KENTISH COMMUNITY PUBLIC ARTS POLICY

Adopted by Council 18 October 2011 Minute Number 11.5.3 Reviewed by Council 16 June 2015 Minute Number 11.2.1

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DEFINITIONS OF TERMS USED IN THIS POLICY

Advertising Any form of publicity or advertising which is visible from any road or public way, directing attention to an individual, business, commodity, service, activity, or product by means of words, lettering, parts of letters, figures, numerals, phrases, sentences, emblems, devices, trade names or trademarks, or other pictorial information designed to convey such information. Public Art Public Art, for the purpose of this policy consists of any permanent or temporary art object, installation or activity in the public realm, excluding galleries, museums and public collecting institutions. In general, public art is sited on public land and has been purchased or is owned by a public authority and excludes advertising. However, any work located on a private building or land that can reasonably be considered to be in the public arena due to its prominence, relationship to its surroundings or dominance in the community will, for the purposes of this policy, be considered public art. Public Art can include a wide range of art forms including:

Permanent 2D or 3D visual art, craft or design elements

New media works including projection, aural and digital artworks

Temporary installations

Ephemeral artworks such as environmental artworks Commissioning A formal request to a specific Artist or group of artists to create a specific art work, generally involving a financial transaction Contemporary Art Any artwork created today which is innovative for its time, comments on or otherwise engages with issues relevant to its time or uses materials and processes that are at the forefront of arts practice within their particular field at the time, can be classed as contemporary art Custodian An organisation or person responsible for holding, protecting or looking after valuable property Design Advisors A group of practitioners working collaboratively, often including artists, architects, landscape, industrial and/or other designers Events Includes one-of or scheduled events in parks or other public spaces such as outdoor exhibitions. The events may be part of a festival or an artist residency program. Integrated Art

Integrated Artwork can be defined as artwork that has been conceived for a specific site or building, and forms part of the built environment. Integrated Artworks can be commissioned as part of Council’s capital works programs such as streetscapes, parks or building projects. Integrated Artwork is most likely permanent and non-transferable and may include functional streetscape or park elements. The artist usually develops integrated artwork concepts in collaboration with the project architect, landscape architect or urban designer. In Situ In art, in situ refers to a work of art made specifically for a host site, or that a work of art takes into account the site in which it is installed or exhibited.

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Maquettes A maquette is a small-scale model or rough draft of a proposed architectural work or a sculpture. Mural A mural means a graphical or pictorial design painted or affixed directly onto a building or structure. Permanent Public Artworks Artwork, in this category, includes signature works, landmarks or art in public places. Generally, such works tend to be commissioned as set pieces of art in their own right. These artworks are often major commissions with significant budgets and therefore require a transparent and accountable commissioning process to ensure the best artists are considered and that due process occurs. Photomontage A composite picture made up of many photographs or parts of photographs. Public Realm The public realm includes, but is not limited to, streets, squares, parks and spaces that are within buildings that are accessible to the general public and in the ownership of, or under the control of, public authorities. Temporary/Ephemeral Temporary artworks are specifically designed to last for days, weeks or months. The term ephemeral artwork might be used to describe projects such as projection or lighting works where there is no physical object created. It might also be applied to physical works in non-permanent materials.

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Section 1 - Introduction

1.1 BACKGROUND Over some years, public art in Kentish has gradually evolved to include two and three dimensional works and living art works. In response to Community interest, a Public Arts Policy has been developed to further enhance, manage and facilitate public art in the municipality. Areas considered in its formulation and establishment include:

The development of a vision for public art to enhance the natural and built environment of the Kentish

Municipality, in particular the central business areas and other areas that reflect the unique character

of the community;

Themes reflecting each community’s unique character;

Addressing short, medium and long term implementation that allows for the community to respond to

opportunities as they arise;

Public art opportunities in other areas of the municipality such as gateways, reserves and sanctuaries;

Encouraging temporary decorations and ephemeral art;

A vision for the further development of public art and murals in the central business areas of Sheffield, Railton and Wilmot;

Identification of potential site-specific installation opportunities;

Integration of public art into the current urban landscape;

Management of the Kentish Public Art Collection;

Approval processes for new works;

Risk Assessment;

A maintenance policy for public art installations;

The role and nature of the Sheffield Murals and the Kentish identity as Tasmania’s Outdoor Art Gallery; and

Funding issues. The Policy has been developed by the Community Steering Committee which worked in consultation with:

Tasmanian Regional Arts;

Representatives of local businesses;

The Arts community;

Councillors;

Council staff; and

Members of the community.

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1.2 POLICY PURPOSE

To provide the Kentish Community with underpinning principles for a rigorous, effective and sustainable public art implementation structure that facilitates the planning, commissioning and maintenance of public arts activities in the Kentish Municipality via transparent and accountable mechanisms.

1.3 AIMS OF THE POLICY The aims of the Kentish Community Public Art Policy are to:

Integrate public art into the planning and design of the Sheffield public precinct and other locations

throughout the Municipality;

Create high quality public spaces through the integration of public art, urban and landscape design;

Support the development of innovative and quality contemporary public art for the Kentish Municipality;

Increase the understanding and enjoyment of contemporary art by the community; and

Develop a sense of identity and pride that extends throughout the Municipality as a whole. To achieve these aims Council will support public art by:

Making an annual allocation in the Community Development budget for the care and Maintenance of

murals;

Applying for external funding for public art;

Developing sponsorship or partnerships arrangements with local industry or businesses, and

Strongly encouraging developers to include public art in any project. Public art proposals will be realised through the following processes:

Commissions of contemporary art – permanent, temporary and ephemeral;

Temporary placement of art in public spaces – exhibitions, performances and site-based installations;

Engagement of artists in specific projects;

Engagement of artists as consultants – for specialist advice or planning input;

Engagement of artists as part of collaborative design teams – for conceptual and design input;

Engagement of artists in collaborative community based projects; and

Artist-in-residence projects.

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1.4 POLICY THEMES The following themes will be the focus for public art in Kentish:

Tasmania’s Outdoor Art Gallery;

The Natural environment;

Indigenous culture;

The region’s pioneering, farming, industrial, commercial and social history;

Contemporary activity, issues and aspirations; and

Mural Fest will remain a standalone community event.

1.5 CUSTODIANSHIP Custodians of art works in the municipality are those individuals or groups that agree to take responsibility for works of art in the public domain. Custodians of art works maintain existing works, create and identify opportunities for new works, oversee upkeep and maintenance and provide recommendations to the PACK committee on works to be commissioned or decommissioned. Identified custodians of works include; Group Associated Works International Mural Fest Committee All mural works directly associated with the Annual International Mural Fest event (excluding acquisitions) Sheffield Inc Sheffield Historic Murals Lorinna Residents and Ratepayers Association Lorinna Community Precinct Kentish Council Sykes Sanctuary monuments* Murals Outside of the Sheffield Township on Public Buildings Streetscapes and Street Furniture Mural Fest acquisition works Hopes Mill Corner* Public Parks and Reserves *Indicates custodianship in consultation with another group or individual. The custodianship of private artworks remains the responsibility of any private owner. Council recognises the cultural assets of created public and private artworks and agrees to be the custodian of existing works in the public domain, where no other custodian of those works exist. Where custodianship is already established and recognised as being controlled by a particular group, custodianship will remain with that group until they cease to operate in that capacity. Should a group cease to operate as a custodian of works, then Kentish Council will assume a curatorial role of the previously managed works within 90 days of being formally advised by the custodians.

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1.6 COMMISSIONED PUBLIC ART PROJECTS For all commissioned public art projects, a project brief will be developed to which artists will be invited to respond. The project brief will:

Outline the terms of the commission or project;

Detail any technical requirements which must be met;

Provide plans or other site information and context for the work;

List selection criteria; and

Indicate the budget available for the project and what is to be included. Artists for commissioned public art projects may be selected through:

Open competition – publicly advertised;

Limited competition – between invited parties; or

Direct commission or appointment.

1.7 IDENTIFICATION OF ARTS PRECINCTS

Arts precincts may be established or recognised at any time through either a natural accession of art works in a

geographical area or an established tradition of a particular style, form, medium or context.

Currently recognised precincts in the Kentish Municipality include;

Sheffield Business District Heritage Murals

Mural Park, Sheffield Mural Fest - Contemporary Murals

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Section 2 - The Public Arts Committee Kentish (PACK)

2.1 OPERATION

The development of a public art program will involve the establishment of the Public Arts Committee Kentish

(PACK), which will review proposals or concepts and advise Council on the artwork to be undertaken. Acceptable artistic content will be defined by the PACK, taking into account best practice in public arts, genre,

nature, medium, merits and drawbacks of any proposed art work to the community.

The Public Arts Committee Kentish (PACK) will:

operate for an initial pilot period of three years, after which time its operations shall be reviewed;

operate as an independent assessment mechanism alongside the current Kentish Council planning

scheme until such time as it may be amended to have murals removed from the planning scheme; and

establish a code of practice by which all public art is assessed.

2.2 PERMANENT MEMBERSHIP The Public Arts Committee Kentish will have the following permanent members:

An art teacher, arts academic (or someone with an arts education background), a curator, gallery

director or other arts professional. This individual will be approved by Council and Tasmanian Regional

Arts;

A representative of Tasmanian Regional Arts Kentish (TRAK);

A representative of Sheffield Inc.;

A representative of Mural Fest;

A representative of any interest group within the Kentish municipality;

A representative of the broader community;

2.3 TEMPORARY MEMBERSHIP Should a work be proposed for an area of the municipality that has no current representation on the PACK, a representative of that Community will be invited to sit on the committee for the duration of any proposed project.

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2.4 GOVERNANCE The Public Arts Committee Kentish (PACK) will be an autonomous Special Committee of Council. Meetings of the Public Arts Committee Kentish (PACK) will take place as required to assess proposals.

Applications for public art will be considered by the committee within 30 days from date of lodgement.

The PACK will function as per the Public Arts Committee Kentish Operational Guidelines/Code of Practice.

2.5 INDEPENDENT ADVICE The committee will seek independent advice from a suitably qualified professional or expert in the field should advice be required in relation to structural integrity, social and cultural impact, environmental and ecological impact, indigenous significance, heritage limitations or public safety.

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Section 3 – Application Process

3.1 APPLICATION PROCEDURES If a proposal to install public artwork requires planning or building approval, it must first seek approval from PACK.

Applications will be received and processed in the following manner;

Applicant submits a written expression of interest to the PACK;

Applicant invited by the committee to present their proposal in person to a PACK meeting;

PACK committee discusses the proposal in the absence of the applicant;

PACK reviews the proposal against the Review Criteria, Kentish Community Public Arts Policy and Content;

Applicant is informed of the outcome and any recommendations.

If a proposal is greater than 1200mm in height, Council’s normal planning process applies

Note: Before an application is lodged the applicant should ensure an exemption doesn’t apply.

3.2 APPLICATION EXEMPTIONS Artists and designers are encouraged to submit an independent application to Public Arts Committee Kentish (PACK) for proposed public art, except for the following works:

Memorials, being works that are specifically designed to commemorate a particular period, individual, group of individuals or event will be excluded from the Public Arts Policy. It should be noted that specific Art Works may have memorial elements, however where the work’s specific purpose is as an artistic piece it will be accountable to the Public Arts Policy.

Advertising, which for the purposes of any Arts policy, is designed to elicit trade on behalf of an individual, group, business, event or initiative. Its purpose is therefore primarily commercial and not as a piece of art or collection of works in its own right.

Public notices, which are to be regarded as advertising. The primary purpose of public notices is the distribution of information. It is therefore not considered Public Art.

Topiary in Railton as part of the Railton Topiary Trail and letterboxes in Wilmot as part of the Wilmot

Letter Box Trail.

Murals painted as part of International Mural Fest and under the control of the Kentish Arts Commerce and Tourism Board Inc. erected in the areas of Mural Park, Kentish Healthcare Centre Park and Hopes Mill Corner. Murals erected outside the specified areas are subject to approval by the General Manager.

The policy applies only to public art which was erected after the adoption date of this policy. Compliance with

Council’s Planning Scheme will be required prior to the erection of any public art.

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3.3 FLOW CHART FOR WORKS Following the submission of an independent application to the Public Arts Committee Kentish (PACK) for

proposed public art, each work will be assessed by PACK for suitability, policy compliance and appropriate

location and in accordance with the flow chart shown below.

Should an applicant be unable to respond within 30 days of approval due to unforseen circumstance or difficulty in securing appropriate advice, the applicant may apply for an additional period of up to 60 days to decline or accept the PACK recommendation.

3.4 APPLICATION FEE A one off application fee of $25 will be charged for each application. Should an applicant wish to resubmit an existing proposal after modifications have been made at the request of the committee, no additional fees will be charged. However, should an applicant appeal or a proposal require extensive community consultation that incurs significant expense then the expense will be borne by the applicant.

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3.5 APPLICATION REVIEW CRITERIA The Public Arts Committee Kentish (PACK) will assess each public art for suitability, policy compliance and appropriate location, in accordance with the following review criteria:

1. AESTHETIC a. Merit of the work considering its artistic, social, and/or historical significance, as evidenced by the artwork

proposal; and b. Compatibility of the work of art within the context of the Kentish public collection.

2. SITE a. Appropriateness of the work to the proposed site; and b. Ecological impact (i.e., percentage of impervious cover, etc.).

3. INSTALLATION a. Site requirements for installation (i.e., electricity, lighting, water, or other services); b. Method of installation; c. Storage requirements, if any; d. Maintenance requirements; and e. Safety standards.

4. COST a. All costs associated with fabrication and installation (including site preparation, plaque and

unveiling/dedication event, if any); b. Estimated annual costs; c. Source of funding for annual costs; d. Statement of value of artwork for insurance purposes; and e. General repair, upkeep and servicing should be economically viable over the longer term and illustrate

financial prudence.

5. LIABILITY a. Susceptibility of the artwork(s) to normal wear and to vandalism; b. Potential risk to the public; c. Public access; and d. Special insurance which may be required.

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Where the criteria is outside the expertise of the committee (i.e. risk to the public), the committee will seek and follow expert advice.

Applications should be submitted to the Public Arts Committee Kentish to allow sufficient time for the review process to be conducted prior to the erection of the public artwork. Allowance should also be made for any approvals which are required in accordance with Council’s Planning Scheme requirements or building regulations.

3.6 REQUIREMENTS FOR PUBLIC ARTWORK

Any public artwork must:

Be consistent with planning and heritage policies or principles;

Conform to any master plan or guidelines for a precinct or location in which the work is to be sited;

Be suitable for the chosen site and meet any engineering, safety, risk, traffic or other technical specification and be assessed as appropriate;

Meet the specific requirements set out in the briefing material prepared for the project; and

Create, where possible and appropriate, opportunities for local business, manufacturers and local community groups to be involved in the installation and/or fabrication process. Examples may include involvement of Tasmanian Regional Arts Kentish (TRAK), local industries, businesses and artists. It is to be noted that the engagement of suppliers should not be to the detriment of any art work with regard to materials, demonstrated expertise, convenience or elements contrary to the Artist’s specifications.

Works that are interactive will be encouraged.

3.7 COMMUNITY CONSULTATION

Although the PACK has been established to cover as wide as possible audience as is practical in a committee

context, where there is evidence that additional community consultation may be required (e.g. due to content or

environmental impact), PACK will endeavour to extend its consultation through any or all of the means below.

Applicants should be aware that should extensive consultation be required that additional costs may be

incurred (e.g. newspaper advertising, external professional consultation). However, where possible the

committee will endeavour to consult widely with little to no additional cost. Where practicable, additional

expense will be borne by the administration fees collected by PACK. Additional consultation may include;

Notice to the community of the proposed work including design or pictorial representation of the work

including a feedback mechanism such as an address for formal responses (e.g. flyers, Kentish

Chronicle).

Face to face contact with business and residents in the immediate vicinity.

Consultation via mail to external stakeholders where appropriate (e.g. Migrant Resource Centre,

Indigenous Tasmanians Aboriginal Corporation, Arts Tasmania).

If the committee is unsure of the public’s opinion, or believe they have not consulted widely, they can make the decision to undertake further consultation.

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3.8 MAINTENANCE Maintenance of works will be considered at the outset and projects will specify approximate lifespan for any public artwork, Artworks will require high quality materials and consideration of durability and suitability for the public realm. The responsibility for maintenance sits with the person responsible for the property on which the work is

located or the person who commissioned or agreed to maintain the work.

The commissioned artist, an appropriate professional or someone with a clear understanding and training in

the required maintenance will undertake and document the maintenance of public artworks.

Who is responsible for maintenance will be agreed upon and recorded before work commences. All maintenance will be documented.

3.9 APPEALS PROCESS

In the event that an Artist is not satisfied with the outcome for a proposal, the following appeals process may be

followed.

3.10 ARBITRATION Tasmanian Regional Arts State Curator, or a similar qualified independent person, will be the final arbiter once

the appeals process has been exhausted. The Public Arts Committee Kentish (PACK) will administer the

arbitrator’s decision.

3.11 COST OF APPEAL The cost of the appeal process would be conditional upon any external advice that the state curator may need to seek in coming to a decision. However, no direct cost is charged on behalf of PACK. The applicant is responsible for all the costs of an appeal. The applicant will be advised that any additional charges will be billed to them directly from Tasmanian Regional Arts, the governing arts body or professional body for the use of their services, e.g. engineer where external advice is required.

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3.12 DECOMMISSIONING OF LONG TERM ARTWORKS Consideration may be given to the removal of long-term installed artworks from public places when the artwork ceases, materially or conceptually, to function as an integral artwork. The Public Arts Committee Kentish is responsible for assessing the collection and decommissioning. Decommissioning would generally be undertaken in instances where: a) The artwork no longer functions materially; b) The artwork has been irreparably damaged; c) The artwork has physically deteriorated to a point where public safety is at risk; d) Changes to the environment impact on the integrity of the work, adversely affecting the Artist’s original intent; e) The artwork has faults of design, material or workmanship; f) Artistic merit of the work falls below the level to which the collection aspires; g) Maintenance of the work is financially unsustainable; h) There is legal evidence the work belongs to another party.

The final decision to decommission an artwork rests with the Public Art Committee Kentish. Where the work resides on private property, the PACK will work with the property owner regarding any decommissioning to be undertaken.

3.13 TEMPORARY ARTWORKS Temporary or ephemeral artworks are not intended to be a permanent feature. Due to the nature of the materials used, they do not usually stand the test of time. The Public Arts Committee Kentish is responsible for determining the expected lifespan of the artwork, after which it is to be removed and the site rehabilitated to a condition as agreed prior to installation. Approval for the artwork may be withdrawn at any time.

3.14 DISPOSAL PRIOIRITIES

Upon decision to decommission, the artwork is to be disposed of in the following descending order of priority: a) Offered back to the artist for an appropriate consideration; b) Transferred to an appropriate collection for an agreed consideration; c) Sold to approved buyers with the consent of the Artist; d) Donated to a recognised charitable institution; or e) Sent to a materials-based recycling depot.

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Section 3 – Examples of Art Opportunities

Murals Main Street King George V Park

Multipurpose Health Precinct Post Office Park Mural Park

Kentish Park Foster Street Goliath Park

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Recreation Grounds Lake Barrington Railway Park

Lorinna Hall Roland Railway Sykes Sanctuary

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Other Identified Community Spaces

Additional spaces suitable for the placement of public art could include Laburnum Walk, Wilmot; Lower

Barrington Train Track; Car Parks; O’Neills Creek; Lorinna Cemetery; Acacia Hills; photographic bays and

other diverse locations and opportunities that occur within the Kentish region.

Gateshead’s “Angel of the North”

Gateways Gateways to the municipality, at key turn-offs to other towns and points of interest or key junctions such as at Latrobe Road, Cradle Mountain Road and Sheffield Main Road are sites where gateway artworks could be developed. Landscaping at these entrances with a single tree species to achieve a themed avenue or planting could also be undertaken to build a sense of arrival. Gateway artworks could include land art and iconic sculptures. Following the theme of Tasmania’s Outdoor Art Gallery, works that have the ability to become iconic can add

value to the community’s sense of ownership over the region, increase community pride and enhance tourism

in the area.

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Lighting

Careful thought could be afforded to up-lighting of significant trees at various points around Sheffield in the planning for the redevelopment of King George V Park and the Town Clock. This can be built on by commissioning artistic lighting of key historical and significant buildings such as the Town Hall, Museum, Don Store, Baptist and Catholic Churches and the Kentish Visitor Information Centre.

Street Furniture

Special items of street furniture such as couches or bench seats may be commissioned and located in places that provide shade and a moment’s relaxation in the CBD. These should also have a uniquely local theme or flavour so that they become well known and a potential meeting place.

Sculpture There are many possibilities for sculpture to reflect something of the uniqueness of Kentish. The Sykes Sanctuary statue and Sculpture at the front of the Kentish Visitor Information Centre are two examples.

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Temporary Public Art Local festivals such as MuralFest should continue to showcase local artists and arts activities. Temporary public art provides a way of making festivals highly visible, brings them into the streets, and provides a valuable contribution to the local economy.

MURALFEST

While MuralFest murals are defined as public art, the MuralFest group will continue to operate as a separate entity from the Public Arts Committee Kentish. The MuralFest committee will continue to be the curators of MuralFest artworks and provide an example of how community initiatives contribute to the culture of the municipality.