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Strategic Public Art Master Plan 2011- 2030

2 City of Subiaco Strategic Public Art Master Plan, Library and Heritage Services, September 2011

Contents:

Introduction

Vision

Public Art and Placemaking Sustainability

Definitions Background Existing Public Art Collection Community Values

Cultural Interpretation

Plan overview Guiding Principles Key Priorities Key Sites Key Strategies Strategies

Implementation Actions

Resources

Annexure 1 Site map Annexure 2 Triennial Schedule of Works 2011-2014

Jeff Koon Puppy 1997 Bilbao, Spain Jaume Plensa Crown Fountain 2004, Millennium Park, Chicago, Illinois


Introduction The Strategic Public Art Master Plan (the Plan) is a planning and action framework, designed to achieve the City of Subiaco’s vision for public art until the year 2030. The Plan relates to the distribution of funding as specified in the Public Art Policy and Guidelines, adopted in May 2011.

Vision The City of Subiaco will create a visible arts presence throughout the city, with a public art program that engages artists’ creative ideas to celebrate the values of Subiaco: its history, cultures and future aspirations, and defines Subiaco as a place where people want to be.

Phil Price Morpheus 2009 Sculpture by the Sea, Bondi New South Wales Simon Perry Public Purse 1994, Burke Street Mall Melbourne, Victoria


Public art and ‘placemaking’

‘Aside from their obvious physicality, places also embody human behaviour, interact with the weather, and play on memory. Places are at once ecological, built, social and symbolic. Places contain objects, activities and meanings all combined in a coherent whole. If place activation relies as much on community interaction and participation as it does on a supportive, multi-use urban fabric, then the role of every citizen is as significant as that of our planners. A rich experience of place requires both a ‘top-down’ and ‘bottom up’ dedication.’ Narelle Yabuka, Spirit of Place, Values Vision and Vocation 2008 The arts play a critical role in determining a ‘sense of place’. Providing for art in the public realm can act as a catalyst for generating social activity and spaces. The strategies in this plan aim to place public art as central to the intelligent design of a vibrant city. Public art can broadly be defined as ‘the process of engaging artists’ creative ideas in the public realm’. This definition encapsulates a diverse and flexible scope for arts projects and expands on the possibilities for working with artists in an urban environment.

The city believes art in the public realm is vital to community and cultural development. The Strategic Public Art Master Plan builds on a number of the city’s goals and strategies including enhancing and developing the social, economic and environmental capital and wellbeing of the city. It plays a key role in urban renewal, place making, urban design and tourism.

Sustainability

The city’s strong commitment to sustainability is outlined in its Strategic Plan and is demonstrated in its operational activities. The city believes in innovation and seeks to demonstrate leadership and adaptive management that will ensure the health and sustainability of its built and natural environment. This commitment underlies all activities of the Strategic Public Art Master Plan.


Definitions Artist Professional artists will be eligible to carry out public art commissions. As the term 'artist' is self-referencing, for the purposes of this plan, a professional visual artist can be defined as a person who fits into at least two of the following categories:

A person who has a university degree or minimum three year full time TAFE Diploma in visual arts, or when the brief calls for it, other art forms such as multi-media;

A person who has a track record of exhibiting their artwork at reputable art galleries that sell the work of professional artists; A person who has had work purchased by major public and private collections, including (but not limited to) the Art Gallery of

Western Australia, any of the university collections or Artbank; A person who earns more than 50% of their income from arts related activities, such as teaching art or design, selling artwork or

undertaking public art commissions. Sometimes it will be appropriate to be more flexible and seek emerging artists and practitioners other than professional artists to carry out artwork commissions. This may apply in instances when young, emerging and Indigenous artists or students may be considered appropriate. Artworks Types and Life span

Permanent refers to works that are created to last for twenty years or more.

Semi permanent refers to works created to last between five to seven years.

Temporary refers to works created to last up to five years. Ephemeral refers to works created for the moment.

Timeframes in action plan

Immediate action refers to action taken in the next three years. Medium term refers to actions to be taken in the next six years. Long term refers to action taken in the next ten to twenty years.

Poppy van Oorde Grainger Street 2002, water colour paintings on pavement, Perth, Western Australia


Background In May 2010 the city endorsed the development of a public art master plan. A public art coordinator was engaged to develop the plan along with supporting policies. Research into best practice and current trends for public art procurement in Australia and internationally identified appropriate funding models and program approaches to support the provision of public art for Subiaco in the future. The Public Art Programs and Funding Models Report was presented to council in March 2011. The City of Subiaco Public Art Policy and Guidelines 2011 were adopted in May 2011. The Policy contains the vision, procedures and guidelines essential for clear and effective provision of public art and collection management. The Strategic Public Art Master Plan is the strategic action framework that identifies how the vision is to be achieved. A Triennial Schedule of Works developed and reviewed annually will prioritise projects. The Public Art Policy and Guidelines and the Strategic Public Art Master Plan will be reviewed every five years.

Consultation and reports that have influenced the Plan are as follows: The Public Art Reference Group

Kat Black, artist, curator Kathy Bonus, Director, Development Services, City of Subiaco Penny Bovell, artist, writer, curator, lecturer ex resident of Subiaco Helen Curtis, Senior Policy Officer, Arts and Culture, City of Perth Colleen Harris, Manager, Library and Heritage Services, City of Subiaco Jenny Kerr, Public Art Coordinator, City of Subiaco Malcolm McGregor, artist, Public Art Consultant, currently consulting for Subiaco Redevelopment Authority Colin Moore, Architect Wendy Robertson, Policy Officer Public Art, Acting Senior Policy Officer-Public Art, Department of Culture and the Arts Professor Ted Snell, Director, University of Western Australia Cultural Precinct Barbara Shipway, Urban Designer, artist, resident of City of Subiaco Kumar Vadivale, Manager, Infrastructure, City of Subiaco


Respondents to questionnaires and conversations Maggie Baxter, artist, Public Art Consultant Kat Black, artist, curator Martin Copeland, Manager Parks and Environmental Services, City of Subiaco Geoff Glass, Director, Planning and Facilities, West Australian Football Commission Emily Holt, Senior Arts and Culture Officer City of Subiaco Kevin Jackson, retired Subiaco resident, Jacksons Drawing Supplies Mark Ledger, Manager Waste and Fleet Services City of Subiaco Giles Pickard, Environmental Projects Officer, Landscape Architect, City of Subiaco Dr Nien Schwarz, artist, Senior Lecturer Communications and Contemporary Arts, Edith Cowan University Janette Spencer, Manager Community Development Jon Tarry, artist, Lecturer Fine Art, University of WA Architecture, Landscape and Visual Arts Jude van de Merwe, Executive Director, Artsource, Artist Foundation of WA Lynne Ward, Acting Manager Community Development, City of Subiaco Laetitia Wilson, PhD, Assistant Professor, University of WA Architecture, Landscape and Visual Arts

There are a number of formal documents and reports that have provided an important source of background information. They Include: City of Subiaco Strategic Interpretation Plan 2009; City of Subiaco Town Planning Scheme No 4 (currently under review); City of Subiaco Strategic Management Plan 2010-2011; The Street Improvements City of Subiaco, concept design report 2010; Ethnographic Consultation for the Strategic Interpretation Plan 2009; Public Art Policy and Guidelines 2011; Public Art Funding and Program Models Report 2010; Integrated Transport Strategy 2010;

City of Subiaco Distinctive Lighting in Commercial Centres, Lighting Strategy Concept Plan, August 2005;

City of Subiaco Community Plan and Laneway Strategy (currently in development); Think2030, comments and reports, City of Subiaco community consultation process 2010-2011.

Yeon Jae Won and Soo Jeong Heo Xylophone Bridge, proposal 2010, Seoul, Korea


Existing public art collection

The City of Subiaco is currently custodian of twenty four permanent sculptures and murals located in the public realm.

The average commission value is $45,000; the estimated value of the collection is $797,000.1 The largest commission of $175,000 in 1998 by the

Subiaco Redevelopment Authority in partnership with the Perth Transport Authority is located at the Subiaco Train Station.

The documentation of the public art collection does not include the city’s memorials or fountains.

In addition to the works commissioned by the city, approximately 40% of the collection has come about as a direct result of the Subiaco

Redevelopment Authority’s Percent for Art Scheme and normalised into the city. The city’s collection includes innovative works commissioned by

the Subiaco Redevelopment Authority in the late 1990’s. Several of these works involve multi-media, sound and light, and were considered

innovative, ambitious in scope and exploratory at the time. They include the Water Shed by Rodney Glick and Kevin Draper, The Subiaco Station

Clock and Platform installation by Rodney Glick and Marco Macon and The Trail, a multi-disciplinary work by Penny Bovell. There are currently two

major developments under the management of the SRA that require the provision of public art. The development of the Australian Fine China site

and the Metro North site will result in several works devolved or normalised to the city in the near future.

The works in the collection are by Western Australian artists with acknowledged reputation for contemporary art practice and public art excellence

including works by, Jeremy Kirwan-Ward, Helen Smith, Kevin Draper, Peter Dailey, Gina Moore, Rodney Glick, Susan Flavell, Anne Neil and Steve

Tepper.

1 The public art collection has not been formally valued, this figure is an estimate based on the commission values.


There is a strong interpretation of heritage underpinning many works, some examples include:

Jualbup Painting by Shane Pickett, a work that depicts native flora and fauna of the wetlands and installed to commemorate the restoration of the name Jualbup to the area;

Ceramic Snake a mosaic by Sandra Hill and Jenny Dawson, which refers to significant events in Subiaco’s history between 1896 and 1996 and incorporates aspects of Aboriginal presence in Subiaco before European settlement;

The Meaning of Matter by Anne Neil, inspired by the shape of BOC gas bottles sculpture referencing the industry that was carried out at the

site;

The Nash Street Underpass mural project by Nyungar and community artists;

Grass Roots by Gina Moore, a mural that traces the history of Subiaco Oval;

The Watershed by Rodney Glick and Kevin Draper, a three-dimensional functional artwork made from recycled materials found on the site of the former Humes factory, (now a mixed use residential development);

The Bronze Kookaburra by Susan Flavell, a sculpture in homage to the local manufacturer Metters and their Kooka stoves.2

The 100 Year Picnic by Shaun Tan, a painted wall mural in the Subiaco Library was inspired by a family event captured in a photograph, taken at

the turn of the century.

Other works that reference climate, the environment and recycling include, The Water Shed by Rodney Glick and Kevin Draper, and The Walk Trail

by Penny Bovell.

2 List adapted from the City of Subiaco Strategic Interpretation Plan 2009


Community Values

The City of Subiaco conducted a community consultation project throughout 2010-2011, entitled Think2030. The aim of the consultation was to determine what the community wanted for the city in the future, and how, by working together, it could be achieved. Information gathered during this process will inform the strategic direction for Subiaco in a Community Plan (currently in development). The following is an overview of the themes and aspirations identified as desirable outcomes for the future:

A sustainable city – the city will continue to be proactive and innovative to ensure a sustainable future;

Transport - integrated networks will allow the community to move around the city with ease. Creating opportunities for public transport, walking and cycling will encourage significant reduction in private car use;

Parking – the implementation of innovative parking solutions and initiatives for convenient and accessible parking in the city, for all residents and visitors, will reduce current pressures;

Planning for more people- effective planning for the future will retain the aspects of Subiaco life valued most and provide appropriate services;

A green and leafy place –the trees and gardens are valued and contribute to environmental and aesthetic values;

Sense of community – a unique village feel contributes to a strong sense of community. It is vibrant, inclusive and diverse with community facilities, events and local markets that allow the community to come together;

Connection to the past – history and heritage and heritage are valued and celebrated, it is an important part of the city’s character, charm and appeal. These elements of our past will be the foundations for our future;

Entertainment and shopping – our diverse entertainment and shopping opportunities enable a vibrant community both day and night and allow local businesses to thrive.


Cultural Interpretation

Interpretation is an interactive process through which heritage values and cultural significance are revealed to the public. Subiaco values its connection to the past. The Strategic Interpretation Plan provides a framework for incidental and provocative understanding. Major themes identified in the city’s Strategic Interpretation Plan define how interpretation is presented, and conveys what is significant about the city. They are as follows:

Aboriginal people occupied the area now known as Subiaco prior to European settlement and continue to have a presence today;

Transportation and transport routes played a critical role in the definition and development of Subiaco;

The location of Subiaco and its relationship to Perth has been an important element in the development of its unique identity;

The built form and urban spaces of the city encapsulate the changing attitudes to, and nature of urban, particularly inner suburban development;

The desire for, and maintenance of, a water ‘frontage’ has been an important ingredient in Subiaco’s political and social identity;

The provision of major medical, educational and sporting facilities for the wider Perth community is a major component of Subiaco urban form and its sense of identity;

Although Subiaco has had a unique identity from the time of its earliest European settlement, that identity, but not its uniqueness, has changed and continues to change over time;

The natural environment, climate and eco systems form the basis of human occupation;

The city is rich in social and cultural activity.


Plan Overview

The Strategic Public Art Master Plan (the Plan) sets out principles, strategies, and immediate, medium and long-term actions to be achieved through collaborative planning and strategic partnerships. It identifies opportunities for public art in future capital works and developments, and includes programs and projects.

Guiding Principles The Policy contains the following guiding principles for strategies discussed in detail in the Plan:

Enhance public enjoyment, engagement and understanding of Subiaco through the

integration of public art;

Infuse qualities of diversity, vibrancy, character, creativity and imagination into the fabric of daily life;

Meet and deliver high quality design and aesthetic standards;

Contribute to the arts and cultural development;

Encourage private and business partnerships in the arts.

Arne Quinze The Sequence 2009, Brussels Belgium Jeppe Hein Modified Social Benches 1-10 2005 Berlin, Germany


Key Priorities

The development and implementation of strategic public art projects.

The development of strategic partnerships.

The management of the city’s collection of public art.

Sonja Vordermaier Streetlamp Forest 2010 Mangfallpark Rosenheim


Key Sites

The Town Planning Scheme No. 4 identifies thirteen precincts within the city’s boundaries as indicated on site map Annexure 1. Planning policies for each of these precincts outline the planning objectives, existing, and the desired future character of each precinct and are available on the city’s website. The placement of public arts throughout the city will consider the objectives of the precinct policies and provide a context and sites for the developer’s percentage contribution.

1. Jolimont Precinct

2. Daglish Precinct

3. North Subiaco

Precinct

4. Town Centre Precinct

5. Hay Street East Precinct

6. Rokeby Road South

Precinct

7. Civic and Cultural Precinct

8. Triangle Precinct

9. West Subiaco Precinct

10. Shenton Park Precinct

11. Queen Elisabeth II

Medical Centre Precinct

12. Hollywood Precinct

13. University Precinct

Aram Barthol Map 2006 – 2009, Berlin, Germany


Key Strategies

1 Create a sense of place with art works in the public realm that enhance engagement with, and understanding of Subiaco.

2 Infuse qualities of diversity, vibrancy, character, creativity and imagination into

the fabric of daily life.

3 Meet and deliver high quality management and collection standards.

4 Contribute to art and cultural development. 5 Encourage public and private sector partnerships in the arts.

Nele Azevedo Melting Men 2009, installation, Berlin Rocket Mattler For Rent 2010 Sydney New South Wales picture Bill Hearn source the Dailey telegraph Mandy Ridley Flow car park screen 2008, Darwin Northern Territory. Produced in association with Urban Art Projects


Strategy 1 Create a sense of place with art works in the public realm that enhance engagement with, and understanding of Subiaco

The Plan encourages the placement of provocative and innovative public arts in conventional and unconventional spaces throughout the city. The role of the artist is to encourage engagement with and understanding of place, to provoke inquiry, discussion and a vehicle for storytelling.

This strategy aims to:

Provide a focus for local pride, history and storytelling, by commissioning artworks that are provocative and interactive; Ensure there are opportunities for Aboriginal artists, and Aboriginal stories and perspectives; Consciously create a place of creativity and innovation.

Actions

1.1 Integrate art into the fabric of the overall design of the built and landscaped urban environment of the city Public art is most effective when it is incorporated, as a design strategy, into the planning of public spaces from the outset. The city in consultation with artists will consider appropriate infrastructure to support permanent, semi permanent, temporary and ephemeral public arts installations in public spaces as integral to its urban and park renewal program. The triennial public art works schedule will identify and prioritise public art opportunities, key areas of activity, and approaches for artist engagement.

1.2 Contribute to the qualities of a walkable city The city maintains a strong focus on the pedestrian experience through its heritage and integrated transport initiatives. This experience will be intensified with art works along walk-bike trails, laneways and footpaths. Interactive visual, aural, performance, and hybrid arts works will enhance a sensory experience of place, and aid storytelling.

1.3 Integrate art into the urban design details Engaging artist’s ideas in the design of street furniture and interpretation markers will create distinction, aid way-finding and connectivity.


Strategy 2 Infuse qualities of diversity, vibrancy, character, creativity and imagination into the fabric of daily life.

The Plan embraces the notion that experiencing the artistic process encourages imagination and creativity.

This strategy aims to:

Animate and enrich public spaces and contribute to urban design;

Create quality public spaces through innovative integration of art;

Establish art and artists as recognised assets of the city;

Increase community understanding and enjoyment of traditional and contemporary arts practice.

Actions 2.1 Extend public art programs across the city’s activities and projects

An integrated planning approach focused on engaging artist’s ideas across the city’s activities ensures that public art outcomes and resources have maximum impact. The community will be engaged at a number of levels by providing opportunities for participation and enjoyment in the creation of art.

2.2 Implement a temporary and ephemeral arts program

Hybrid arts installations throughout the city offer captivating and diverse experiences, and contribute to greater community engagement and sense of belonging.

2.3 Encourage collaboration and interdisciplinary approaches

The growing number of creative industries in the city includes designers, architects, hairdressers, jewellers, fashion outlets and artists. Knowledge of the skills and expertise within the community is important for cross-city development, industry learning, innovation, peer support and developing opportunities for interdisciplinary collaboration and strategic partnerships.


Strategy 3 Meet and deliver high quality management and collection standards

The Plan respects the role of public art expertise (artists, public art coordinators, public art consultants and design professionals) and recognises it is a vital component to a successful public art program. The city’s Public Art Policy and Guidelines set a framework for quality management of the city’s collection and public art projects. It outlines the function of the Public Art Fund and the role of the Public Art Reference Group. The collection program will benefit from multi-faceted works that are provocative, encourage interaction and stimulate curiosity. This strategy aims to

Support the highest standards in contemporary arts practice; Set processes to ensure and evaluate consistent design and aesthetic standards; Demonstrate leadership and adaptive management.

Actions

3.1 Budget for large-scale works over the long term Long term planning and reserve funds will enable the city to support the development and procurement of significant works.

3.2 Maintain a procedure to ensure quality commissioning

The city’s Public Art Policy and Guidelines provides a supportive framework for engaging artists. The Public Art Reference Group is convened to ensure that best practice is considered in program development and artist selection. The city is committed to leading by example when it comes to the quality of the public art program.

3.3 Manage the collection to best practice principles Best practice collection management requires comprehensive registration, ongoing conservation and maintenance of artworks. The Public Art Policy and Guidelines provides a framework for collection management, recording and de-accessioning procedures.


Strategy 4 Contribute to art and cultural development

The Plan encourages opportunities for experimentation that will contribute to cultural development in the city, and lead to unforeseen and exceptional interventions in the public realm. How art is made and how an audience responds to it is important in creating new stories and memories of place. The legacy of these opportunities is expected to lead to outcomes, perhaps greater that the commissioned work itself, in innovation and education.

This strategy will:

Encourage critical review, writing and discourse on traditional and contemporary arts practice;

Ensure public art is seen as a contributor to economic and cultural enterprise;

Establish art and artists as recognised assets of the city;

Encourage innovative developments in public art using media such as light, kinetics, sound and environmentally sustainable energy.

Actions

4.1 Encourage experimentation Public art that encourages hybrid practices that incorporates visual/aural/performance arts and utilises interactive online technologies are vital to engaging new audiences and innovation.

4.2 Provide opportunities for local artists, writers and curators

Local arts practitioners will be involved in projects through either direct commissions or mentored programs. A guest curator program will provide opportunity for writers and artists to organise an exhibition of themed works to a specified space, encourage collaboration, research and critical writing.

4.3 Inform the community about traditional and contemporary public arts practice

A program of workshops, talks, walks and forums, plus an interactive public arts website will provide opportunities for the community to gain an understanding and enjoyment of traditional and contemporary public arts


Strategy 5 Encourage public and private sector partnerships in the arts

The Plan agrees that partnerships and co-operation with individuals, communities, institutions, business, governments and cities enhance the creative capacity and status of the city. Partnership strategies build shared ownership and commitment to public places with a strong sense of identity and character. This Plan seeks to encourage donations, bequests and philanthropy. Funds for multi-year and large-scale projects should be protected in the Public Art Fund and not included in general revenue at the end of each financial year. This strategy will

Develop relationships between industry and government sectors, key cultural and educational institutions, local businesses and community based organisations to further the objectives of the programs.

Actions

5.1 Extend the program across developers’ projects Incentives for the provision of public art away from the development site can provide a greater benefit to the community. The city will support developers to maximise their investment in public art. The appointment of public art expertise and artists at a very early stage of development planning is recommended to deliver better outcomes.

5.2 Build relationships with government agencies and educational institutions Initiate projects to involve students, academics and cultural organisations. 5.3 Develop and maintain community partnerships to strengthen and sustain the public art programs Incentives and projects for local businesses, city partners and community organisations to participate in, support and partner will

strengthen a sense of community and art for the common good.


Implementation Principle Strategy Actions Timing Potential

Supporting Partners

1. Create a sense of place with art works in the public realm that enhances engagement with and understanding Subiaco.

1.1 Integrate art into the fabric of the overall urban design of the city

Contribute to the review of the city’s policies and Town Planning Scheme to incorporate and allow for diverse cultural and public arts activities and mandate for developers contribution to public art.

Consult with artists and work closely with planning and infrastructure in order to identify opportunities for engaging artists ideas in the planning of public spaces.

Provide appropriate infrastructure to support semi-permanent, temporary and ephemeral public arts installations in urban and park renewal projects, (village centres of Hampden Rd, Fairway, Nicholson Rd, Forrest Walk, Subiaco Station, Park Street Walk, city parks).

Immediate - ongoing Medium term Immediate- Medium

Local business, property owners, community, adjoining local government authorities, Perth Transport Authority, Subiaco Redevelopment Authority, State Government.

1.2 Contribute to the qualities of a walkable city

Implement an ongoing program of laneway art installations that integrate innovative technology and aid way-finding and enhance visitor experience.

Engage Nyungar artists in the creation of public art, including works to enhance and build on

the city’s “Walking Subiaco” program.

Develop a semi-permanent public art program that connects car parks, stations and public transport nodes to key city facilities.

Engage artists to contribute to amenities, interpretation and enjoyment of pedestrian and cycle trails including those that pass through the city and across city boundaries, such as The Pilgrim Trail (from Subiaco to New Norcia) and the City to Ocean Greenway.

Immediate Medium to long term Immediate – ongoing Medium to Long term

Pro Subi, local businesses and community, Nyungar community, Berndt Museum of Anthropology. Infrastructure, Perth Transport Authority. Integrated transport Services, Parks, Heritage Services.


Principle Strategy Actions Timing Potential Supporting Partners


1.3 Integrate art into the design details of the city

Engage artists to design and create street furniture, interpretation markers that aid connectivity.

Work with design teams to identify opportunities for public art interventions.

Immediate - long term

Artists, parks, Infrastructure, trail planners, architects and landscape architects.

Mehmet Ali Uysal Cloths Pin 2010 Chaudfontaine Park Belgium



2. Infuse qualities of diversity, vibrancy, character, creativity and imagination into the fabric of daily life.

2.1 Extend the program across the city’s activities and projects

Identify opportunities to engage artists and their ideas in achieving goals of city projects of community engagement, festivals, events, festive decorations, place activation and communications.

Explore the work of children’s book author and illustrator Shaun Tan as inspiration for public art that may include play elements in children’s playgrounds.

Immediate Medium - long term

Infrastructure, Community Development, Parks, Heritage Services

2.2 Implement a semi-permanent, temporary and ephemeral public arts program

Commission ephemeral and temporary works to activate and add texture to community nodes of activity, parks and city festivals.

Provide incentives to encourage collaboration and interdisciplinary approaches.

Implement program for semi permanent ‘Works for Walls’ in car parks and laneways.

Immediate - ongoing Immediate -ongoing Immediate - ongoing

Local community, Key Festival organisers and coordinators. Local artists and creative industries, business community.

2.3 Provide opportunities for community participation in the creation of art

Identify and advocate for public art outcomes in community development workshops and activities.

Develop and maintain a network of communication for artists, makers, designers, musicians, writers and filmmakers in Subiaco.

Immediate - ongoing Ongoing Long term

Community Development Directive, Culture and the Arts portfolio



3 Meet and deliver high quality management and collection standards

3.1 Budget for large-scale works over the long term

Set up and manage a reserve public art fund.

Identify significant projects and develop incentives for contributions to the reserve public art fund.

Immediate - Long term

Corporate Services. Public Art Reference Group.

3.2 Ensure quality outcomes

Engage public art expertise to evaluate and review strategies and plans via Public Art Reference Group.

Ongoing as required

Public Art Reference Group.

3.3 Manage the collection to best practice principles

Maintain a registry of public art in the city.

Develop a communication plan for the public art collection and program.

Prepare an annual maintenance schedule and conservation guidelines.

Strategically target publications, seminars and conferences with information about the city’s public art program.

Ongoing Long term Immediate Ongoing Medium

Heritage Services, Asset Management. Communications Infrastructure services and public art specialists. Communications


Principle Strategy Action Timing Potential Supporting Partners

4. Contribute to arts and cultural development

4.1 Encourage Experimentation

Develop and implement support mechanisms for artist initiated activities.

Medium - Long term

Community Development, universities and tertiary institutions, festival and event organisers.

4.2 Provide opportunities for local artists, writers and curators

Develop and implement opportunities for guest curators in public art programs.

Include local artists and expertise in temporary and ephemeral works programs and Public Art Reference Group activities.

Medium term University of Western Australia, Curtin University, Central Institute of Technology; Artsource, festival and event providers.

4.3 Encourage collaboration and interdisciplinary approaches

Create a creative industries network registry.

Facilitate and support network opportunities.

Collaborate with local, state and federal visiting artist programs and festivals.

Immediate Medium - Long term Mediate- Long term

Local businesses, artists, Local creative industries. Australian Business and Arts Foundation. Perth International Arts Festival, Awesome International Children’s Festival, Artrage.


Principle Strategy Action Timing Potential Supporting Partners

5. Encourage public and private, partnerships in the arts

5.1 Extend the program across developers projects

Develop web based public art advocacy material for developers.

Mandate a percent for art scheme for developers in the Town Planning Scheme.

Mandate that developers engage a public art coordinator to project manage their public art projects.

Develop incentives for developers to contribute to the city’s public art fund as alternative to

developer managed public art.

Immediate Medium Medium Immediate - Long term

Communications, developers. Development Services Development Services Public Art Reference Group, Urban Design Institute of Australia.

5.2 Develop relationships with government agencies and education institutions

Develop public art projects in consultation with Perth Transport Authority and Subiaco Redevelopment Authority (SRA).

Develop public art projects that engage schools and tertiary institutions.

Develop public art projects that engage with local hospitals and stage government agencies.

Immediate -ongoing Immediate -ongoing Medium

Perth Transport Authority, SRA. University of Western Australia, local primary and high schools. Government health agencies.

5.3 Develop community partnerships to strengthen and sustain public art programs

Initiate programs that engage local businesses, schools and community organisations.

Promote and encourage community initiated projects.

Promote and celebrate community engagement.

Immediate -ongoing Immediate - ongoing

Community groups, schools, local rotary clubs. Communications


Resources To deliver a successful public art program, with quality artworks that contribute to the creation of attractive places with a sense of identity and community ownership, the city makes an annual budget allocation to the Public Art Fund. Under the Public Art Policy, 0.75% of the City of Subiaco rates, and 1% of scheduled construction costs of refurbished public buildings and landscaping over $1million, are placed in the Public Art Fund for the provision of public art as prescribed in this Plan. To support the effective delivery of the Plan, the city employs a public art coordinator whose responsibilities include:

The delivery and co-ordination of the Strategic Public Art Master Plan programs and projects;

Provide informed public art advice on public art projects and procurement processes;

The development of strategic partnerships;

Quality collection management;

Facilitation of the Public Art Reference Group. Private developers of commercial and mixed-use developments are expected to provide public art, or contribute to the city’s Public Art Fund at a rate outlined in the table below. This method of calculation for the public art contribution is based upon the existing categories within the city’s development approval fee schedule.

Value of construction Value of public art contribution

$1,000,001 > $1.5 million

$10,000

$1,500,001 > $2 million

$15,000

$2,000,001 > $2,499,999

$20,000

$2.5 million plus One percent of total construction costs

Greater than $15 million

Contribution cap negotiated (no less than $250,000)

NewCommissions

Reserve

AnnualMaintenance

Artist initiatedprojects

Public Art Fund Annual Allocation Developers Contribution to Public Art


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Annexure 2 Triennial Schedule of Works

Principle Strategy

Actions

Project Complete Potential Supporting Partners


1.1 Integrate art into the fabric of the overall urban design of the city

Contribute to a review of the city’s policies and Town Planning Scheme to incorporate and allow for diverse cultural and public arts activities and mandate for developers contribution to public art.

Consult with artists and work closely with planning and infrastructure in order identify opportunities for engaging artists ideas across the whole of the city. Provide appropriate infrastructure to support semi-permanent, temporary and ephemeral public arts installations in key nodes of activity.

2013 2012 2012

Local business, property owners. Artists and Development Services, Parks, Infrastructure Services.

1.2 Contribute to the qualities of a walk-able city

Implement an ongoing program of laneway art installations lane 177 and Forrest Walk. Engage in planning for Nyungar walk and plan to Nyungar artists involvement. Develop a semi-permanent public arts program that connects car parks, stations and public transport nodes to key city facilities.

Investigate opportunities for artists to contribute to amenities, interpretation signage for The Pilgrim Trail (from Subiaco to New Norcia) and the City to Ocean Greenway.

2012 2014 2014 2013

Business owners, tenants, Pro Subi. Heritage Services, elders, Nyungar community. Stakeholders, Development Services, Parks, Stakeholders

1.3 Integrate art into the design details of the city

Engage artists to design and create street furniture, interpretation markers that aid connectivity at Forrest Walk, Dom Sierra Park, car park upgrades and resurfacing.

2013 Parks, and local community


Principle Strategy

Actions Project Complete Potential Supporting Partners

2. Infuse qualities of diversity, vibrancy, character, creativity and imagination into the fabric of daily life.

2.1 Extend the program

across the city’s activities and projects

Engage artists and their ideas in achieving goals of city projects of festive decorations identify site for, and implement projection art project.

2012

City Directorates, local artists, youth

2.2 Implement a semi-

permanent, temporary and ephemeral public arts program

Commission ephemeral and temporary work/s to activate and add texture to community nodes of activity, (Subiaco Station, Forest Walk, Parks Place near post office). Implement program for semi permanent “Works for Walls” in Hay Street Underpass, at Arq Design’s wall, Western Power Assets, Subiaco Church wall, and facing into car parks and laneways, Daglish Station Underpass.

2012 2011

Library and Heritage Services City Directorates Local Businesses, Western Power, Perth Transport Authority

2.3 Provide

opportunities for community participation and engagement in the creation of art

Implement Street Art workshops and activities in festival development program.

2012 2012

Community groups, schools, street artists Community Development,


Principle Strategy Actions Project Complete Potential Supporting

Partners

3. Meet and deliver high quality management and collection standards.

3.1 Budget for

large-scale works over the long term

Set up a reserve public art fund.

Identify a significant project and develop incentives for contributions to the reserve public art fund.

2011 2012

Finance Public Art Reference Group

3.2 Ensure

quality outcomes Engage public art expertise to evaluate and review strategies and plans via the Public Art Reference Group.

Biannual

Community and industry experts.

3.3 Manage

the collection to best practice principles

Engage appropriate expertise to implement annual maintenance and conservation schedule (see annual schedule). Align inventory of public art with the city’s asset registry and heritage catalogue. Engage a professional photographer to document existing public art in the city.

Develop a communication plan for the public art collection and program. Identify and target an arts publication with information about the city’s public art program.

2011 ongoing 2011 2011 2013

Infrastructure Services Local Photographers, High School media students. Communications. Communications


Principle Strategy Action Project Complete Potential Supporting Partners

4. Contribute to arts and cultural development

4.1 Encourage

Experimentation

Research support mechanisms for artist initiated activities.

2013

University of Western Australia, Artsource, Festival providers.

4.2 Provide

opportunities for local artists, writers and curators

Create a registry of local artisans and creative industries. Include local artists in works for walls program and Public Art Reference Group activities.

2011 ongoing 2012

Community Development Culture and the Arts portfolio. Local artists, Artsource.

4.3 Encourage

collaboration and interdisciplinary approaches

Research and initiate network opportunities for Subiaco artisans. Research and establish communications with key local, state and federal festival coordinators.

2011 2012 2012

Local Businesses and community groups Library and Heritage, Community Development Perth International Arts Festival, Awesome, International Children’s Festival, Artrage.


Principle Strategy

Action Project Complete Potential Supporting Partners

5. Encourage public and private, partnerships in the arts

5.1 Extend the program

across developers projects

Develop web based public art advocacy material for developers. Mandate a percent for art scheme for developers in the Town Planning Scheme.

Mandate that developers engage a public art consultant to project manage their public art projects. Develop incentives for developers to contribute to the city’s public art fund as alternative to developer managed public art.

2012 2014 2014 2013

Developers, planners, Communications, IT Development Services. Development Services Developers and Public Art Reference Group.

5.2 Develop relationships

with government agencies and education institutions

Document public art commissioned by SRA and developers as outlined in the city’s Public Art Policy and Guidelines. Research the feasibility and implement a public art project that engages tertiary students.

2012 2013

Subiaco Redevelopment Authority, IT University of Western Australia, Curtin University, Central Institute of Technology; Festival and event providers.

5.3 Develop community

partnerships to strengthen and sustain the public art programs

Engage a local Primary School on public art project. Celebrate tenant and owners contribution to works for walls projects with a series of postcards. Work with a community group to develop project for wall facing Rowland St car park.

2012 2013 2011

Local Primary School High schools media departments. Community Group

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