Agenda of Community, Culture and Events Committee Meeting

Item No. 6.1

Agenda (Open Portion)

Community, Culture and Events Committee Meeting

Page 7

7/12/2016

REPORT TITLE: City of Hobart Art Prize Review Update

REPORT PROVIDED BY: Manager Community and Cultural Programs

Director Community Development

1. Report Purpose and Community Benefit

1.1. This report provides an update to the Council on the status of the City of Hobart Art Prize (CHAP) review undertaken by Richard Brecknock of Brecknock Consulting in terms of the community consultation process and the necessity to have extended this process.

1.2. This report also outlines the forward booking requirements of the Tasmanian Museum and Art Gallery (TMAG) and its impact if the Council resolved to stage a CHAP exhibition in 2017.

1.3. Given these understandable programming considerations, TMAG requires a final booking confirmation by the end of December 2016 to secure currently available gallery spaces in September, October or November 2017.

1.4. Feedback from the visual arts sector as part of the review, is that the TMAG, given its status as a lead State cultural institution, is fundamental to the presentation of the CHAP in its current form.

1.5. Accordingly, this report provides two options for consideration in respect to a 2017 CHAP exhibition, taking into account that the review is yet to be completed and that further consideration is required to develop recommendations that fully capture feedback from the community.

2. Report Summary

2.1. The consultation phase of the review undertaken over the last two months has resulted in a very significant amount of debate, including a great diversity of responses from across the cultural sector, and very strong responses from some members of the visual arts, craft and design sector.

2.2. This response prompted an extension of the community consultation process to include further in-depth discussions, and the opportunity for organisations and individuals to provide written submissions to be considered as part of the review.

2.3. There are clearly very diverse and complex opinions about the future of the Art Prize, and given this, careful consideration of the community consultation results is required before firm recommendations can be made about options for the CHAP’s future beyond 2017.

2.4. It is noted that a specific alternative, possibly biennial model has been put forward by members of the visual arts sector, and in particular the National Association for the Visual Arts (NAVA) that is worthy of further consideration and discussion.

2.4.1. Several detailed submissions have also been received from the visual art and cultural sector with alternative viewpoints.

2.5. This collectively has required the planned presentation by Richard Brecknock of his findings in the form of a discussion paper to an Aldermanic Workshop to be pushed back to February 2017.

2.6. Given the need to confirm the use of TMAG venues in 2017 by the end of December, the Council needs to give consideration now as to its intent or not, to stage a CHAP in its current form at TMAG in 2017.

2.7. Feedback from the visual arts sector as part of the review is that TMAG, given its status as a lead State cultural institution, is fundamental to the presentation of the CHAP in its current form.

2.8. Taking these issues into account, it is felt that there are two options for consideration in respect to the 2017 CHAP, as follows:

2.8.1. Hold the 2017 CHAP at TMAG in September/October 2017. Here it is noted that the TMAG advised in August 2016, prior to the review, that while it typically plans the public program two years ahead, it could hold space that can either accommodate an eight week show in Argyle Gallery Space 4 (150m²) between Friday, 1 September 2017 and Sunday, 29 October 2017 or alternatively a short, high impact show of one week only in the Argyle Gallery spaces used last year (Galleries 1, 2 and 3 - 435m² total) in early November 2017.

2.8.1.1. It is considered that the eight week exhibition would be the only option, as a one week show is not considered to be a viable option for the level of investment required to stage the exhibition. It is however, noted that the eight week exhibition would need to be greatly reduced in size, as the Argyle Gallery Space 4 is only available which is only approximately one third of the size of the previous CHAP exhibition. This would mean that only one third of the number of art works that have been exhibited in previous shows could be included.

2.8.2. Or, secondly, to suspend CHAP for 2017 in order to concentrate on addressing the development of the options for an alternative model to be staged in 2018.

2.8.2.1. It is further noted that TMAG has advised that it considers that if a biennial model is adopted following the review there is a strong case for CHAP not to be staged in 2017, and that this time and resource be used to further develop an exciting new model for 2018 (perhaps to be held earlier in 2018).

2.8.2.2. TMAG also advised that an exhibition in April 2018 would be well placed in the educational calendar in that it would coincide with term two when there is a stronger uptake for educational programs occurring at TMAG from schools. TMAG has a good track record of building engagement with art through its Access Art program, and a new model which included an educational component, could potentially value add to the CHAP exhibition. This would also have positive implications in terms of increased visitor numbers and promotional opportunities.

3. Recommendation

That:

1. The Council note that the current City of Hobart Art Prize review has been extended to ensure that all community and cultural sector views captured to date are taken fully into consideration, with a discussion paper detailing the findings of the review to be presented to an Aldermanic Workshop in February 2017.

2. Two options be considered in respect to the 2017 City of Hobart Art Prize as follows:

(i) The 2017 City of Hobart Art Prize be staged in the Tasmanian Museum and Art Gallery for an eight week show in Argyle Gallery Space 4 (150m²) between Friday, 1 September 2017 and Sunday, 29 October 2017, noting that the exhibition will be of greatly reduced size than previous shows.

(ii) The City of Hobart Art Prize not be staged in its current format in 2017, and that instead the Council focus on the development of an alternative model that has been informed by the review and consultation exercise, to be delivered in early 2018.

4. Background

4.1. At its meeting held on 21 March 2016 the Council resolved in part the following:

“That: 1. The City of Hobart Art Prize not be staged in 2016 due to the unavailability of the Tasmanian Museum and Art Gallery;

2. The Council endorse a review of the City of Hobart Art Prize including detailed research and community engagement to determine potential new models for the Art; and

3. The review be undertaken in early 2016 with a report back to the Council in mid 2016.”

4.2. The Council further resolved at its 26 April 2016 meeting, that the City hold a Town Hall 150 Anniversary Design Award in the place of the CHAP in 2016 which will open at the Plimsoll Gallery on 9 December.

4.3. The current format of the CHAP is as follows:

4.3.1. Traditionally open to two mediums per year free of curatorial theme, offering two acquisitive City of Hobart Art Prizes, and a People’s Choice Award.

4.3.2. In 2015, the Art Prize had a prize pool of $31,000 (two prizes of $15,000 and one prize of $1,000).

4.3.3. In 2015, there were 260 entries submitted for the categories of Ceramics and Drawing, with a $40 entry fee.

4.4. The objective of the CHAP review is to review the model for the City of Hobart Art Prize in alignment with the Creative Hobart Strategy.

4.5. The four key objectives of the CHAP review as outlined in the Expression of Interest document for the external consultant were to:

· Define the most effective model for the Council to support the local cultural sector through the provision of a prize or alternative program;

· Identify the opportunities for key strategic partnerships between the Council and key cultural sector providers and producers, the community, local governments, the State Government and the private sector;

· Maximise the potential of the Council’s human and other resources (including venues and grants) to achieve the best possible arts and cultural development outcomes for Hobart; and

· Support the implementation of, and best alignment with, existing Council strategies, including: the Creative Hobart Strategy, Capital City Strategic Plan 2015 - 2025, Public Art Strategy, and the Social Inclusion Strategy.

4.6. The consultant was also required to critique and review the City of Hobart’s current art prize, specifically evaluating its continuing suitability, relevance and responsiveness to identified sector and community needs.

4.7. An Expression of Interest for a consultant was advertised nationally, with cultural strategist Richard Brecknock being engaged to conduct the review.

4.8. Phase one of the consultancy was project initiation and research conducted by Richard Brecknock in conjunction with Council officers. This phase included:

· Consultation with Council officers;

· Quantitative data research;

· Desk based research;

· Preparation of an analytical framework;

· Design of a survey tool; and

· Draft of a discussion paper.

4.9. Phase two of the review was consultation and analysis which involved a three stage community consultation process. This included:

4.9.1. Three Cultural Sector Industry Leaders roundtable sessions which were held over two days on 14 and 15 September 2016. These meetings were hosted by the consultant.

4.9.1.1. Participants in the roundtable sessions included leaders from: The University of Tasmania, Design Tasmania, Ten Days, Blue Cow, MONA, Kickstart Arts, Contemporary Art Tasmania, Contemporary Music Services Tasmania, Invisible Practice, Tasmanian Writers Centre, Constance ARI, Tasmanian Theatre Company, Arts Tasmania, Second Echo, Festival of Voices, Terrapin and Tas Performs.

4.9.2. In addition to the Industry leader meetings, separate meetings were held with the Director, Tasmanian Museum and Art Gallery and members of senior staff.

4.9.3. A detailed on-line survey about the CHAP and its future potential.

4.9.3.1. This was designed by the consultant and addressed questions around public visibility, public satisfaction and effectiveness in relation to the Creative Hobart Cultural Strategy.

4.9.3.2. The survey was published via SurveyMonkey and advertised on Your Say on the City of Hobart webpage. Participants were invited through our mailing lists and also distributed by industry leaders who attended the roundtable sessions.

4.9.3.3. A total of 311 persons responded to the survey with the results then being discussed at the public forums.

4.9.4. Two Creative Hobart Public Forums held on Friday, 14 October 2016 and Tuesday, 18 October 2016.

4.9.4.1. The first public forum was held on Friday, 14 October 2016 in the Town Hall Ballroom. Approximately 25 members of the arts and cultural sector attended, as well as members from the general public.

4.9.4.2. The second public forum was held on Tuesday, 18 October 2016 in the Elizabeth Street Conference Room and had approximately 45 members of the arts and cultural sector attended, as well as members from the general public.

4.10. The public forums encountered a level of response from some members of the visual arts community that was higher than anticipated. The response from this sector was very strong and followed by letters of concern from NAVA as well as individual Tasmanian artists. The primary concerns expressed were that:

· The review process was too rushed meaning that visual artists hadn’t been given sufficient time to respond; and

· Local visual artists were not consulted sufficiently about the Art Prize’s future.

4.11. Officers responded to this concern by reopening the CHAP Survey for a further two weeks and extending an invitation to the broader visual arts community to attend a targeted workshop facilitated by Council officers.

4.11.1. Subsequently, a third public meeting was held on Tuesday, 8 November 2016 in the Elizabeth Street Conference Room which was open to members of the visual arts sector specifically. Representatives from NAVA were in attendance, alongside individual visual artists.

4.12. It is noted that a specific alternative model has been put forward by the visual arts sector, and in particular NAVA, that is worthy of further consideration and discussion.

4.12.1. There have also been several detailed submissions received from the visual art and cultural sector with alternative viewpoints.

4.13. While the initial community consultation phase of the CHAP review is now complete, there needs to be considerable time applied in consolidating the feedback to determine potential recommendations. The consultant, Richard Brecknock, will present his findings in a discussion paper to be delivered at an Aldermanic Workshop proposed for February 2017.

4.14. Given the incomplete status of the current review, and the need to confirm the use or not of TMAG venues in 2017 by the end of December, the Council now needs to consider how it wishes to proceed in relation to the CHAP in 2017.

4.15. Feedback from the visual arts sector as part of the review is that TMAG, given its status as a lead State cultural institution, is fundamental to the presentation of the CHAP in its current form.

4.16. Taking the above issues into consideration it is felt that there are two options in this regard:

4.16.1. Option one is that the 2017 CHAP be staged in the Tasmanian Museum and Art Gallery for an eight week show in Argyle Gallery Space 4 (150m²) between Friday, 1 September 2017 and Sunday, 29 October 2017, noting that the exhibition will be of a greatly reduced size than previous shows.

4.16.2. Option two is that the CHAP not be staged in its current format in 2017, and that instead the Council focus on the development of an alternative model informed by the review and consultation exercise, to be delivered in early 2018.

4.16.2.1. The redevelopment of any new model will take time and resources to accomplish, and would best be done on completion of the review throughout 2017.

4.16.2.2. Feedback received as part of the consultation process, including a potential biennial model proposed by NAVA, suggests there are a range of options to be considered, and TMAG has expressed its support for exploring these options.

4.16.2.3. TMAG has indicated that it would seem to them that if a biennial model was adopted there would be a strong case to ‘skip’ a CHAP exhibition in October 2017, and instead perhaps establish a broad working group to develop a new project model, with a possible staging date only six months later in April 2018.

5. Proposal and Implementation

5.1. The current CHAP review will by necessity need to continue into early 2017, with a discussion paper to be presented to an Aldermanic Workshop in February 2017.

5.2. Given this, it is recommended that the Council either support:

· The 2017 City of Hobart Art Prize being staged in the Tasmanian Museum and Art Gallery for an eight week show in Argyle Gallery Space 4 (150m²) between Friday, 1 September 2017 and Sunday, 29 October 2017, noting that the exhibition will be of greatly reduced size than previous shows; or

· The City of Hobart Art Prize not being staged in its current format in 2017, and that instead the Council focus on the development of an alternative model informed by the review and consultation exercise, to be delivered in early 2018.

6. Strategic Planning and Policy Considerations

6.1. This review addresses Strategic Objective 1.5 of the Capital City Strategic Plan 2015 - 2025 by ensuring that the recommended Art Prize model options outlined aligns with the objectives of the Council’s Creative Hobart Strategy.

6.2. The City’s Creative Hobart Strategy was created in 2012 and officers are continuing to strive to fulfil its objectives. The three core strategic objectives are that Hobart City will be:

“A platform for cultural expression and creative participation;

An incubator for creativity, innovation, excellence and diversity; and

As a connector of people knowledge and information”.

7. Financial Implications

7.1. Funding Source and Impact on Current Year Operating Result

7.1.1. The total program budget, including prize money is $109,000, which is fully allocated in the 2016/2017 Annual Plan.

7.2. Impact on Future Years’ Financial Result

7.2.1. The current program budget allocation would be required to be allocated to the 2017/2018 Annual Plan should the Council decide to host the CHAP at the TMAG in September/October 2017.

7.2.2. It the Council decided to not hold a CHAP in 2017, an allocation would still be required if an alternative model included a prize in early 2018. The details of the funding required would be the subject of a further report to the Council.

7.3. Asset Related Implications

7.3.1. If the 2017 CHAP exhibition was to proceed in 2017, the Prize would follow the acquisitive model. There would be an associated impact on the ongoing management of the acquired art works.

8. Legal, Risk and Legislative Considerations

8.1. The public engagement phase of the review was much more complex and contested encountering a much stronger response from members of the visual arts sector than was first anticipated.

8.2. As the outcome of the review will have the greatest impact on the visual arts sector, there may be reputational risk associated with any changes to the existing model, or moving too far away from a project model that directly engages with the visual, craft and design sectors.

8.3. There could be reputational risk involved in accepting the booking in 2017 and exhibiting in such a reduced gallery size, as it could be perceived that the Council has not listened to the feedback of the community through the consultation process and seen to be phasing out the exhibition.

9. Marketing and Media

9.1. A comprehensive communication and marketing plan would be developed at the appropriate time.

10. Community and Stakeholder Engagement

10.1. Extensive community consultation has been undertaken and will continue until the review has been completed and an ongoing model determined.

10.1.1. There has been extensive consultation with the Tasmanian Museum and Art Gallery.

11. Delegation

11.1. This matter is delegated to the Council for consideration.

As signatory to this report, I certify that, pursuant to Section 55(1) of the Local Government Act 1993, I hold no interest, as referred to in Section 49 of the Local Government Act 1993, in matters contained in this report.

Kimbra Parker

Manager Community and Cultural Programs

Philip Holliday

Director Community Development

Date: 1 December 2016

File Reference: F16/127345; 16/210

Item No. 6.2

Agenda (Open Portion)

Community, Culture and Events Committee Meeting

Page 18

7/12/2016

REPORT TITLE: Urban Art Walls: Iteration 3

REPORT PROVIDED BY: Manager Community and Cultural Programs

Director Community Development

1. Report Purpose and Community Benefit

1.1. The purpose of this report is to update the Council on the successful completion of the second iteration of the Urban Art Walls program with a recommendation that a third iteration be approved for implementation in March 2017.

1.2. The Urban Art Walls program enlivens the city with high quality art installation with this third iteration also providing developmental opportunities for several young emerging local artists as part of a new festival.

2. Report Summary

2.1. The first and second iterations of the Urban Art Walls projects have now been successfully completed with several high quality art installations visible throughout the City. Images of the completed walls are shown at Attachment A to this report.

2.2. It is proposed that a third iteration of the project be undertaken as part of the inaugural Vibrance Festival with a particular focus on providing opportunities for local emerging artists. Details of the Vibrance Festival are shown at Attachment B to this report.

2.3. It is noted that the Council’s support for this event is for the urban art wall component of the festival.

3. Recommendation

That the Council approve the implementation of a third iteration of the Urban Art Walls project to be located within the inner city area of Hobart, as part of the Vibrance Festival in March 2017, at an estimated cost of $20,000 to be funded from the existing allocation for Public Art in the 2016/2017 Annual Plan.

4. Background

4.1. At its meeting held on 23June 2014, the Council approved the first iteration of the City’s Urban Art Walls project, commissioning artists to create three new urban artworks at key locations in the City to counter the risk of the sites being tagged with illegal graffiti.

4.1.1. Art works were created in Criterion Street, Victoria Street and Collins Court (an extension of the Criterion Street work).

4.2. At its meeting held on 2 February 2016, the Council approved the extension of the City’s Urban Art Walls project, for the commissioning of four new walls.

4.2.1. This second iteration was recently completed within the City, with four new walls painted by selected artists in Lynton Avenue, Purdy’s Mart (two walls) and Collins Court.

4.2.2. In this second iteration a new component was added to the artist scope, whereby commissioned artists acted as a mentor for a local, young, emerging artist found via a selection process run by the Youth Arts and Recreation Centre. This process offered skill sharing, practical painting experience and development opportunities for the emerging artists and was overwhelmingly successful.

4.3. The total budget for the first and second iterations of the project was $44,000 for six walls, with State Growth contributing $6,000 of this total for the painting for Lynton Avenue (iteration 2).

4.4. As a result of the success of past iterations of the Urban Art Walls project, an opportunity for a third iteration has arisen to be undertaken in early 2017.

4.4.1. It is proposed that this iteration would focus solely on Tasmanian emerging artists and would be completed during the inaugural Vibrance Festival in March 2017. Details of the Vibrance Festival are shown at Attachment B to this report.

4.4.2. It is noted that the Council’s support for the festival is for the urban art wall component.

4.4.3. One large wall of the carpark situated at 82-84 Bathurst Street would be painted by five artists working side by side over two days, with a further three small walls being completed in the lead up to the festival. The location of the proposed artworks is shown at Attachment C to this report.

4.4.4. Sultan Holdings, owners of the site on Bathurst Street, has approved the full scope of the festival, including the painting of one of the walls.

4.4.5. Following feedback from the local street art community, the artists for these new walls would be selected through a criteria-based assessment run by Vibrance Festival in collaboration with staff from the Council’s Public Art Program.

4.4.6. Working with Vibrance to select the artists offers a way to connect directly with the local street art community and encourage more local artists to apply.

4.4.7. Existing project mentees from iteration two of the program will be among those invited to submit an Expression of Interest (EOI) for these new walls, and the festival organisers have a number of experienced street artists happy to assist and mentor throughout the festival.

4.4.8. The City of Hobart would be recognised as the major partner for the festival and acknowledged accordingly on any marketing material.

4.4.9. The new walls would remain after the festival as part of the City’s public art collection.

4.4.10. The City’s Cleansing team is supportive of this proposed Urban Art Walls project and would be involved in preparation and maintenance of the walls.

5. Proposal and Implementation

5.1. It is proposed that the Council approve the implementation of a third iteration of the Urban Art Walls project, as part of the Vibrance Festival in March 2017, including the walls within the inner city area of Hobart.

6. Strategic Planning and Policy Considerations

6.1. This third iteration of the project addresses Strategic Objectives 1.3, 1.4, 1.5, 4.1 and 4.3 from the Capital City Strategic Plan 2015 - 2025, addressing Economic Development, Vibrancy and Culture; and Strong Safe and Healthy Communities.

6.2. Correspondingly, the project addresses Outcome Area 1.1 and 1.2 of the Creative Hobart Strategy, namely:

· Enhancing sense of place (1.1); and

· Activating Public Spaces (1.2).

7. Financial Implications

7.1. Funding Source and Impact on Current Year Operating Result

7.1.1. This iteration of Urban Art Walls would cost an estimated $20,000, and would be fully funded from the existing allocation for Public Art in the 2016/2017 Annual Plan.

7.2. Impact on Future Years’ Financial Result

7.2.1. There would be no impact on the 2017/2018 financial year.

7.3. Asset Related Implications

7.3.1. Each of the walls would remain as part of the City’s public art collection and maintained accordingly.

8. Legal, Risk and Legislative Considerations

8.1. Council officers would work with the Vibrance Festival organisers to ensure that each of the walls is completed with appropriate safety equipment, training and insurances.

8.2. The Council’s Public Art Coordinator has consulted with officers within the City Planning Division regarding the wall selected within the Bathurst Street Carpark and the following has been confirmed:

8.2.1. The wall is exempt from the requirement for a planning permit under Clause 5.5 of the Hobart Interim Planning Scheme 2015, which provides a general exemption for the repainting of a building. A wall mural seeking to address a graffiti problem is taken to be repainting.

8.2.2. The wall is not heritage listed nor is it in a heritage precinct.

9. Environmental Considerations

9.1. Staff would work with festival organisers to minimise issues in relation to the completion of this iteration of the Urban Art Walls, particularly in relation to waste management.

9.1.1. The City’s Cleansing team would set up a recycling station at the event for paint cans or tins.

10. Social and Customer Considerations

10.1. This iteration of Urban Art Walls offers the opportunity to work directly with the local street art community, via the Vibrance Festival.

10.2. The project would provide a legal opportunity for emerging artists to work on a public art project.

10.2.1. This is a group of people (generally young people) who have the tendency to be marginalised within the community.

10.3. Urban Art Walls, iteration three, would specifically target emerging Tasmanian artists.

10.3.1. This would build local input into the Urban Art Walls program, which has previously suffered from low rates of application from local artists.

11. Marketing and Media

11.1. This iteration of Urban Art Walls would be advertised through the media generated by the Vibrance Festival, recognising the City of Hobart as the major partner in the creation of this new public art work.

11.2. An Urban Art Walls map is planned to be created, documenting each of the three stages of the project, to be available for tourists visiting the City.

12. Community and Stakeholder Engagement

12.1. These walls would be completed as part of a free event.

12.2. More experienced artists would be available in the lead up to and throughout the event to mentor the selected young artists.

12.3. The general public would have the opportunity to watch the artists as they complete the walls throughout the two day festival.

13. Delegation

13.1. This matter is delegated to the Council for consideration.

Kimbra Parker

Manager Community and Cultural Programs

Philip Holliday

Director Community Development

Date: 1 December 2016

File Reference: F16/131786

Attachment a: Urban Art Walls - Iteration 1 and 2 ⇩

Attachment b: Vibrance Festival summary ⇩

Attachment c: Urban Art Walls - Proposed Iteration 3 ⇩

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