisparticularlyseenwithbriefsthatspecifynarrownarrativeandthemes.

Theplanbuildsonexistingeventsandactivitiesandimportantlyproposesnewones.Holdfast ArtsMasterplanproposeskeyimperativesattheimplementationstagethatestablishesaframeworktoprocureworkofbothhighartisticmeritandcontemporaryrelevance.

Holdfast Arts_aimtodeliverfourtypologicalpublicartapproaches.

TanyaCourt,CraigeAndreandWarwickKeateswereappointedtodeveloptheHoldfast Arts_ArtscapeCorridorMasterplanbytheCityofHoldfastBay.ThisreportacknowledgesthesupportofElectedMembersandCouncilStaffincluding,JenniRenolds,KellyHardingandMeganBerghuis

[1]INTRODUCTION

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Report Format

Holdfast Arts_providesadetaileddescriptionofeachtypology,thescopeofworks,potentiallocationsfortheworks(mapped)andimplementationrequirements.

Thereportalsooutlinesanumberofresources,whichcanbeusedduringthedevelopmentofpublicartprojectstostimulateideasandthinkinginrelationtoCityofHoldfastBay’scoastaledge,itshistory,contemporaryartandthedeliveryofpublicartintheurbanrealmofJettyRoad,GlenelgandJettyRoad,Brighton.

DuringthecourseofdevelopingtheArtscapeCorridorMasterplan,theconsultantteamofWarwickKeates(WAXDesign),CraigeAndrae(SPUD)andTanyaCourtreviewedtheexistingCouncilpoliciesanddocuments,metseveraltimeswithCouncilstaff.

ConsultationswereundertakenwithlocaltradersandtheBrightonSurfLiveSavingCommitteetodiscussthepotentialofHoldfastArts.

Thereportisdesignedtogenerateideas,mapopportunities,promoteinnovation,questionconventionandencourageexceptionaloutcomesforintegratedpublicartwithinCityofHoldfastBay.

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The new public art demands and invites communication and the engagement of others (Mary Jane Jacob)

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ThehistoryoftheCityofHoldfastBayextendsbeyondtheState’ssettlementin1836,andismarkedbythecontinuousoccupancyofthelandbytheKaurnapeopleandtheTjilbrukedreamingstoriesthatstretchalongthecoastlineandacrosstheCity.

Theimportanceoftheforeshoredunes,thecliffs,estuariesandwidercoastlinemadetheCityofHoldfastBayanimportantlocationforKaurnaandotherIndigenouspeoplewithinSouthAustralia.ThefavourablecoastlinerecognisedbyIndigenousAustralianswasalsoexploitedbyearlysettlerswhousedthesafeanchorageasaplacetodevelopthenewlyformedprovinceofSouthAustralia.

ThearrivalofEuropeansettlersontheAfricaineandthesettlementofthetownsofGlenelgandBrighton,whichnowformtheCityofHoldfastBay,sawpermanentcolonisationofthecoastlineanddevelopmentofsmallfishingvillages.Glenelggrewrapidlyandwiththeadventofrailandtramconnectionssoonbecamearecognisedtouristandresidentialdestination.

Bycontrast,Brightondevelopedslowly,attractingmanyinstitutionalbuildingsandorganisationssuchasTownsendHouse,LawnHouseandBrightonHouse(Minda),alongwithotherdwellingsbuiltbytheHousingTrustofSouthAustralia.

Theearly20thCenturysawcontinuedobsessionwiththecoastasaplaceofrecuperationwitheasyaccesstoahealthyenvironment,aplaceofpleasure,enjoymentandfun.

Thepost-waryearssignaledaneraofsignificantdevelopmentandwithitchangestothecharacterofthecoast.Theagriculturallandsandnaturallandscapesofthecoastgavewaytoresidentialdevelopment.TheurbandensityofGlenelgandBrightonincreasedandnaturalfeaturessuchasestuaries,swampsanddunesweremodifiedtofacilitatefurtherdevelopment.

In1997,thetwoCouncilareaswereamalgamatedtoformtheCityofHoldfastBay,itsnamerecognisingthehistoricpastandthelinkstotheestablishmentofSouthAustralia.

ThereexiststhepotentialforHoldfast Arts_todrawonthehistoricvaluesofthe‘seaside’locationfromtheearlysettlementthroughtotoday.Inthisregard,themasterplanbuildsontheideaofVictorianandEdwardiancoastalpleasuregrounds;theresurgenceofthepostwarbeachholidayspotsthroughtothecontemporarycoffeeculturesoftoday’smetropolitancoastline.

[2]HISTORY

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TheideaofpleasureandentertainmentcombinedwithhardinfrastructureandcivilengineeringmarktherapidindustrialiseddevelopmentofAustraliaattheturnofthecentury.

Thisincreasedfocusonthebeachsidecultureandsubsequentresidentialdevelopmentsawchangestothecoastlinewithnewurbanformsandbuiltcoastalinfrastructure.Thelandscapeaestheticsforeverchanged,particularlywiththelossofthemajorityofthedunesystem.

ThepostwarperiodresultedinincreaseddevelopmentalongthecoastandcreationofauniquecoastalaestheticwhichcontinuestobeexpressedwithinthebuiltformandurbanrealmoftheCitytoday.

Thecombinationofbuiltandnatural,infrastructureofthecoastalcorridor,retailprecinctsandthesitesofrecreationandseasidepleasuregroundsformsahistoriccontextforHoldfast Arts.

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1836: LandingatGlenelgbytheAfricaine

1858: PierHotelwasbuiltbyHenryMoseley

1859: GlenelgJettywasbuilt

1876: KitherFamilyButchersopenedonJettyRoadandwasownedandoperateduntil2012bytheKitherfamily

1883: Glenelg,BrightonandMarinotramwaybeganoperations

1886: ThefirstBrightonJettywascompletedbutwasbadlydamagedin1994

1920: WalterLindrumplayedattheSouthcottBilliardsRoom,ratingitasoneofthebestinAustralia

1920: SirDouglasMawsonbuilthishouseonKingStreet(thehousewassubsequentlydemolishedin1966)

1927: TheSeacliffRotundawasbuiltandremainsasaburiedartifactwithinthesanddunes

1927: TheArgosyopened,becomingapopularentertainmentcomplex,includingaballroom,smallgallery,picturetheatre,projectionroomsandskatingrink

1929: TheAquariumwasbuiltonGlenelgJetty

1930: LunarParkwasopenedonColleyReserve

1934: LunarParkwasclosedduetoseverestormsandtheimpactoftheGreatDepression

1937: BrightonCouncilofficeswerecompletedandremainoneofthebestsurvivingexamplesofArtDecoarchitectureintheState.

1948: MajorstormdestroyedtheGlenelgjetty.Thereconstructedjettywassubsequentlyshortened

1982: MagicMountainwasbuiltincorporatinga1902merry-go-roundimportedfromEngland

2006: TheBeachHousewasbuiltreplacingMagicMountainandincorporatingthemerry-go-round

[3]SHIFTING SANDS

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The public domain of the 21st century is no longer defined simply by material structures such as streets and plazas. But nor is it defined soley by the virtual space of electronic media. Rather, the public domain now emerges in the complex interaction of material and immaterial spaces”

(McQuire, 2006:1)

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10

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ThephysicalcontextisanimportantconsiderationandinfluenceonHoldfast Arts_.

OpportunitiesfortheHoldfast Arts_ willfocusonthehardandsoftassets ofthecoast,retailprecinctsincludingthestreetscapesandplazas,adjacentpublicopenspacesandcoastpark.Holdfast Arts_willseektointeractwiththeCity,itsinfrastructure,greenandgrey,builtandnatural.

Holdfast Arts_acknowledgestheexistenceoftheMindadunesystem(comprisingforedune,swaleandsecondaryduneareas)asoneofthelastremainingsandduneareasontheAdelaidecoastline,representingapproximatelythreepercent(27hectares)oftheoriginalAdelaidedunesystem.

[4]PHYSICAL CONTEXTGiventhesignificanceofthedunesystemandthepotentialimpactoffuturedevelopmentonthesecondaryduneareathereremainspotentialforpublicartapproachestointeractwiththeenvironmentandincreaseawarenessaswellasexpressingtheimportanceofthisfragilelandscape.

ThisconsiderationisalsoalignedtotheexpectedoutcomesandinitialanalysisoftheOpenSpaceandPublicRealmStrategy.

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Holdfast Arts_recognisestheculturalcontextoftheCityofHoldfastBayandthepotentialtobuildonexistingopportunities.Combinedwiththecolonialandpost-colonialheritage,istheIndigenoushistoryanddreamingstoryofTjilbrukeandnarrativesthatcanbeconsideredandembracedaspartofHoldfast Arts_,creatingaculturalcontinuum.

[5]CULTURETherepresentationofculturewillmoveawayfromstaticcommemorationandexploretheuseofcontemporaryrepresentationsandtechnologies.

CapitalisingoneventssuchastheBrightonJettyClassicSculpturesExhibitionandtraditionalcelebrationslikeCarolsbyCandlelight,HoldfastArts_aimstoprovideaculturalframeworkthatwillbuildontheseexistingeventstodevelopandestablishnewtraditions.

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Public art is not simply the procurement of assets, but the creation of ideas, experiences and culture within a place, with a value that far exceeds the material worth of the works

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Thefollowingdiscussionhasbeendevelopedaspartofanongoingdiscussionontheroleofpublicartandhowartworksinteractandengagewiththepublic.InitiallydevelopedfortheIntegratedArtsMasterPlanforRundleStreet,thisdiscussionhasbeenextendedandadaptedforHoldfast Arts_ tobeabletorespondtospecificqualitiesandcharacteristicsoftheCityofHoldfastBay.

Whilepublicartcanbebroadlydefinedasanyartisticproductioninthepublicdomain,itisoftenmorespecificallydefinedasartthatiscommissioned,paidforandownedbyStateorLocalGovernment.Socialandculturalcontributionsofpublicartarewidelyacknowledged.

FortheCityofHoldfastBay,thecommissioningofpublicartisanimportantmechanismtocreateaculturallyvibrantCity,meetingstrategicobjectivesoftheProvidingCulturalEnrichment(StrategicPlan2009–2014).

Publicartperformscivicduties,creatingvisitordestinationsaswellasbeinganimportantpartofeverydaylife.Artculturethatisdynamicandrobustisonethatconstantlyevolveswiththepotentialreflectthemultiplefacetsofpubliclife.

Theuseoftypologiesaspartofthemasterplangivesrisetoagreaterrangetoartresponsesandpossibleprojects.Thisapproachcontraststhestaticobjectsthathistoricallydefinespublicspaceandpublicartpractice.

Withchangesinourideaofsocietyandshiftingandcontestedconceptsoftheroleofpublicspace,thereremainsthetoexploredifferentapproachestopublicart.

“If public art, as Arlene Raven has suggested, is no longer a hero on a horse any more that is, not only because of changes in artistic practice, but because the conditions and possibilities of public life... have undergone such profound and varied transformations in the late modern era”(Mitchell).

[6]PUBLIC ART DISCUSSION Mitchellthereforecallsforarethinkonthepossibilitiesforpublicart:“to rethink the conceptual and physical locations of art and its possible publics, and connect these to the momentous cultural transformations that are remaking the social orders of the present, while reconfiguring our understanding of the past.” (Mitchell 2- 4).

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Inreviewingrecentpublicartcommissionsthereis,notsurprisingly,agreatdiversityintheexpectationsofcommissioningbodiesandresponsesfromartists.Therehasbeencriticismofpublicartthatisoverlythematic,didacticorsemanticandthelowlevelsofambitionformuchpublicartwork.

Proscribedsubjects,prescribedthemesandsimplisticresponsestothecontext,leadtoaperceivedbanalityofsomecommissionedart.Thisdoesnotdenythepossibilityofbuildingonexistingtraditionsandallowingforcelebratoryormemorialisedartworks.

Thequestionarisesastowhetherspectatorsarereadyforworksthatdonotutilisewell-wornpublicartparadigms.Theaimshouldbenottounderestimateanaudiences’abilitytovalueexperiences,includingchallengingones.

Ifnotionsofpublicdomainandconceptionsofprivateandpublicspacearechanging,thiswillaffectthepossibilitiesforpublicart.Therefore,developingadefinitionofpublicartmaybearduous,butitisgenerallyagreedthatthedefinitionmustincludebutnotbelimitedto“temporaryworks,performance,functionalart,communityengagement,newmedia,integratedartandpermanentsculpture”.

Multipleformsandmultipledisciplinesmustbeconsidered.Apublicartprogrammeshouldalsohavediversethemes,conceptsandmethodsthroughouttheCityofHoldfastBay.

Despitealackofdefinition,itcanbesaidthatpublicartisalwayschangingandevolvingasaretheexpectationsofthatart.Therewillalsoalwaysbeadiversityofartspractice,whichshouldbereflectedinthepublicartprogramcommissioningprocess.

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Allworksshouldaimforhighartisticmeritandconceptualdepthbutshouldnotprecludeadventurouscommissioning,embracinguncertainty,whichitselfisaconditionoftheCityandtheartisticprocess.

Today,withtheriseofmedia-saturatedsociety,publicartanticipatesengagementandhumaninteractiontobecomeacriticalpartoftheartwork.

ForHoldfast Arts_,publicartneedstosupporttheurbanlifeofthepublicrealmspecificallyandCityofHoldfastBaygenerally.

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SeveraloftheCityofHoldfastBay’scontemporaryartworks,althoughabstracted,stillrevealtheirrepresentationalsourcesuchasGregJohn’ssymboliccircularformsofRhythm,MarijanaTadic’sCelestialReductionorthefishingbouysofDebSleeman’swork‘Anchored/Adrift.

Thesewellreceivedworksarelayered,engagingandinvitebothdeeperandmoreobviousreadings.However,allarestilllargelystaticobjectstobeviewedbyareceiving,largelypassivepublic.

In“MappingtheTerrain”SuzanneLacycoinsthephrase“NewGenrePublicArt”todescribevisualartthatiscommunicativeandinteractiveandwhosekeyidentifiersandmeasuresofsuccessesarebasedonengagementwiththepublic.

Thesemorecontemporaryformsofpublicartmightbelessaboutconcernswithsitespecificity,narrativeandrepresentationalform,andmoreaboutpublicreaction.Thiswayofworkingallowsforagreaterdiversityofresponseto “engage,pleaseorchallenge”–thepublic,potentiallyactivelyengagingwiththeformandcontentoftheartwork.

Sitesforpublicartmaybeunderstoodnotonlyfortheirspecificity,butalsoin“relationaltermsaspartoflargernetworks,systemsandprocesses,physically,andideologically.”WorkengageswithboththepublicandtheCityitself.(Rendell,quotedThePracticeofPublicArt)

Itisalsocriticaltoacknowledgethatthereisadifferencebetweenpublicartandindependentstudio-basedartpractice.Somewellrespectedartistsstumblewhenfirstmovingintotherealmofpublicart.

Itisimportanttoencouragenewplayersintothepublicartdisciplinetoadddiversityandencourageexcellence.Thequestionofhowtofacilitateandsupportstudioartistsworkinginthepublicrealmisaddressedbytheprocess,structureandcollaborationsuggestedinthisreport.

TheCityofHoldfastBay’sStrategicPlanidentifiestheimportanceofpublicart.“Foster,encourageandpromoteparticipationinthecreative,performingandvisualartsthroughindividuals,localgroupsandbytheattractionofexhibitions,eventsandperformances.”

Whilethestrategysetsoutpossibleoutcomes,howdowedefinewhatpublicartisinthecontemporarysettingoftheCity?

Thecomplexityofthedisciplineofpublicartmakesitdifficultorevenundesirabletoformulateanauthoritativedefinition.Definitionscanshutdownopportunitiesforinnovationandevolutionofthepublicartdiscipline.

CameronCatieredevelopsadefinitionthatpublicartmustfitwithinatleastoneofthefollowingfourcategories:

1. Inaplaceaccessibleorvisibletothepublic:inpublic

2. Concernedwithoraffectingthecommunityorindividual:publicinterest

3. Maintainedfororusedbythecommunityorindividuals:publicplace

4. Paidforbythepublic:publiclyfunded

[8]CONTEMPORARY PUBLIC ART

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HarrietSenieevaluatespublicartwiththreequests.

• Isitgoodworkaccordingtoitstype?• Doesitimproveorenergisethesitein

someway?• Isthereevidenceofrelevantor

appropriatepublicengagementoruse?

In“ComingInFromtheCold”fromThePracticeofPublicArt,CameronCatiereconsidersthatengagementmaybeduetoasocialandpoliticalnatureortheexperientialqualitiesofthework.Engagementisnotlimitedtonarrative,sitespecificityandsemantics.EngagementmaybecriticalorutopianasdiscussedbyMitchell.

ThespecificqualitiesofHoldfast Arts_willaffecttheselectionandcreationofpublicart.Thecoastalpleasuregrounds,cosmopolitan,tourismandquirkycharacterofthecorridorsuggestsinnovative,exploratory,temporaryorsemi-permanentartandsuggestsahightoleranceforinnovationpublicartworks.

TheCityofHoldfastBayhasaroletoplayinthecurationandfacilitationpublicart,events,performance,andworkshops.Councilcanbestrategicinitssupportandencouragementofemerginglocalartists,thosenewtoworkinginthepublicrealm,andoffernewopportunitiesforthoseexperiencedintheworkinginthepublicrealm.

Thereshouldbeadiversityofcontemporaryresponses.Worksmightbehumorous,experiential,bornfromnewmedia,createdfromlight,constructedasgreeninfrastructure,bemoreambiguousandcomplex.Publicartmightcomment,question,becriticalormaybeenchanting.Flexibleanddiverseapproachescanvaluetheutterlyimpracticalandevenludicrousthoughts,theabsurdandthefun.

Thisisnottosaythatotherformsarevaluedless,butatthistimeandplace,thisiswhatisuniqueaboutthepublicartopportunitiesforHoldfast Arts_.OtherformsofpublicartmaybeappropriateatdifferenttimesandindifferentpartsoftheCity.

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Art should be...part of everyday life but not “decorative atonement”

(Matzner 17)

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TheArtscapeCorridorMasterplanisstructuredtoentertainanddelight,remainingaudiencebased–aconsciousmoveawayfromthecommemorationandthe‘plonking’ofartwithinthepublicrealmoftheCity.

Whilethesemoretraditionalworkswillstillbenecessaryandwilloccurwhenappropriate,theArtscapeCorridorMasterplanisextendinginteractionandcommunityengagement–itisaboutstretchingthe‘season’.

Encouragingpeopletovisit,tocometotheBayallyearround.

[9]ARTSCAPE CORRIDOR MASTERPLAN ThefourtypologiesrecommendedbytheArtscapeCorridorMasterplan_Holdfast Arts_ aredesignedto‘valueadd’,expandanddevelopcultureandtoseeandbepartoftheCityofHoldfastBay’sexpressionasauniqueplace.

Theuseoftypologiescreateavarietyofapproachesandprovidedifferentwaysforwardwhenconsideringthecommissioningofpublicartprojects.

ThesefourtypologiesofferanadministrativestructureforprogrammesthatwilladdtoculturalsignificanceoftheCitybycreatingalayeredanddynamicartscorridor.

RAndoM RoAM EvEnt InFRA ARt

random [1] [2] [3] [4]

event.[Roam]

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Thetypologiesallacknowledgeacommitmenttoengagingwiththepublicwithintheurbanrealm.Theuseoftypologieswillalsoassisttheunderstandinganddeliveryofarangeofapproachesin-linewithCouncil’sobjectivestopromotepublicartwithintheCity.

DevelopingastrongsupportandengagementprocesswillbenecessarytoensureartistssucceedincreatingnewintellectualcapitalfortheCity.TheimplementationofHoldfast Arts_anticipatestheabilitytohaveCouncilconsiderexceptionstosomeexistingpolicies,suchasthoseonsignage,streetfurniture,infrastructureandlighting.

ItisanticipatedthatCouncilwilluseHoldfast Arts_tofosterinnovativewaysofcommissioninganddeliveringartworks.Holdfast Arts_isbasedoncompellingargumentsforimprovingprocesses,policiesandpastthinkingonimplementationandprocurementofpublicart.

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[9]ARTSCAPE CORRIDOR MASTERPLAN

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random [1] [3] [4]

event.

[2]

[Roam]

Random is a programme of curated events and interventions that are generally temporary, anonymous and quirky

random

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Random_isaprogrammedesignedtoencouragesimpromptusubtleandgentlegestureswhichpopulatethestreetandurban environmentwithevidenceoflifethoughtheuseofsmallcreative,witty,thoughtprovokinginterventions.

Random_isanopportunityforartiststointeractwiththeurbanfabricofthestreet(JettyRoad,GlenelgandBrighton)ina“temporaryadjustmenttoeverydayfamiliarity”(Keniger36).

Itisenvisagedthatartistswillpopulatethesitewithsmallartworksthatdonotintegratebutratherinvadeandoccupytheurbanenvironmenttoattachlikeabarnacleorperchtemporarilylikeabirdonwindows.

Itishopedthatthisactivitywillinsinuateitselfthroughouttheentiretyoftheprecinct.Artworksofthisnaturewouldrangeincontentfromtheprofoundtopotentiallytheprofaneorshocking.

Someworkswouldengageandcommentontheimmediateenvironmentwhileotherswouldappeartobejustpassingthrough.

Random_providestheopportunitytoalignwiththecharacterandcontextof‘thestreet’.ItaimstobuildonthecommercialandcommunityvaluesofJettyRoad,GlenelgandBrighton,aswellasevents,includingtheSouthAustralianLivingArtists(SALA)FestivalandFringeFestival.

Random_isdesignedtoprovideaframeworkthatallowsartistsandCounciltorespondswiftlytopublicartopportunitiesastheyarise.

Random_encouragesartistsanddesignerstodowhattheydobestandinterpretorrespondtothestreetintheirownuniqueandthoughtprovokingway.

Random_encouragesunexpectedandquirkyartworksandinterventionsthatdeliveranelementofsurprise–“Whatwillberevealedaroundthecorner?”.

Random_artworkshavetheopportunitytobeprovocative,exciting,surprisingoramusing.

[Description]

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• TodevelopalocusofcreativityandspontaneitythatfocusesontheBrightonandGlenelgJettyRoads,thatbuildsonthecommitmentandenthusiasmoftradersforartwithinthestreet

• Toencouragetheformationofspontaneous,creativegesturesandcuriositiesthroughoutthestreetsandurban environmentoftheprecincts

• Tocreateinteresting,thoughtprovidingeverydayexperienceforlocalsandvisitors

• Toencourageconsideredconceptualbasedartworkthatentersintoadialoguewiththeurbanenvironmentoftheprecinct

• Todevelopaconstantlyevolvingprogrammeofartworksandeventsthatselfperpetuatetocreateavibrantlivingprecinct

• Tousearttoinformallymarkettheprecinctsalongsidethecommercialandretailcharacter,drawingpeoplebackthroughthecuriosityandintriguethattheworksbring

• Tocreatetemporaryworksthat“come”and“go”formingachangingenvironmentthatpeoplewillwanttovisitagainandagaintoseewhatisevolving

• Toworkwithavarietyofscalesandarangeofdiversematerialandquirkyconcepts

• Todevelopandpromoteaprogrammethatbuildsculture,encouragesthecreativityoftheartiststocomplimenteachother

• Todeliverworksthatmightbequirkyandreminiscentofthestreet-reflectingtheprecinctcharacter

• Toencouragethecreationofworksthatrequiresmallbudgetallocationsandarepotentiallyselfgenerating

[Objectives]

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1. Commissioncuratedexhibitionofartworkscreatingacatalystandbenchmarkforthetypology

2. Producesupportframeworkforthetypologytoinclude:

• informationaboutprocess• adviceonopportunitiesandlegal

ramifications• amnestyforworkdoneonCouncil

property• marketing• grantfundingfromCouncil• mapofareasavailableforsuchworks• listofwillingtraderswhoencourage

randomactsofart

3. SeekgrantfundingfromArtsSA(ArtforPublicPlaces)forCommissionfundingtoimplementcatalystproject

4. Developadirectoryofartistsandcollaborators(buildingownersandprivatesector)

5. Recordartworksthroughdigitalandhardcopymedia

6. Developanadviceline(withinCouncil)thatsupportsthedevelopmentof‘Random’

7. SeeklocalsponsorshiptoassistinfundingtheRandomprogramme

8. MarkettypologyandresultingoutcomesaspartofJettyRoadPrecinctspromotionandmarketing

9. Providefundingforinauguralworksaswellasassigningfuturefundingtoongoingdevelopmentandpromotionofthetypology

10. ExploreopportunitiestopromoteartworksusingQRcodes,ipads,smartphonesandgeocaching

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[Implementation Strategy]

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'Little People Project'

[by slinkachu]

Miniature works highlighting the strange, ordinary and unique aspects of the street through scale and a change of perception. My 'Little People Project' started in 2006. It involves the remodelling and painting of miniature model train set characters, which were then place and left on the street. The street-based side of the work plays with the notion of surprise and the aim is to encourage city-dwellers to be more aware of their surroundings. The scenes aim to reflect the loneliness and melancholy of living in a big city, almost being lost and overwhelmed. But underneath this, there is always some humour.

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[Precedents]

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‘GIvInG to tHE PooR’[BY ABOVE]Duringthesummerof2008Abovewasinvitedtothe1stannualFameFestivalinthesouthofItaly.WhilepaintingalongsideotherartistssuchasBlu,Ethos,andConnorHarrington.ItwasinLis-bon,PortugallaterthatsummerthatAbovepaintedhis“Givingtothepoor”stencilcommentingonsocialissuesofhomelessness.Aboveisquotedonhiswebsite“EverydayIwalkedbythisbankatmmachineandthisparticularhomelesswomanwassittinginthesameplaceeverydaybeggingformoney.Ifounditsadlyironicthatjustsixfeetawayfromheretherewerepeoplelininguptowithdrawmoney.Theobvioussocialandeconomicclashinspiredmetomakethispiece”.

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[Roam]is a public a r t w o r k commissioning p r o g r a m m e designed to m a x i m i s e exposure and the impact of the artworks by making them non-geographically s p e c i f i c

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Roam_wouldutiliseaseriesofconcreteshowcaseplinthswhichwouldactasthefoundationfortheartworkandwouldbedesignedinsuchawayastoenableeasypickupandrelocationthroughtheuseofacranetruckorsimilar.

Thedesignoftheshowcaseplinthswouldbediscreteandneutralsoasnottodistractfromtheartwork,butitwouldalsoprovidesignageopportunitiestopromotetheprogrammethroughstandardinterpretationaswellasdigitalmedia.

Roam_seekstoexploitthecontextoftheArtscapeCorridorMasterplan,tocapitaliseonthemyriadofopportunitiesforpublicartthroughoutthecorridor,creatingtemporaryartinterventionswithintheCityofHoldfastBay.

KeysitesthroughouttheArtscapeCorridorwouldbeidentified(refertoArtsMasterplan)andcommissionedartworkswouldrotatethroughthesesitesatpredeterminedintervals.

Roam_offersthecapacityforarttoimpactonthepublicrealmoftheCity,itsopenspaces,footpaths,beaches,eventhecoastalwaters.

Astheprogrammematuresnewsitescouldbeadded,andtheprogrammeofrotation/relocationcouldbedevelopedtorespondtomajoreventsorspecificrequirements.

Workscouldbetemporarilyrelocatedoutofthesetprogrammesitesforshortperiodsoftimetoaddvaluetomajoreventsintheprecinct.Alternatively,thelocalresidentscouldselectorvoteforfavouriteartworkstocomeandvisitthelocalreserve,streetorplacesofinterest.

Theprogrammealsooffersanalternativestrategytothepolarizedpermanentversustemporarycommissioningprocess.

Roam_enablespermanentworkstohavesitespecifictemporalitywhichprovidestheopportunitytoaddressnegativeresponsesorfearsbylocalresidentsaswellasbeingabletoexposeartworkstoawideraudience.

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[Description]

• ToprovidetheCityofHoldfastBaywithaunique,innovativepublicartcommissioningprogrammeunlikeanyotherintheState

• TomaximisetheimpactofcommissionedartworksthroughouttheprecinctanddeliverpublicartbasedintheopenspacesandpublicrealmoftheCity

• Toencouragethecommissioningofdiverseandadventurousartworksthatwillenliventheprecinct

• Toallowthepublictointeractwiththeartworks–votetohaveartworkslocatedinspecificreservesaspartofthe“YourViewHQ’forum

• Toprovideopportunitiesforartworkstobeonthelandandinthesea,capitalisingontheuniquecoastalqualitiesoftheArtscapeCorridorprecinct

• Tousethesemi-permanentnatureoftheartworkstoallowriskiercommissioningthatprovokesdebateanddiscussioninrelationtoart,cultureandthecontextoftheCity

[Objectives]

• Tocommissionnewartworksonceortwiceayearbututilisingthesameinfrastructureandreducinginstallationcosts

• Tohaveworksonpermanentrotationortemporaryworksthatarereplacedand/orreused

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1. Allocatebudgetsforplinth(s)andinauguralartworks(basedon2piecesinthefirstyear)

2. Designshowcaseplinth(s)

3. DeterminesitesforRoamprogramme(refertoArtsMasterplan)

4. Produceguidelinesbooklet

5. CommissioncatalystprojectthroughArtsSA,ArtforPublicPlacesProgrammeMajorCommissionfunding

[Implementation Strategy]

6. Produceshowcaseplinth(s)

7. Promoteandinstallinauguralartwork

8. Developprogrammeofexhibitionandrelocationwithinthecorridor

9. Markettheartworks,programmeandencouragecommunityinteraction(YourView–HQ)

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T H EF O U R T HP L I n t H

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[Precedents]

TheFourthPlinthisanemptyplinthinTrafalgarSquareincentralLondonoriginally

intendedtoholdanequestrianstatue.Forover150yearstherewasmuchsquabbling

aboutwhattodowiththefourthplinth,butverylittleagreement,untilthetemporary

useoftheplinthtodisplaythreepiecesofartinthelastyearsofthe20thcentury

leadtoacommissionbeingformedtodecideonauseforit.Eventuallythat

commissionunanimouslydecidedtouseitforthetemporarydisplayofartworks

In1998,theRoyalSocietyofArts(RSA)conceivedtheFourthPlinthProject,which

temporarilyoccupiedtheplinthwithasuccessionofworkscommissionedfromthree

contemporaryartists,MarkWallinger:EcceHomo(1999),BillWoodrow:Regardless

ofHistory(2000)andRachelWhiteread:Monument(2001).Afterseveralyearsin

whichtheplinthstoodempty,thenewGreaterLondonAuthorityassumed

responsibilityforthefourthplinthandstarteditsownseriesofchangingexhibitions.

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event.

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Event_isaprogrammethatencourages,promotesandsupportsthedevelopmentofartexhibitions,events,creativecelebration,performanceandcommemorationthroughouttheCityofHoldfastBay.

Culturalinitiativesintheformofmajorandminorvisualartprojects/exhibitions,festivals,performancesandcommemorationsthatoccurthroughouttheyearwillhelptoenrichtheculturalheartoftheArtspaceCorridorprecinct.

Ifembracedandpromoted,theseactivitieswillleadtoincreasedinterestintheCorridorasadestinationthatofferspositive,ambitious,creativeactivityfortouristsandlocalresidents.

Event_ recognisesthepotentialforcreativethinkingandartisticinteractioninallaspectsoftheCity’sculturalprogrammingandtherichnessthatartistscanbringtocreatinganddeliveringfestivals,exhibitionsandcelebrations.

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[Description]Event_alsorecognisesthecontinuingneedforcommemorativeworksofartandtherichhistoryandvaluesoftheArtscapeCorridor.

• Tohaveaclearandconciseprogrammethatencouragesandsupportsmajorandminorexhibitionsofahighcalibre

• TocontinuethedevelopmentofeventswhichhaveStateandNationalsignificance

• TocontinuetosupporttheBrightonJettyClassicSculptureswithinthecurrentstructureoftheprogramme

• Toincreasethecalibreandprofileofexistingmajorexhibitions

• Toincreasethefrequencyofsmallerexhibitions

• Todevelopnewmajorexhibitionsthatlinkintomajorstateprogrammes.

• ToincreasetheinterestandtheperceptionthattheHoldfastprecinctisadestinationpointforcreativityandculturalactivity

• ToincreaseinterestandparticipationineventswithintheCityofHoldfastBay

• TocreateanalignedprogrammewithmarketingandbrandingofHoldfastBay

• Tointeractwithtourismbased,localeventsandvariousothercelebrationslocatedthroughouttheentirecouncilarea.

• Todevelopastrongerfocusoninteractivityincludingdigitalcommunicationandperformanceartopportunitieswithinopenspace,publicrealmandwiderArtscapeCorridor

• Todevelopacalendarofeventsbuiltaroundseasonsandseasonalchange

• Todevelopartworksthatrespondtotheneedformemorialandcommemorativeworks

• Toalignwithcommunityaspirationswithastrongcommunityfocused

[Objectives]

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1. Allocatebudgetsforinauguralevents(basedon2piecesinthefirstyear)

2. SeekfundingfromArtsSAfortheemergingcuratorsprogramme

3. Promote‘Event’withSouthAustralianTourismCommission

[Implementation Strategy]

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[Precedents]

Marc Newson Fireworks in Sydney for New Years Eve.

The industrial design identity Mark Newson compliment the 2011 New Year’s theme with a characteristic signature minimalistic style. The design features a four-coloured enclosed rainbow.

The rainbow graphic featured prominently on banners dressing the city, and the rainbow symbolizes the broad spectrum

mark newsonof people from different cultures, demographics and backgrounds which all rejoice together on New Years.

Particularly, the violet, the colour of Sydney’s dusk represents community, peace, social stability and connectedness, the blue references the Harbour, sky and future aspirations, green for the environment and growth, and lastly the yellow suggests optimism, happiness and the sunny vibrancy Sydney is celebrated for.

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DevelopedbyAdelaide-baseddesignfirmsSPUDandFnuky,thebottleand

campaignwaspartofthe35yearcelebrationofitsflagshipblend,ChurchBlock.

ThegiantinstallationwasoriginallybuiltinMelbourne’sSouthbankPromenadeandwasaimed

t o attractpeoplevisitingthestatefortheMelbourneFood&WineFestivalandL’OrealFashion

Week.Priortoitsconstruction,WirraWirraenlistedthehelpoftheGirlGuidestolauncha

nationalcallforAustralianstodonatetheiroldcorkstohelpcreate10-metrehighbottle.

Thebottlecreatedsignificantinterestinthebrandandprovidedanewkindofmarketing

approachwhichcombinesart,creativethinking,marketingandbrandmanagement.(2010)TheBigCorkBottle:Retrieved4March2012

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Infra-Art_ reflectstheincreasinguseofmulti-disciplinaryteamsthatincludesartiststorespondtotheurban conditionsandinfrastructuredemands,resultinginnewandunlikelyhybridsbetweenindividuals,designapproaches,productiontechniquesandmaterials.Collaboratorscanincludeartists,landscapearchitects,architects,engineersandotherdesigndisciplines.

Infra-Art_seekstopromotetheinclusionofexperiencedartistsanddesignerswhereverpossibleintoinfrastructureprojectstocreateurbanrealmprojectsthatareofthehighestdesignstandardsItalsoaimstoexploreopportunitiestoinvolveartistsinshelterdesign(currentcouncilpractice),seawalldesign,coastalerosionmeasures,stairs,handrail,pavingandotherstructuralandcivilinfrastructure.

Infra-Art_ isaprogrammethatseekstoreintroduceacreativeapproachtomakingandproblemsolving;areturntoEdwardianandVictorianvaluesofthecraftsmanandartisaninallCouncilprojectsthatrequirefabricationandconstructionintheurbanrealm.

Infra-Art_ exploresthecollaborativeandcreativepotentialofartistsandcraftspeopleandcanprovidetheopportunityforartworkstobeembeddedinallareasofourpublicrealm.ProjectscanbeusedtobuildpartnershipwiththeDesignInstituteofAustralia(DIA),ArtsSA,AustralianInstituteofArchitects(AIA),AustralianInstituteofLandscapeArchitects(AILA),theRoyalInstitutionofAustralia(RiAus)orinconjunctionwiththeGovernmentArchitect.

Infra-Art_canleadtothecreationofsculpturalandengineeringtapestries,greenwallsandcontemporaryinfrastructure.

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[Description]

• Toproduceurbanenvironmentsofthehighestcalibre

• Toincreasetoopportunitiesforart

• Toincreasepotentialexpenditureandfundingfortheintegrationofartandengineering

• ToimproveengineeringoutcomesandachievetheStateGovernment’sobjectivesinrelationto‘IntegratedDesign’andavibrantenvironmentfortheCity.

• ToprovideopportunitiesforSAartistsanddesignerstoworkwithotherprofessionalsanddevelopacultureofcollaborationwithintheCityofHoldfastBay

• ToincreasetheinterestandtheperceptionthattheArtscapeCorridorprecinctisadestinationpointthatexpressescreativityandculturalactivity

• Tocreateinfrastructure“hotspots”thatbringtogethercontemporarythinkingandideasinrelationtoart,designandtheprovisionofinfrastructure

• TofindanalternativesolutiontoinfrastructureissueswithintheArtscapeCorridorPrecinct

• Tocreateopportunitiesthatreinforceexistingprofessionalcollaborations,aswellasofferingnewopportunitiesfortheexchangeofideas,culturesandexperiences

• Tocreateopportunitiesforunexpectedandinnovativepartnerships

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[Objectives]

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1. DevelopaclearandconcisestrategyforevaluatingartanddesignopportunitiesforCouncilandStateGovernmentprojects

2. Nominateadvisororadvisorypaneltoassessopportunitieswithinprojects.

3. Setupmethodfornotifyingadvisororadvisorypanelofallupcominginfrastructureprojects.

4. Developaprogrammethatprovidesasuccinctframeworkoutliningallrelevantrequirementsfortheproject,including,butnotrestrictedto:

• Projectbriefs• Examples• Parameters• Budgetsandtimeframes• Legalissues• Steeringcommittee• Briefingpapers• Identifypartners• Documentation

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5. Workwithkeystakeholderstoacquirepermissionandsupportfromrelevantownersandauthorities.

[Implementation Strategy]

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king street bridgepatawalonga

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[Precedents]

TherecentrepairandupgradeoftheKingStreetBridgedemonstratestheCityofHoldfastBay’sapproachtotheinfra-artandthepotentialforthispublicartresponsewithintheCouncilarea.

Thelightingofthebridgecreatedapublicartcanvasonwhichthestructureandformoftheengineeringwasexpressedfortheenjoymentoflocalandvisitorswhousethebridge.

Suddenly,themundaneandfunctionalistransformedintoanevent -acelebrationofformandfunctionthatprovidepleasureandvisualamenitytotheCity.

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ThesuccessofHoldfast Arts_reliesonthecommitmentandtheimplementationofalltherecommendationsinthisreportandrequiresthat:

• CouncildevelopaplanwhichinstigatesanddeliverstheartprojectsthatdemonstratethefourtypologiesoftheHoldfastArtscapeCorridorMasterplan

• CounciltoestablishanArtsReferencePanelthatincludescreativethinkers,membersoftheArtsMasterplanprojectteam,localartists,ArtsSAandCouncilstaff

• CouncilprioritiseRandomandRoamaspilottypologiesanddevelopcatalystprojects

• CouncilinvestigateshowtheDevelopmentPlanandtheapprovalprocesscanencourage,permitandsupportthedeliveryofarangeofpublicartoutcomes

• CouncilrecognisesandrecordsexistingartworkstoencourageandpromotepublicartwithintheCity

• CouncilintegratesTwoFineLoversbySculptorChrisMurphyfromtheJettyRoadClassicSculptureintotheRoamprogramme,locatingtheartworkinanumberofreservesaspartoftheinauguralprogramme

• Councillocates‘TheSeedPodOfLife’bySculptorsJamesWorthandDylanHarrisinthenativegardenadjacenttotheCouncilofficestoencourageinteractionandengagementwithpublicart(demonstrationofCouncilcommitmenttoartwithinthepublicrealm).

• Reviewtherelocate theKittyWhytecommemorativedrinkingfountaintotheupgradedseatingareasadjacenttoDunluceAvenueinordertoreinforcethesignificancesofthepieceaswellasincreasingthesignificanceofthememorialarchandsurroundingpublicrealm.

• CounciltoseekfundingfromArtsSAinrelationto:

— SeekcommissionFunding(50%ArtsSAand50%Council)forRandombasedonpropositionsfromthreeartistsselectedbytheArtsReferencePanel(fundingroundOctober2012)

— SeekSeedFundingfortheinauguralRoamproject(basedonthedevelopmentoftheplinthandassociatedartwork–fundingroundOctober2012)

— SeekMajorCommissionFundingforinauguralRoamproject(fundingroundApril2013-$100,000fundingand$100,000fundingfromCouncil)

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[Recommendations]

• CouncilrecordartoutcomesaspartofCouncil’sexistingwebbasedinformation,particularlyYourViewHQtoprovideeasilyaccessibleinformationandprocessesforartists,tocaptureprojectoutcomesincludingtemporaryartworksandencourageengagementbythepublicinrelationtoRoamandotherarttypologies.

• CounciltoimplementchangestotheCityofHoldfastBayDevelopmentApprovalprocess,toenableapprovalofartisticprogrammesandpresentationsratherthanindividualartworks.

• CounciltocreateorreactivatepartnershipswithartsorganisationstomeetmanyofTheArtscapeCorridorMasterplanobjectives.

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The council does not currently have dedicated arts and culture officers. The potential exists to develop an arts panel to oversee the development and delivery of an arts and culture programme within the City Holdfast Bay. This would be composed of professional artists, local artists, council staff, elected members, members of the community and trader representatives. The intent of the Arts Panel is to develop an informed discussion on the value of art within the City, develop annual programmes, seek funding and deliver works of art of high quality and relevance.Holdfast Arts_ has the potential to initiate a larger program of arts and cultural programmes across many areas of council activity including youth, heritage, marketing, tourism and assets.

Holdfast Bay artscapecorridormasterplan

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Glenelg

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Brighton

Kingston Park

Seacliff

Holdfast Bay artscapecorridormasterplan

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roam

random

event

infra-art

existing art works

social

pleasure

coastal

nature

history

wildcard

kaurna

complexity

scale

budget

[1-1.5]simplelevelofcomplexity[1.5-2]simple[2-2.5]simple[2.5-3]simple[3-3.5]highdegreeofcomplexity

smallscaleinstallationmediumscaleinstallationlargescaleinstallation

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1$_$0-$10k2$_$10k-50k3$_$50k-100k4$_$100k-$250k5$_$250k+

1.3

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kaurna

75

1$ 1$

2$

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1.3 1.3

2.4

2.4

2.4

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2.11-3$

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2$ 1.3

76

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[Reference]CityofHoldfastBay,Strategic Plan and Development Plan Review 2011,accessed20April2012

GovernmentofSouthAustralia,The 30-Year Plan for Greater Adelaide,

JimBlakeandtheHoldfastBayHistoryCentre,Sea Change,2012

Carttiere,Cameron,“Coming in from the Cold”inCameronCartiereandShellyWilliseds.ThePracticeofPublicArt,NY:Routledge,2008

Gibson,Rossaccessed29March2009

Kanarinka,2006:website,quotedinMiranda,Maria,UncertainSpaces:Artists’ExplorationofNewSocialitiesinMediatedPublicSpace,accessedMarch2000

Matzner,Florianed.PublicArtKunstimöffentlichenRaum.17

McQuire,Scott,“ThePoliticsofPublicSpaceintheMediaCity”inFirstMonday,SpecialIssue#4,2006accessed20October,2007

Mitchell,A.J.T.ed,Art in the Public Sphere of ChicagopressJournals,1993

Rendell,Jane,“Space,Place,andSiteinCriticalArtsPractice”,inCameronCartiereandShellyWilliseds.ThePracticeofPublicArt,NY:Routledge,2008.

Woods,LebbbeusandLafranchi,Guy,Gr[o]undSpringer-VerlagWeinNewYork,2003.

Soja,EdwardW.,SeekingSpatialJustice,MinsotaPress,2010

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WarwickKeates

AmandaBalmer

TanyaCourt

MattBaida

PaulaMcManus(KingStreetBridge)

‘SeaUrchinCluster’bySamanthaBell(frontcover)

[Image Credits]

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