Agenda of Arts and Culture Subcommittee

ARTS AND CULTURE SUBCOMMITTEE
Membership:	10 (4 elected members, 1 iwi representative and 5 community representatives) To be chaired by a Councillor.
Quorum:	3
Meeting Cycle:	Meets on a quarterly basis, as required or at the requisition of the Chair
Reports to:	Community Services Committee

11 04 July 2017

Arts and Culture Subcommittee

16 June 2017

File: (17/915)

Report no: ART2017/3/161

Public Art Condition Audit

Purpose of Report

1. The purpose of this report is to:

a) advise the Subcommittee of the results of the public art condition audit results, the recommendations and the funding required;

b) request the Subcommittee’s endorsement of the audit recommendations in regard to the funding required to address the issues identified in the audit;

c) request the Subcommittee’s endorsement of a part time public art position to manage the work recommended as a result of the audit; and

d) request the Subcommittee’s endorsement of the recommendation to establish a separate fund for the maintenance of Public Art works in the Dowse Square.

Recommendations

That the Subcommittee recommends that Council:

(i) notes the results of the Public Art audit;

(ii) notes the following recommendations from the Public Art Advisory Group:

a) Russell Clark, Free Standing Forms, 1964 – remove the work to storage to prevent further damage and seek funding support for this project from external sources such as the Ministry for Culture and Heritage and other culture and heritage organisations. This would be partial funding;

b) Play Modules, Anne Marie van Splunter, Dowse Square – restore the work for a cost of $7000 + GST and leave in its current site until a new suitable location can be found;

c) Titoki Room, John Reynolds - Replace the trees that are failing to thrive with specimens of the same species, replace the use of herbicides with hand weeding, and replace the sand with mulch or similar. The cost associated with this recommendation is approximately $5,000;

d) Debra Bustin, Cement fondue works, Hikoikoi Park - Repair the two least damaged structures and remove the others for a cost of $2,400 + GST and materials; and

e) Ronnie van Hout, Fallen Robot, Dowse Square – seek quotes to establish how this work will fit into existing budgets and work schedules;

(iii) approves recommendations (ii) a) –e) above resulting from that audit;

(iv) approves the establishment of a separate fund for the maintenance of this and the other Dowse Square artworks;

(v) notes that this work could be completed over a three to five year period, addressing the most pressing issues first and then the other issues ranked in terms of importance and cost; and

(vi) agrees to the establishment of a part time public art position to manage the work recommended as a result of the audit.

Background

2. Work on the development of a Public Art Policy and Guidelines and the establishment of a Public Art Advisory Group has been discussed by Council since the approval of the Arts and Culture Policy on 2 August 2016.

3. Since that time Council, at its meeting on 14 March 2017, resolved to:

a) agree to an audit and condition report on Council’s existing public art works and the development of a ten year plan for remedial and on-going maintenance work to come from existing budgets;

b) agree to delay the establishment of a part time public art position within Council until the outcome of part (i) above is known; and

c) agree in principle that a Public Arts Manager be appointed to continue to develop the Public Art Policy and Guidelines in consultation with the Chair of the Arts and Culture Subcommittee.

4. Since then:

a) the Public Art Condition Audit has been completed;

b) the Public Art Policy and Guidelines have been drafted for consideration by Policy and Regulatory Committee at its meeting 31 July 2017; and

c) the membership of the Public Art Advisory Group and its terms of reference has been completed - again for consideration by the Policy and Regulatory Committee.

5. This report deals with the Public Art Condition Audit and the recommendations arising from that audit.

Discussion

Public Art Condition Audit

6. The public art works audit was carried out by Conservator Detlef Klein. Detlef Klein is Director of Manawatu Museum Services Ltd, a heritage conservator since 1980, and a consultant in heritage conservation and management. Trained in Germany, his former positions include Curator/ Conservator at the New Zealand Historic Places Trust properties Kemp House and Stone Store and Conservator/Conservation Outreach manager at Te Manawa in Palmerston North. Klein is a past President of the NZCCM (New Zealand Conservators of Cultural Materials) and is a member of ICOMOS NZ, the NZCCM, VdR (German association of conservators).

7. The review of the condition of artworks currently in Hutt City’s collection has revealed that 17 artworks of the total of 28 require maintenance work of some sort. Regrettably, much of this maintenance should have occurred over the years that the art works have been in place with maintenance being deferred for a number of reasons – in particular the lack of specific funding for maintenance purposes. The lack of maintenance has led to preventable damage to the art works however, it is anticipated that most of the remedial work required will be able to be covered by existing budgets.

8. There are four artworks with maintenance issues requiring decisions around options and/or funds, as they either require more complex maintenance than that which can be covered by existing budgets, or they require maintenance with and there is no existing budget available. These issues and options are detailed later in the report. Two general issues were also uncovered.

General issues:

Lack of regular maintenance:

9. Many of the artworks audited display evidence of a lack of regular maintenance. This has added to the cost of some of the work required, and some works have deteriorated to the point where they may need to be deaccessioned. Some artworks have had visible issues for months or years.

10. Regular inspections by someone with arts knowledge could have prevented this situation and officers strongly recommend that further consideration be given to ensuring that Council divisions tasked with maintaining these works have access to such a resource to prevent ongoing issues with the maintenance of these artworks.

11. A Public Art Manager would be responsible for managing processes and working directly with a conservator for instances of decline or damage that cannot be repaired directly by the artist or a suitable contractor. The Public Art Manager could also work with other Council staff to assist them to undertake non-specialist maintenance where this is possible.

12. Having a conservator undertake this annual inspection of the city’s public art works without having someone in Council to manage the process would cost of $10-15,000 per annum. These costs would be avoided with someone suitably qualified managing the process on Council’s behalf.

Lack of Deaccessioning Process:

13. Deaccessioning an artwork can be a difficult process and must be undertaken with care. It has legal implications; the artist’s moral rights under the Copyright Act must be respected and due process followed. Members of the public may be upset that a loved artwork is being removed. There could be public criticism over the deterioration and removal of an asset that Council has previously invested in, especially if some members of the community continue to value it highly. In some cases, the community should be consulted.

14. However, deaccession can be the right course of action to take in two circumstances:

a) the artwork’s value to the City is less than the cost of repairing or maintaining it; and/or

b) the artwork has become outdated and is occupying a space that would be better occupied by a new artwork or something else.

15. These values are difficult to assess. Having access to a Public Art Advisory Panel comprised of people with appropriate expertise will be crucial in ensuring that the public can be assured that Council is taking expert advice prior to making any decision to deaccession.

16. As the Public Art Advisory Panel’s proposed members and TOR are yet to be approved, a special temporary panel of public art advisors was established to provide advice on the decisions to be made around works in the city’s public art collection that are in poor condition.

Artworks with maintenance issues requiring decisions around options and/or funds

Russell Clark, Free Standing Forms, 1964

17. Russell Clark’s sculpture Free Standing Forms (1964) sits outside the Little Theatre in the Civic Gardens. The report addresses the condition and value of this artwork, as well as the conservation work required to repair it.

18. The metal substructure is actively corroding: visibly so on outside exposed areas, as well as within the hollow core of the sculpture elements. The ciment fondue skin is significantly deteriorated through age, trapped moisture, cracking and loss of material integrity and the ciment fondue itself is degrading. The original surface finish no longer exists having been replaced at least once in a 1976 restoration, and the existing surface paint is almost completely deteriorated. This allows ingress of moisture at an ever-increasing rate. Past repairs are generally of a dilettante nature and these have also contributed to the deterioration of the sculpture. The artwork is deteriorating rapidly and every week that it stays outside results in further damage, so a decision on this artwork is urgent.

19. The conservator has recommended that the artwork be restored. The restored work will, however, still not be suitable for exhibition outside so his recommendation is that a facsimile be produced for exhibition on the current site, to maintain the relationship between the artwork and other historic elements in the area.

20. Restoration total estimated costs, conservation and re-siting: $70,000.00, excluding 20% contingency, structural engineer fees if required, consent fees, and GST. Facsimile total estimated costs: manufacture and installation $97,500.00, includes design work, estimated materials, transport, labour and professional fees, excludes 20% contingency, structural engineer fees if required, consent fees, GST.

21. The Conservator advises that it is quite likely that we could gain funding support for this project from external sources (Culture and Heritage organisations). This would be partial funding. The benefits of proceeding with restoration are:

a) Preservation of an artwork with historical significance to the city – the work was presented to the then Mayor Percy Dowse in 1966.

b) Preserving the work’s contribution to its historical context through the facsimile, installed at the current site.

22. Free Standing Forms is significant both for the city and the region because:

a) It was the first civic sculpture in Wellington and one of the first overall in New Zealand and is therefore rare;

b) the sculpture is the only one in this style or design made by Clark and is therefore unique;

c) the sculpture represents a new movement in thought and approach to sculpture in New Zealand, and is therefore representative;

d) it is still very much as originally conceived by Clark, despite a varied history of restoration, and it therefore retains its artistic authenticity and integrity.

23. Finally, work on the sculpture was started by Russell Clark and finished by an unknown other person or persons after his death. The sculpture was installed in December 1966. Russell Clark designed the sculpture and had direct involvement with this work while in hospital but was unable to finish it. It is likely that there will be keen public interest shown in its fate.

24. The key issue is the significant cost associated with implementing the recommended option, and while it does have precedents, the value of replacing the original with a facsimile on the current site is debatable as the facsimile will not be an authentic artwork. The significant cost involved in creating the facsimile may not be worth the benefit gained from preserving the work’s presence in the gardens. The current site is, in any case, not the original site (the work has been moved and re-orientated), so subtle site-specific responses to the environment that may have been present in the work have already been compromised.

Options

Option 1:

25. Restore the work and produce the facsimile.

Benefit

26. Restore the work and its historical presence in the Civic Garden.

Issues:

27. Cost, value of replication, finding a suitable inside location for the original work.

Option 2:

28. Restore the work and move it inside, but do not produce facsimile.

Benefits

29. Preserve the work, keep it available for public viewing, preferably in a location near its original setting. Save $97,500 + GST.

Issues:

30. The artwork is removed from its historical context in the civic garden. A suitable location would need to be found.

Option 3: (Recommended)

31. Put the artwork into storage to prevent further deterioration and apply for funds to assist with the restoration. Review the situation if funding cannot be found.

Benefits

32. Artwork is protected from further deterioration in the meantime.

Issues:

33. The costs associated with deinstallation, removal and storage may be in excess of $20,000, and these funds would be non-recoverable in the event that funds are not able to be found for the restoration and it does not go ahead. However, most of the work incurring this cost would need to occur anyway and can be deducted from the $70,000 overall restoration cost. The costs that will be extra are the storage costs and costs associated with extra transportation. Storage space would need to be found and may not be available.

Option 4:

34. Deaccession the artwork.

Benefit

35. Lowest cost.

Issues:

36. Loss of historical amenity for Hutt City, loss of a significant work of public art from Hutt City’s collection.

Option 5:

37. Leave the artwork in its current position while funding is sought.

Benefits

38. No immediate outlay, no funds lost in the event that external funding is not found and the decision is made to deaccession the work.

Issues:

39. Further damage will occur, increasing restoration costs. There is also a risk of irreversible damage.

Play Modules, Anne Marie van Splunter, Dowse Square.

40. Play Modules, a large interactive artwork by the Dutch artist Anne Marie van Splunter, is situated in Dowse Square. It is currently in poor condition with widespread surface damage and numerous chips and holes. Although the work itself is unlikely to be significantly affected by a delay of 1-2 years, addressing the condition of this artwork is a priority because of its prominence and the high visibility of the deterioration and damage. The presence of an artwork in such poor condition in such a prominent location reflects poorly on Council.

Options

Option 1: Repair (Recommended)

41. The work can be repaired and resealed. The sealant will provide a more durable surface than the work originally had, as it was not previously sealed and the surface consisted of a thin coating only. Plastic matting can be installed to protect the artwork and the surface of the square during installation and any future shifts of the artwork.

Benefits

42. Preserving this highly successful, popular and prominent artwork. Play Modules enjoys a significant level of public engagement. People of all ages and a wide variety of profiles enjoying the work by sitting on it, either lounging on the lower side or perching up on the high side. Children enjoy running along and climbing over the work. At any given time, weather permitting, there tends to be at least one member of the public engaging with the work. This high level of public engagement means Play Modules is a highly successful public artwork – perhaps among the most successful in the Wellington region. Play Modules is a valuable asset for Hutt City that is worth preserving.

43. Play Modules is a good example of an ‘entry level’ artwork that has few barriers to participation. It therefore has an important role in helping locals and visitors that may not have a lot of experience with public art become acquainted and comfortable with a quality example.

Issues:

44. Cost: there is a cost of $7,000 + GST associated with restoring the work. The costs cannot be covered by existing budgets. The work will also require ongoing maintenance, with recoating being required every ten years (at a lower cost than the current full restoration).

45. Clash of site use: Occasionally, events do not fit beside the work on the square, and it needs to be moved. This costs just under $5,000. This has happened once since the work’s installation in 2013, for the ice skating ring. When the work was moved it was also damaged.

Mitigation of issues:

46. The conservator’s advice is that this damage can be significantly reduced or prevented in future by the installation of plastic/rubber matting underneath the works. Alternative locations have been considered for the Play Modules to prevent the work needing to be moved for events in future, but no suitable alternative has been found yet. It may be that a better/different location can be found at some point in the future – perhaps the river promenade.

Option 2:

47. Option 2 is to deaccession the artwork. This option is the lowest cost however by deaccessioning the work the city will lose a valuable artwork and popular amenity for Hutt City and this may in turn result in public criticism.

Titoki Room, John Reynolds

48. Titoki Room is one of two Tree Rooms artist John Reynolds has developed for Dowse Square. At least 23 of the trees are failing to thrive. Advice received from Arbortech Services Ltd is that most of the specimens in the outside groupings display significant dieback, with chlorotic foliage and stunted growth apparent. The central grouping is flourishing however the turf growing medium appears to be the obvious association with the decline of these trees as their condition is unlikely to have been caused by climatic factors since all trees are relatively exposed to the elements

49. Council’s Parks and Gardens Division believe the sand in the turf and the use of herbicides to control weeds in the grass under the trees to be contributing factors to the decline. The trees have previously been replaced and have again failed to thrive. However, the sand and herbicide issues have not previously been addressed.

50. Soil analysis has uncovered a fungus, Phytophthora multivora, which while unlikely to be the primary cause of dieback could be a contributing factor to the observed symptoms. Phytophthora multivora cannot practically be eradicated as it is a common feature of soil in New Zealand – in fact it would be unusual for it not to be present.

51. Council’s Parks and Gardens Division consider the poor condition of the trees to reflect poorly on Council and their preference would be to act immediately to remove the dead and dying trees. There are four options:

Options

Option 1: (Recommended)

52. Replace the trees that are failing to thrive with specimens of the same species, replace the use of herbicides with hand weeding, and replace the sand with mulch or similar. The cost associated with these recommendations is approximately $5,000.

Benefits

53. The benefit is preserving the artwork and the artist’s concept. This is an attractive artwork by an award-winning artist of high national standing. The artwork fulfills a need within Dowse Square for shade and a visual barrier towards the court building. If it is removed it will need to be replaced with something similar, which will also have a cost, and may have a problematic relationship to the other Tree Room artwork and the other artworks on the square.

Issues

54. The trees may fail again, as “the reasons for the deaths and decline are unclear”. Parks and Gardens do not recommend replacing the Titoki trees as they feel the likelihood of a repeat failure is too great. This may be able to be mitigated through addressing the sand and herbicide issues which may allow the trees, and the artwork, to thrive in the very long term, which would be an excellent result for the Square and Hutt City. Given the costs are relatively modest, and that if successful, the work is likely to have minimum maintenance costs for its long life, this risk may be worth taking.

Option 2:

55. Remove the artwork entirely:

Benefits

56. The benefit of this is that the non-thriving trees are removed from the public realm and the future risk of trees failing is avoided.

Issues

57. The Titoki Room provides necessary shelter, shade and is a visual barrier, and an alternative will need to be found to replace the artwork if it is removed.

58. The artwork has a spatial and conceptual relationship with the other Tree Room on the Square, and removing it will make the other Tree Room less effective. A replacement solution may clash with this and the other artworks in the square. If the Titoki Room is replaced with trees that are not an artwork, a confusing relationship will be established with the remaining Tree Room. Any new trees may be read as an artwork when they are not. The artist would need to be consulted if this option was preferred.

Option 3:

59. Remove part of the artwork, leaving the central trees

Benefits

60. Preserves the healthy trees and the shade/visual barrier they provide, while removing the non-thriving trees. This is the solution preferred by Parks and Gardens.

Issues

61. This option is complicated by the fact that this is an artwork, not simply a planting. It is not good practice to remove only part of an artwork. If this option is selected, approval would need to be given by the artist, as his moral rights under the Copyright Act may be violated if he does not approve the change.

62. The change destroys the artwork’s intended form, concept and effect while retaining part of its material. The remaining trees are likely to still be read as an artwork by some due to their previous status and their similar layout to the other Tree Room. This is problematic as the trees will no longer represent the artist’s intent.

Option 4:

63. Replace the Titoki trees with another species to create a new Tree Room on the same site.

Benefit

64. The possibility of a thriving tree room.

Issues

65. This would be a change in artwork concept that is not in accord with the artist’s original intention for the work and the site. The artist would need to support this option. There is a possibility that the new trees may also fail if the sand and herbicide use is not also changed. The cost is slightly more than replacing the Titoki trees because the central trees will need to be removed and replaced as well. The rubber matting would also need replacing.

Debra Bustin, Cement fondue works, Hikoikoi Park

66. These artworks are in varying states of disrepair, with severely degraded surfaces, exposed steel reinforcing, and missing sections. Addressing these damaged works is urgent as they may represent a hazard to the public.

Options

Option 1: (Recommended)

67. All but two of the works are deaccessioned and removed, and the remaining two are refurbished by the original artist Debra Bustin.

Benefits

68. The historical presence of these works, which were made with involvement of the local community, is preserved through retaining two works, but the others, which are too badly decomposed to be fixed easily and economically, are removed. Safety would be restored with the repairs and removals – exposed steel and crumbling cement currently poses a potential safety hazard. Also, Council is seen as taking care as the remaining works would be in good condition, matching other upgrades the park has recently undergone.

Issues

69. Members of the public who are fond of the works and/or who were involved in their making may be unhappy to see some of them go. This could be addressed through engagement with the community to explain the reasons behind the removal.

Option 2:

70. Repair the least damaged structure and remove the others.

Benefits

71. More cost effective than repairing two. The historical presence of the work is retained to a slightly extent.

Issues

72. The remaining work will be left isolated, giving no sense of the original group of works.

Option 3:

73. Remove all the cement fondue works.

Benefit

74. More cost-effective than repairing one or two of the works.

Issues

75. An historical artwork is lost to the City. Members of the public may be unhappy to see them go completely. This could be addressed through engagement with the community to explain the reasons behind the removal.

Fallen Robot, Ronnie van Hout, Dowse Square

76. This artwork needs cleaning and polishing as part of its routine maintenance at a cost of $900 + GST (if no machining is required). There is no budget currently available for this work as neither the Parks and Gardens Division nor The Dowse include this work and the others on Dowse Square within their budgets. It is recommended that a separate fund be established for the maintenance of this and the other Dowse Square artworks.

77. Further work is needed on the routine maintenance. It will be necessary to garner quotes to establish how this work will fit into existing budgets and work schedules. It is expected that the costs will be able to be absorbed into current budgets, with the work being scheduled over the coming 5 years.

Establishment of a Public Art position

78. Addressing the issues associated with existing public art works requires suitable expertise and management in the form of the proposed PAAG and a part time position established within Council. Without these resources Hutt City will not have the capability or capacity to address the maintenance issues and potential deaccessioning of public art works in the city.

79. A lack of an internal public art position will mean that public art maintenance will continue to be managed in an ad-hoc way, with important routine maintenance being missed resulting in the loss of artworks or extensive repair costs, and works in poor condition will reflect poorly on council. Also, conservators will need to be contracted annually at a reasonably significant cost(S10,000 to $15,000 per annum) to carry annual audits of public art works to ensure that maintenance is carried out as required and at the best price.

80. Opportunities to gain funds through applications to external organisations and through partnerships with the community will also be lost.

81. The cost for a public art manager would be approximately $50,000. This could be sourced in the interim from the existing Making Places budget as public art is a key component of that plan. The PAAG costs of approximately $1000 can also be sourced in the interim from existing Making Places budget.

82. This provides space for further consideration to be given to the ongoing funding of both the PAAG and the Public Art Manager position.

Legal Considerations

83. There are copyright considerations associated with decisions to deaccession public art works which require that the commissioned artist be consulted as part of the process.

Financial Considerations

84. There are financial implications associated with the recommendations and options discussed in this report with the costs. Council could approach this work over a three to five year period, addressing the most pressing issues first and then the other issues ranked in terms of importance and cost.

85. There is also the question of funding for a part time Public Art position and the administrative cost for the PAAG.

Other Considerations

86. In making these recommendations, officers have given careful consideration to the purpose of local government in section 10 of the Local Government Act 2002. Officers believe that these recommendations fall within the purpose of the local government in that they facilitate the efficient management of council assets that have previously not been managed efficiently. It does this in a way that is cost-effective because it addresses the issue of preventing further deterioration of artworks and escalating repair costs.

Appendices

There are no appendices for this report.

Author: Amanda Waijers

Contractor Policy

Reviewed By: Wendy Moore

Divisional Manager, Strategy and Planning

Approved By: Kim Kelly

General Manager, Strategic Services

24 04 July 2017

Arts and Culture Subcommittee

22 June 2017

File: (17/969)

Report no: ART2017/3/162

Public Art Policy and Guidelines

Purpose of Report

1. The purpose of this report is to provide the Subcommittee with information regarding:

a. the proposed membership of the Public Art Advisory Group;

b. the draft Terms of Reference for the Public Art Advisory Group; and

c. the draft Public Art Policy and Guidelines.

Recommendations

That the Subcommittee:

(i) notes that a report is going to the next Policy and Regulatory Committee concerning:

(a) the establishment, proposed members and Terms of Reference for the Public Art Advisory Group; and

(b) the draft Public Art Policy and Guidelines attached as Appendix 3 to the report; and

(ii) considers the report and provides comment to the Policy and Regulatory Committee.

Background

2. Work on the development of a Public Art Policy and Guidelines and the establishment of a Public Art Advisory Group together with terms of Reference has been discussed by Council since the approval of the Arts and Culture Policy on 2 August 2016.

3. Since that time Council, at its meeting on 14 March 2017, resolved to:

a) agree to an audit and condition report on Council’s existing public art works and the development of a ten year plan for remedial and on-going maintenance work to come from existing budgets;

b) agree to delay the establishment of a part time public art position within Council until the outcome of part (i) above is known; and

c) agree in principle that a Public Arts Manager be appointed to continue to develop the Public Art Policy and Guidelines in consultation with the Chair of the Arts and Culture Subcommittee.

4. Since then:

a. the Public Art Condition Audit has been completed;

b. the membership of the Public Art Advisory Group and its terms of reference has been completed for consideration by the Policy and Regulatory Committee at its meeting 31 July 2017; and

c. the Public Art Policy and Guidelines have been drafted for consideration by the Policy and Regulatory Committee.

5. This report deals with the establishment of a Public Art Advisory Group and the draft Public Art Policy and Guidelines.

Discussion

Public Art Advisory Group

6. Having access to a Public Art Advisory Group comprised of people with appropriate expertise is crucial in ensuring that the public can be assured that Council is taking expert advice before making any decision as to whether to support public art projects and to acquire or deaccession public art works.

7. For example, Wellington City Council’s Public Art Panel (PAP) is made up of experts in various art fields. Five Council officers sit on the PAP including a representative from the urban design team. At least three members of the PAP are independent. The PAP provides expert advice to guide the development of public art activity in Wellington City. The Chair of the PAP makes the final decision on support provided to projects.

8. The recommended membership for Council’s Public Art Advisory Group (PAAG) is attached as Appendix 1 to the report together with the draft Terms of Reference attached as Appendix 2 to the report.

9. The PAAG will deliver impartial expert advice, providing guidance and support to officers and governance at a very minimal cost (approximately $1000 pa). However it will be very difficult for the PAAG to function without a Council officer with public art expertise to interface with them as their role is not to identify project opportunities or consult across Council – it is to provide expert advice.

10. The PAAG will work with the Arts and Culture Subcommittee, advising them on public art matters. These recommendations will not be binding on the Subcommittee. The PAAG will provide the Subcommittee with impartial advice and quality information drawn from their knowledge of the latest development in the field of public art, ensuring the Subcommittee can feel confident in making public art decisions.

11. The PAAG will function as a buffer for Councillors in any decisions that have the potential to be controversial or that may offend certain constituents (such as the rejection of a proposal that does not fit with Council’s aims and requirements, or the removal of a well-loved artwork that has become too expensive to maintain).

12. The PAAG offers different advice to that which can be sourced from the community in that its members know what public art can do for Hutt City and how to make sure it achieves those goals. Having a body of experts to inform the public art programme means that Hutt City will have access to the latest ideas on how public art can deliver what the community wants and needs from the programme.

Public Art Policy and Guidelines

13. A draft Public Art Policy and Guidelines for Hutt City is attached as Appendix 3 to the report. There are two issues for consideration and these are outlined below.

The need for a clear relationship to Community Art

14. Hutt City’s Public Art Policy requires a clear definition that shows how Public Art will have a role and focus that complements that of Community Art. It will add important elements that are currently not delivered by Community Art rather than taking anything away from this successful area of council activity.

15. The policy therefore defines public art as materially-focused rather than event-focused. Public art is freestanding sculptures, artworks integrated into buildings, integrated into architecture and infrastructure, mural artworks that are not community projects (like the new Raine and Horne replacement mural, Catchment), and other types of public art that engage directly with the material fabric of the city. These needs are not addressed by Community Art, as they are a different field and require different processes and skills.

Resources required to deliver the public art policy

16. The Public Art Policy does not require a dedicated budget as artworks are developed as part of larger projects. However, it does require suitable expertise and management in the form of the proposed PAAG and a part time position established within Council. There are recommendations regarding the establishment of that position in the paper dealing with the results of the Public Art audit. These recommendations will be considered by the Arts and Culture Subcommittee, the Community Services Committee and then Council.

17. In relation to the delivery of the policy, a public art resource would bring to Council the capability or capacity to deliver the policy and a strategically planned, quality public art programme. The internal position is particularly key in this regard, as without it, public art development will continue to occur in an ad-hoc way, and opportunities to create exciting results for the city through public art at no extra cost (by having an artist deliver an aspect of a project that is required anyway) will be missed.

18. Members of the public who are interested in making public art happen will continue to struggle to make their proposals workable and professional without advice.

19. The proposal for the Petone Clocks is an example of what can happen when Council does not have the advantage of advice from a person qualified to work with the public and artists on public art proposals. There is no consistent process and members of the public can feel undermined and unsupported when officers with no public art background are asked to give advice on such works.

20. Another aspect of this is that a Council officer with responsibility for public art could work with organisations such as Rotary to ensure that events like Shapeshifter remain feasible reducing reliance on the Director of The Dowse to deliver such an event together with community volunteers.

21. Conservators will need to be contracted annually at a reasonably significant cost to carry our annual audits of public art works to ensure that maintenance is carried out as required and at the best price. A lack of an internal public art position will mean that public art maintenance will continue to be managed in an ad-hoc way, with important routine maintenance being missed resulting in the loss of artworks or extensive repair costs, and works in poor condition will reflect poorly on council.

22. Opportunities to gain funds through applications to external organisations and through partnerships with the community will also be lost.

Consultation

23. The draft Public Art Policy and Guidelines will be sent out to members of the public who have expressed interest in the public art policy for feedback. Considerable consultation, both internally and externally, has previously been undertaken for the Public Art Issues and Options Paper, and for the Arts and Culture Policy. The policy and recommendations in this report are based on the information gathered in those consultations.

Options

Options for the policy and guidelines

24. The Arts and Culture Subcommittee can recommend to Council that it approve:

a. the proposed members and TOR for the Public Art Advisory Group; and

b. the draft Public Art Policy and Guidelines.

a. not recommend the establishment of the PAAG and TOR; or

b. request changes to the proposed members and TOR for the Public Art Advisory Group and the public art policy.

a. not recommend the establishment of the PAAG and TOR;

b. not recommend the approval of the Public Art Policy and Guidelines .

Consultation

25. The Public Art sector has been consulted during the preparation of this advice.

Legal Considerations

26. There are no legal considerations.

Financial Considerations

27. The PAAG costs will be approximately $1000 per annum.

Other Considerations

28. In making these recommendations, officers have given careful consideration to the purpose of local government in section 10 of the Local Government Act 2002. Officers believe that these recommendations fall within the purpose of the local government in that they provide a strategic focus and planning framework for the public art programme, so that public art activities are no longer ad-hoc but carefully planned and administrated to deliver to council’s goals and the community’s needs. This is the most cost-effective approach because it addresses the issue of ensuring that funds are being spent in ways that help ensure the delivery of Council’s strategic vision for the city.

Appendices

No.	Title	Page
1 ⇩	Public Art Advisory Group proposed members	35
2 ⇩	Public Art Advisory Group Terms of Reference	37
3 ⇩	Draft Public Art Policy and Guidelines	40

Author: Wendy Moore

Divisional Manager, Strategy and Planning

Approved By: Kim Kelly

General Manager, Strategic Services

Attachment 3

Draft Public Art Policy and Guidelines

DRAFT Public Art Policy Hutt City

Introduction - Public Art in Hutt City:

Hutt City Council’s vision is to make Lower Hutt a great place to live, work and play. Council’s goal is to make Hutt City a place where people are proud to live, where working and investing is a smart choice, and where there is always something for families to explore.

Public art can and should play an important role in delivering this vision through:

· creating a sense of identity and pride for the City

· attracting innovative thinkers who create opportunity and prosperity generating wealth for the city.^{^[1]}

· creating destinations and contributing a vital aspect of ensuring the development of world-class public spaces in the city.

Public art attracts creative people and innovators, Public art is an effective means of creating “distinctive and memorable public spaces” and a “character urban environment” to “underpin Hutt City’s quality of life and make this an attractive place to for new households and businesses to be”^{^[2]}. Public art revitalises urban environments, turning rundown places into vibrant spaces by introducing stunning design and/or creative, generative activity.

Public art is a powerful means to deliver the Leisure and Wellbeing Strategy in that it reduces crime by deterring graffiti and bringing people into public spaces; creates connections and builds understanding between diverse individuals and communities through artworks expressing diverse identities; creates gathering places; fosters and builds positive partnerships, and encourages sustainability (through environmentally engaged artworks). It also encourages people to get out and enjoy their city.

PUBLIC ART POLICY

Defining what Public Art means for Hutt City

Public Art for Hutt City is defined as “anything made, designed or organised by an artist to physically engage with the city’s material environment”. This includes permanent or semi-permanent material objects like sculptures and paving as well as works that are durational and evolving and/or temporary, such as projected or inflatable artworks, digital works, plantings, and temporary pavilions or booths.

Public art is a broad field that is continually being redefined by practitioners. This is, therefore, a working definition for Hutt City which reflects the city’s specific situation.

The definition also recognises that currently, Hutt City has a successful Community Art Programme and Participatory Art Festival (Common Ground), both run by the Community Art Advisor. Since the city already has a functional delivery mechanism for event-based participatory art, it is not included in the definition or the policy. These aspects of the City’s art programme will continue to be delivered within the Community Art programme.

However, the City does not currently have an internal process to support, guide and drive the development of public artworks that are:

- integrated into architecture and infrastructure,

- freestanding sculptures,

- mural artworks that are not community projects,

- and other types of public art that engage directly with the material fabric of the city.

This definition and policy therefore focusses on these aspects of public art, which can be considered collectively as artworks that physically engage with the city’s material environment.

It is anticipated that some works will sit between the event-based artworks that come under the Community Art Programme, and the materially-focussed works of the public art programme. In these cases, a decision will need to be made to either collaborate or identify which programme is better suited to manage the project.

Community Art:

Art made by members of the community, usually but not always facilitated by a professional artist, AND

Event-based participatory art, such as that delivered through the Common Ground festival format.

Temporary works that consist primarily of the event in which the public participates, with the artwork consisting of the experience of participating. Any material outcomes from the artwork are secondary to the public’s participation.

Public Art:

Art that engages with the material fabric of the city.

May also be participatory and experiential, but will be so through a material object or interface, i.e. a garden, a sculpture, an artwork painted on a building, a projection, a digital recording and its user-interface.

Can be of any duration.

Is site-specific.

Engages with urban and/or natural/park contexts.

This structure fits well with Council’s current structure, as works with material results or interfaces require different project management from events. Participatory Art and Community Art share aims and processes and use the same resources, so are a good fit. Materially-based art is a different specialty from event-based participatory art, and requires different processes and skills from both artists and facilitators.

This definition moves away from quality-based definitions of public art and community art, as all art supported and produced by council should be of high quality and have integrity. Traditional definitions of community art pigeonhole it as poor quality. This policy recognises that community art and public art are on the same level, reflecting contemporary practice that values participatory art highly.

The definition also shifts away from aesthetic-based definitions, as there is room for things to not be aesthetically pleasing but have other forms of integrity, such as conceptual integrity; i.e. a market garden in the CBD with produce going to needy families.^{^[3]} Material objects can offer excellent experiences without being aesthetically pleasing.

Vision:

A public art programme that transforms the city, celebrates and reflects the city and its people, and engages everyone who lives or visits here.

Outcomes:

Public art transforms and revitalises the city:

Public art contributes to the creation of spaces that are great to be in within Hutt City. It is integrated into the City’s urban and natural environment, and contributes to urban design outcomes. It brings meaning and interpretation to the environment, adding richness and interest to the urban experience. It brings beauty and/or atmosphere to the city.

Public art development is focussed in areas where it will make the most difference to the city and its people, and implemented strategically to ensure that maximum impact is delivered at all stages of the programme.

Public art reflects and celebrates the city and its people:

Public art draws attention to what’s here. It showcases Hutt City’s achievements and special qualities, local communities, Maori culture, STEMM, local initiatives and talented people in diverse specialties, as well as the City’s history and its natural beauty. Public art contributes to local pride and a sense of identity for Hutt City.

Public art may also challenge the community to address issues, to get involved, to do things differently, or to solve social or environmental problems. It celebrates the everyday as well as the spectacular.

Public art is site-specific and responsive to its environment.

Public art celebrates Hutt’s Maori culture and history and helps make it a highly visible part of the city.

Public art engages everyone that lives in and visits the city:

Public art encourages curiosity and wonder, and delivers amazing experiences. It brings new ideas to Hutt City’s diverse communities and entertains and/or challenges locals and visitors to move out of their comfort zone, to learn, and to connect to each other. It connects sources of expertise with communities in which there is a need to meet, or a spark of interest and enthusiasm to encourage.

Everyone that lives and visits here has the opportunity to enjoy Hutt City’s public art because it is concentrated in places that people use most, and distributed across the city.

Hutt City’s public art is interactive, exuberant, educational, scientific. A focus is engaging disadvantaged communities in aspirational, inspiring, extending or transformational experiences.

The Public Art Programme

Public art in Hutt City will be approached as a programme rather than as separate, disconnected projects. A programme approach allows a strategic approach to public art that unfolds over time to become comprehensive.

All artworks in the programme:

· Are aspirational and inspiring. They are of high quality, whether they are produced by emerging or mid-career artists.

· Are site-specific. They are made specifically for their site, and engage with that site in their content and/or design.

· Improve the city. They may create an attractive environment; celebrate the city and its people and thereby create a sense of pride and ownership; encourage action that creates positive change; or encourage residents and visitors to engage with their local environment in enjoyable or productive ways.

Artists may be local or based in other places: exposing local practitioners to outside expertise is valued alongside the need to reflect local practices.

Focus areas for the programme are artworks that deliver the Outcomes in that they Transform, Reflect, or Engage the City. These three Outcomes represent strands of the programme as well as overarching goals. Works may reflect one or several of the three focus areas, but the programme as a whole should address all of them in order to deliver the Vision.

Transform:

Artworks in this strand will be highlights or points of exquisite detail within the urban environment. They may be architectural, integrated, freestanding, skins, inflatables, light works, high impact or revealed slowly and subtly. They may function as seating, planting or lighting, for example, or they may simply be artworks that standalone or inhabit a surface in the city. They will help deliver Council’s plans to revitalise the City, including the suburban Hubs, Making Places, Riverlink, and Petone 2040.

Celebrate and Reflect:

Artworks may focus on the beauty of the ordinary, and celebrate things that may not normally be noticed or valued. They may draw attention to aspects of the city to celebrate, or to aspects that might benefit from change. If the latter, they focus on ways this positive change may be achieved.

Artworks may tell stories about local people and histories, or may showcase local technological innovations. Works may be Maori, STEMM-related, site specific, digital, or informational.

Artworks that are site-oriented; that turn viewers/participants towards a greater awareness of, and engagement with, the surrounding environment are particularly valued.

Engage:

Artworks may be interactive, experiential, scientific, educational, amusing or challenging. They may facilitate the greater understanding of one community group by others, and be a vehicle for the sharing of knowledge and world views. They may offer sensory experiences or opportunities to get involved in improving the local urban and/or natural environment.

Sites/Plan:

In the coming five to ten years the city’s public art activity will follow the council’s Strategic Plan in focussing in the following areas and sites:

1. The CBD

2. Suburban Community and Sports Hubs

3. Petone

This focus is intended to fit with Council’s overall strategic focus for its revitalisation projects. The focus on the CBD and Petone reflects the Urban Growth Strategy’s focus on these areas, and its goal of “thriving and distinctive centres that anchor Hutt City”. This goal states that “The Central Business District and Petone are recognised as the heart of the city, anchoring our sense of place and are regionally significant centres of commerce and great living” (UGS 2012-2032). Suburban and community hubs is an area of focus for Council’s activity which is prioritised in the Leisure and Wellbeing Strategy 2012-2032. These hubs are a central to their suburban communities and ideal sites for art.

Public Art will work in closely with Urban Design, Parks and Gardens, CFT and Council Projects to ensure artworks are successfully integrated into development projects.

Map of CBD sites

Map showing Hub locations

Map of Petone sites

Note: Sites are identified as general areas on these maps because it is best to allow a wide scope as to what aspects of an area artists can engage with in their proposals, rather than defining specific sites in advance of knowing what form the artworks may take. For example, assigning a site on the corner of two streets as a place for an artwork to be developed means that artists are unlikely to propose works that spread to a wider area, such as a linear work that may spread along several blocks. You are much more likely to end up with a traditional freestanding sculpture if you define specific sites in advance, cutting out other, potentially more innovative and effective options.

Riverlink

Public art will be an essential part of the Riverlink project as public artworks are a necessary feature of quality urban design. Public art will contribute to the world-class aspect of the project, delivering focal points and integrated details that add meaning and aesthetic appeal to the environment. Public art can help ensure that Riverlink has a high level of ownership and engagement from the community by representing local stories, achievements, and histories that may be displaced by the development. It can also encourage playful engagement through interactive works that are also aesthetically attractive.

Riverlink’s public art works should be instigated as soon as possible, as it is best for artworks to be integrated from the project’s outset, rather than tacked on at the end and limited to fitting into spaces that are left for it in the design process. Public artworks can take many forms in projects such as this, including plantings, seating, paving, pavilions, and other integrated design elements. The best results will be achieved from incorporating art when there is still room for it to take innovative forms and engage on a variety levels.

Hubs

Hutt City’s Hubs are intended to bring together the arts and sports. Sports facilities are great places for people who may not normally engage in art or cultural pursuits to experience art that may exceed their previous or everyday experience alongside artworks produced by the local community (Community Art).

Strategic links

The public art policy is part of the Arts and Culture Policy. It fits under An Integrated Vision for Hutt City, The Leisure and Wellbeing Strategy 2012-2032, the Urban Growth Strategy 2012-2032, and the Environmental Sustainability Strategy and the Infrastructure Strategy.

The Public Art Policy also has key strategic links to CBD Making Places, the Riverlink Plans and Petone 2040, as public art will be an important aspect of those projects.

Governance

The Arts and Culture Subcommittee (ACS):

The Arts and Culture Subcommittee will be the point of contact between Council and the public art programme. Funding requests for individual projects and the programme will go to the ACS for consideration in the first instance. The ACS will make recommendations to Council on public art funding decisions when required.

The Public Art Advisory Group (PAAG):

The PAAG is a group of expert advisors who provide sound, expert advice to enable Council to deliver an effective, quality public art programme.

The PAAG will assist Council in planning and developing the public art programme. Artist selection will be undertaken or approved by the PAAG.

The group is an advisory body rather than a decision-making body; it will make recommendations to council officers and council itself. It will meet as required up to 6 times a year.

Guidelines:

Procurement and funds:

Procurement of public art will be managed by the Public Art Manager (if this position is established). If Officers, members of the community, or Councillors see a need for a public artwork or have an idea for one, the Public Art Manager will be their first port of call for advice.

The Public Art Manager will:

- Advise artists and members of the public on developing proposals;

- Assist officers in developing project briefs and identify artists for internal projects;

- Identify opportunities for artworks to add value to Council projects and developments;

- Identify sites and project opportunities;

- Work with the Urban Design Manager to deliver public art components for urban design projects;

- Liaise across council to ensure that art projects are a good fit with current and planned uses of public space.

In capital development projects, funds will be set aside at the project’s initiation, and the public art manager will begin developing the work from the outset of the project, so the work can be well integrated into the project. International best practice dictates that 1-2% of a capital development budget should be set aside for public art. Grants to external organisations could be tagged to ensure that this percentage for public art is protected, as otherwise, it tends to be lost. It is recommended that a percent for art policy be investigated as a possible addition to this policy.

The Public Art Manager will ensure public art is developed in such a way that the integrity of the artwork is not compromised. They will provide an interface between council and the artist that protects the artist from bureaucratic requirements and processes that may otherwise derail or distort the project.

Partnerships:

Council will work to encourage public art development by private business and building owners in the City. It will support these initiatives by providing guidance and artist contacts, assisting in the difficult process of selecting a suitable artist by creating short-lists and/or selecting artists if required.

In some cases where a site is particularly prominent, Council may enter into a partnership with a private developer where the artwork is developed as a joint venture, with shared costs. Council may also on occasion approach a property owner for permission to develop an artwork on their property.

E Tu Awakairangi:

E Tu Awakairangi, Hutt City’s Public Art Trust, is a key partner for Hutt City’s delivery of the public art programme. They are funded $50k per annum by Council to deliver public art for the City, with the intention that they will raise further funds and in-kind support through their contacts in the community.

Council will support E Tu Awakairangi by providing advice via the PAAG and the Public Art Manager (if established). The PAAG will advise on artist selection and artist recruitment processes. The Public Art Manager will be the Trust’s liaison within Council, advising on opportunities and sites and assisting with consents and other council processes. They may also advise on project management and the development of artist briefs, suitable artists, and selection processes.

Tangata Whenua:

The lack of visibility of Maori in Hutt City’s public art was raised as a concern by numerous participants in Council’s Arts and Culture consultation (2016).

Maori artworks will be planned and developed for visible sites throughout the city, in consultation with Te Atiawa, the tangata whenua. Local artists will be used where appropriate, and artists who are nationally recognised for their excellence may also be brought in from elsewhere. In time, there will be a mix of traditional and contemporary Maori art in visible sites throughout Hutt City.

Asset Management:

The Public Art Manager (if this position is established) will be responsible for ensuring that Hutt City’s Public Art assets are maintained. They will inspect artworks regularly (at annually at least) and call in conservators when specialist advice or maintenance is needed. [Or: Conservators will be contracted to report on the condition of public artworks annually.] Outdoor sculptures and integrated works will be cleaned annually and when required for special events. A file recording each artwork’s condition and any treatments undertaken or planned will be maintained.

A Condition Audit of Hutt City’s public art collection has been undertaken. This document will form the basis of a five year plan for bringing the collection up to a good standard, and forms an appendix to this policy.

Deaccessioning:

Artworks should not be expected to last indefinitely. They may outlast their purpose, they may become outdated, or the environment may change around them as the city develops, making them obsolete. Alternative uses of the space they occupy (including potential new artworks) may be of higher value to the city than the existing artwork. In time, some artworks may begin to cost more to maintain than their value to the City.

Artworks will be evaluated by the PAAG for their ability to continue adding value to their environment that exceeds their cost. The value artworks deliver may be aesthetic or social. Their cost may be monetary, as in remedial or regular maintenance costs, or the cost may be the alternative uses of the space occupied by the artwork that are lost if the artwork remains.

If the PAAG finds the work no longer delivers value in its current location they will recommend the work is deaccessioned. In some cases, an alternative location may be found where the work will deliver value in excess to its cost, keeping in mind that works should suit their location. A further option exists in storing the work so that funds can be raised and/or a suitable location developed, but this option should only be exercised in exceptional circumstances and/or when a concrete plan exists for the work’s re-utilisation.

Public consultation may be necessary in the case of deaccessioning or relocation if the artwork is significant or well-loved.

Gifts:

Artworks offered as gifts will be assessed by the PAAG, who will recommend whether to accept or gracefully decline the offer. Council needs to be cautious about committing to siting and maintaining artworks that may not fit with its wider aims, the public art strategy, and other plans and strategies such as Petone 2040 and Making Places. Gifted artworks may not be of suitable quality, may have excessive maintenance costs or security issues, and may clash with other current or planned uses of the site. Once they are installed, they are difficult to deaccession without offending the donors. Gift proposals need to be considered very carefully before approval.

Appendix I

Context: Hutt City as a site for Public Art

Hutt City is a unique context and its public art needs to fit. Public art should deliver what Hutt City needs, and enhance what is special about this place.

These special characteristics include:

- Te Atiawa, the tangata whenua, and their history of excellence in traditional Maori art;

- Revitalisation Plans:

o A tired urban environment in the central city, and Council’s major plans to revitalise the city;

o The replacement of tired community facilities with suburban hubs combining sport, library, and creative facilities.

- Innovation: The city is emerging as a centre for STEMM excellence;

- A diverse range of suburban neighbourhoods, including those at the most deprived end of the scale, and those at the most affluent, as well as low population growth, an aging population, and a lack of 18-35 year olds; and

- A stunning and varied natural landscape, including the river, beaches, and bush-covered hills.

Tangata Whenua

Te Atiawa have highly respected and experienced Maori artists in the traditional arts of weaving and carving as well as in contemporary art. Public art will celebrate tangata whenua and make them more visible as a core aspect of the City’s identity and character.

Tired urban and suburban environments, and significant plans to revitalise them

Hutt City’s CBD needs revitalisation. Council is focused on transforming the city centre with the Riverlink project and other major refurbishments as part of Making Places. Public art will have an important part to play in Riverlink and Making Places both in the short and the longer term. Temporary projects will activate spaces that are in transition, or where work has not yet begun, while in the longer-term temporary and permanent works will add or reveal depth, interest, beauty and meaning in the revitalised city.

Public art also has an important role to play in the development of suburban hubs. Artworks integrated into these structures will raise the quality of the buildings and increase local engagement and pride.

People

Hutt City has a diverse range of suburban neighbourhoods, including areas of high deprivation. It also has low population growth, an aging population and a lack of 18-35 year olds making the city their home.

Public art will be accessible to all communities in Hutt City. It will offer aesthetic, sensory, socially and intellectually engaging activities to all of Hutt City’s communities in the spaces where they live, work and play, free of charge. It will allow people to experience art without having to enter an institution.

Public art will show people their own culture and stories, as well as offering opportunities to learn about others and new ideas. It will engage children, creating opportunities for learning and play.

Public art will reveal Hutt City as an innovative place with a tolerant, diverse and inclusive culture. In doing so, it will make the city more attractive and accommodating for young, creative people.

Innovation

Hutt City is home to a significant and growing body of STEMM industry leaders. The City’s public art will celebrate these achievements and showcase Hutt City as a centre for innovation and excellence to locals as well as nationally and internationally.

Natural environment

Public art will celebrate and draw attention to Hutt City’s natural environment. It will draw people to the natural environment and engage them in conservation.

Challenges and Opportunities

Hutt City is currently in a unique and exciting position in that it is in the process of developing a programme approach to public art. In a programme approach, all public art activity in the City is considered as a whole, as part of an ongoing programme with specified strategic goals. This development is signalled and given direction by this policy.

Challenges	Opportunities
Lack of internal direction of, and expertise in public art	Take a strong lead on public art and engage the right expertise to design and deliver the programme, through the establishment of a public art position within council and the PAAG.
Lack of a strategic programme approach	Implement a public art programme that is cohesive, strategic, and, over time, comprehensive
Limited funds available for public art	Establish a percent for art scheme that ensures funds for public art in major capital projects is protected from start to finish
Lack of visibility of Maori in Hutt City’s Public Art	Commission Maori public art for visible sites in the city.
Lack of established Procurement Processes leading to ad-hoc acquisition of public art	Develop sound procurement processes led by public art expertise
Asset Management- “what is the best process to maintain Hutt City’s public art assets?”	Implement best practice in public art asset management, including annual inspections and clear and accessible record keeping.

Scope of the Community Arts Implementation Plan

The plan focuses on the community arts objectives in the Arts and Culture Policy (See Arts and Culture Policy pp 9-10).

· Objective 1: Provide opportunities for participation and access to arts and cultural activities

· Objective 2: Foster creative enterprise / secure Hutt’s creative future.

Objective 3, to ‘Create, preserve and enhance public places and nurture public art, heritage and culture’ has a public arts focus, relating to capital works, urban design and public art commissions. This is outside the scope of the community arts plan.

Responsibility to deliver the plan

The Community Arts and Culture Advisor (CACA) is responsible for delivering this plan. The CACA will work with Council officers, community arts practitioners and groups, counterparts in regional territorial authorities, partners and sponsors to facilitate delivery of the actions outlined in the plan.

YEAR

ACTIONS

OBJECTIVE 1: Provide opportunities for participation and access to arts and cultural activities

OUTCOMES

OBJECTIVE 2: Foster creative enterprise / secure Hutt’s creative future

OUTCOMES

Local creative talent is retained and supported and others are attracted to make the city their home

Clear direction is provided for Council’s investment, asset management and staff resources that support arts and culture activity

The quality of life, attractive-ness and vibrancy is improved

Community connected-ness is strengthened through arts and culture

Opportu-nities to express identity, particularly cultural identity and create a sense of belonging are provided

Diversity is celebrated, building tolerance and feeling of belonging

Opportunities to increase the visibility of Māori art in the city are identified and implemented in partnership with tangata whenua

Partnerships and cross-cultural exploration are encouraged (see Leisure and Wellbeing Strategy ‘Community Partnerships and projects’ p.27)

Economic and urban development initiatives are linked to arts and culture

Collabora-tions are developed with other regional territorial authorities

Education, scholarships for young and emerging artists are established

YEAR 1

2017/18

Summer in Dowse Square

$15,000

Hutt Winter Festival (from New Arts line)

$50,000

Common Ground: Hutt Public Art Festival planning (July 2017 – June 2018)

$20,000

Murals in Schools and public places

$15,000

Art programmes Taita and Stokes Valley Hubs

$10,000

Community Arts Network

$3,000

Te Awakairangi Māori Arts and Crafts Network

$2,000

Mentoring programme

$2,000

Scholarships for emerging artists

(will develop programme and seek partners)

$0.00

Operational

$3,000

Multicultural Festival (from New Arts line)

$5,000

Develop an evaluation framework to measure whether we have achieved the outcomes

$0.00

Work with the Community Arts and Culture Advisory Group to monitor Policy outcomes

$0.00

Community Arts and Culture Fund

$40,000

TOTAL YEAR 1

$165,000

YEAR 2

2018/19

Local talent is supported

Clear direction provided for investment

Quality of life and vibrancy is improved

Community connected-ness is strengthened

Opportunities to express identity are provided

Diversity is celebrated

Visibility of Maori art in the city is increased

Partnerships and cross-cultural exploration are encouraged

Economic and urban development are linked to art and culture

Collabora-tions are developed with other councils

Education and scholarships for young / emerging artists are established

Summer in Dowse Square

$15,000

Hutt Winter Festival

$60,000

Common Ground planning and delivery (July 2018 – Mar 2019)

$50,000

Murals in Schools and public places

(all materials sponsored by Resene and Mitre 10)

$15,000

Art programmes Taita and Stokes Valley Hubs

$20,000

Community Arts Network

$3,000

Te Awakairangi Māori Arts and Crafts Network

$2,000

Mentoring programme

$2,000

Scholarships for emerging artists

$2,000

Operational

$3,000

Multicultural Festival

$5,000

Data collection and evaluation

$5,000

Work with the Community Arts and Culture Advisory Group to monitor Policy outcomes

$0.00

Community Arts and Culture Fund – initiate new funding model

$60,000

TOTAL YEAR 2

$242,000

YEAR 3 2019/20

Local talent is supported

Clear direction provided for investment

Quality of life and vibrancy is improved

Community connected-ness is strengthened

Opportunities to express identity are provided

Diversity is celebrated

Visibility of Maori art in the city is increased

Partnerships and cross-cultural exploration are encouraged

Economic and urban development are linked to art and culture

Collabora-tions are developed with other councils

Education and scholarships for young / emerging artists are established

Summer in Dowse Square

$15,000

Hutt Winter Festival

$70,000

Common Ground: Hutt Public Art Festival planning (July 19 – June 2020 )

$20,000

Murals in Schools and public places

$15,000

Art programmes Taita, Stokes Valley and Naenae Hubs

$40,000

Community Arts Network

$3,000

Te Awakairangi Māori Arts and Crafts Network

$2,000

Mentoring programme

$2,000

Scholarships for emerging artists

$5,000

Operational

$3,000

Multicultural Festival

$5,000

Community consultation (surveys, citizen’s panels)

$5,000

Work with the Community Arts and Culture Advisory Group to monitor Policy outcomes

$0.00

Community Arts and Culture Fund – 2nd year of new funding model

$80,000

TOTAL YEAR 3

$265,000

MEMORANDUM 73 04 July 2017

Our Reference 17/931

TO: Chair and Members

Arts and Culture Subcommittee

FROM: Pippa Sanderson

DATE: 19 June 2017

SUBJECT: Commentary Report on Community Arts and Culture Policy Implementation Plan 2017-2020

Recommendation

That the Subcommittee receives the Commentary report.

Purpose of Memorandum

1. This commentary supports the Community Arts Implementation Plan 2017 – 2020.

Background

2. Policy review and community engagement process

The Arts and Culture Policy 2016-2021 was reviewed in 2016 with a process of community engagement including online surveys and face to face workshops. The Community Arts Implementation Plan determines how the objectives in the policy will be achieved.

Two consultation workshops were held in June 2017 on the Community Arts Implementation Plan, one at Koraunui Marae and the other at The Dowse. The aim was to hear from the local arts community what they thought was needed to achieve the outcomes outlined in the Arts and Culture Policy 2016-21.

3. Koraunui Marae workshop

Participants in the Koraunui workshop were very interested in re-establishing the Māori arts and crafts network that was running about 15 years ago. The objectives of re-establishing the network are: to increase access to arts education, opportunities and funding for our local emerging Māori artists of all ages, to provide a support system for our Maori youth interested in following an arts pathway, and to provide a unified voice for Māori arts and crafts in Te Awakairangi Lower Hutt. The network would include local marae and Maori organisations and leadership would be shared. The kaupapa includes reaching those ‘hard to reach’ people who don’t like to visit marae or attend meetings, especially but not exclusively, youth.

4. Dowse workshop

- Increase the contestable arts funding pool, and extend the term from one to three years for stability.

- Providing accessible venues and equipment (sound and lighting) and making the outdoor venues weather-proof eg. Dowse Square, Walter Nash Centre.

- Creating opportunities to make artists’ work visible eg community galleries / exhibition spaces, and extending the About Space programme and festival sites to empty Naenae shops for example.

- Increase understanding of our heritage through street signage, light box artwork with historical figures, history scholarships and oral history projects

- Reignite the community arts network.

- Use the Hubs to create a relationship between arts / Council and the community. These are great facilities that could house or form a nucleus for local arts projects eg. School holiday art programmes.

- Hub spaces need to be subsidised as the prices are a barrier – more expensive than the community halls used to be.

- Have more community gallery spaces (these could be in each Hub)

- Have local art in The Dowse, more like Pataka in Porirua

- Make stronger links between Hutt and Wellington events, eg. Jazz Festival

- Create a data base of willing mentors

- Provide reasons for our young and experienced art stars to come back here eg. Many Kava Club members come from the Hutt

5. Key finding

The key theme of responses to the consultation was that artists and arts organisations need more support to live, work and play in the Hutt. For example, respondents identified that the impact of living so close to Wellington, a thriving arts-positive city, is that an audience and creative vacuum is created here.

It is well documented that artists and creative people make a city liveable and loveable, economically and socially. (See KPMG’s ‘Magnetic Cities’ report, outlining the magnetic character of three New Zealand cities including Wellington, and the key role the arts play in making a city magnetic attached as Appendix 1 to the memorandum.) Investing in the arts and our arts community is crucial to making our city truly liveable and loveable.

6. Proposed increased or new areas of funding resulting from consultation

No changes are being proposed or recommended to the long term budget approved as part of Council’s 2017/18 Annual. Rather the following items have been identified as being to be considered as part of 2018/19 annual plan deliberations.

Monitoring and measurement

7. A budget line has been added to address monitoring and measurement.

8. The Arts and Culture Policy requires the development of an evaluation framework that has a clear statement about how we are going to show that Council’s investment in and support of the arts and culture sector has made a measureable difference to the city. To do this we will:

· develop a better understanding of the differences the sector wants to make and how it can work with Council and the community to achieve these outcomes

· determine how we can measure outcomes as well as outputs and long term impacts

· collect data to enable benchmarking over time.

Increase to Community Arts and Culture Fund

9. It was also shown in consultation on the Policy and Implementation Plan that many of our local arts organisations are delivering invaluable social benefits as well as cultural experiences to children and families in the Hutt, and most significantly in our high deprivation areas using art and culture as a vehicle eg. Arohanui Strings, Toku Reo Trust.

10. In years 2018/19 and 2019/20 a modest increase is suggested to the Community Arts and Culture Fund (the contestable fund that provides operational funding to Lower Hutt arts organisations).

11. It is proposed that a new model be introduced where established arts organisations who have successfully delivered on Community Arts and Culture Fund commitments can apply for three year funding rather than annual funding. This adopts the funding model for Community Panels, endorsed by Council’s Community Services Committee at the 4 May 2017 meeting. This will provide more surety of funding to local arts organisations and improve their ability to forward-plan.

Arts and culture scholarships

12. In years 2018/19 and 2019/20 small allocations have been made to support art scholarships for young and emerging Lower Hutt artists to access tertiary arts and culture training. Discussion in the consultations showed that even a modest amount of financial support can be the difference between a young person pursuing a creative career or not.

13. It is proposed that business and community support will be sought to both fund the scholarships and create networks and opportunities for scholarship recipients.

Appendices

No.	Title	Page
1 ⇩	KPMG Magnetic Cities report	84

Author: Pippa Sanderson

Community Arts and Culture Adviser

Reviewed By: Courtney Johnston

Director, Museums

Approved By: Matt Reid

General Manager Community Services

MEMORANDUM 93 04 July 2017

Our Reference 17/949

TO: Chair and Members

Arts and Culture Subcommittee

FROM: Pippa Sanderson

DATE: 19 June 2017

SUBJECT: Community Arts and Culture Advisor Update

Recommendation

That the Subcommittee notes and receives the memorandum.

Purpose of Memorandum

1. To update the Subcommittee about community arts activities since the last officer’s update in April this year. A memorandum covering the Community Arts Implementation Plan 2017-2010 is included in a separate report.

Background

2. Community arts are part of the Museums Division of Council. The Community Arts and Culture Advisor reports to the Director, Museums.

3. The Community Arts and Culture Advisor:

a. provides advice within and outside of Council on matters relating to community arts;

b. leads programmes for Council that deliver on the Community Arts and Culture Policy; and

c. administers Council’s arts funding.

4. Council - led community arts programmes and events are funded through the Annual Plan.

Community arts funding

5. The Community Arts Advisor, working with the Community Funding Advisor, administers two lines of arts funding to local individuals and groups.

a. Creative Communities Funding

The Creative New Zealand (CNZ) Creative Communities programme allocates funding to local government, which is distributed to arts groups and practitioners undertaking community art projects. Decisions are made by a panel of local arts practitioners and representatives, assembled by the Community Arts and Culture Advisor.

Creative Communities Funding schedule:

§ $70,000 annually, distributed over two funding rounds.

§ The second round from 2016/17 opened on 13 February 2017 and closed 27 March 2017. The Creative Communities (CCS) panel met on 9 May 2017 to allocate funds. Successful CCS grant applications for Round 2 2016/17 are attached as Appendix 1 to the memorandum.

b. Council Community Arts and Culture Fund

This Council fund provides support for operational costs to local arts organisations.

The Community Arts and Culture Fund:

§ Provides $40,000 annually, distributed in one funding round;

§ Opens on 26 June, closes 7 August; and

§ Will be reported to the Subcommittee at their meeting to be held on 12 September 2017.

Organisations currently funded through the Community Arts and Culture Fund include:

§ Baggage Arts Charitable Trust

§ Faultline Chorus Incorporated

§ Hutt Art Society Incorporated

§ Hutt City Brass Incorporated

§ MIX - Connecting Creating Living

§ Nextstage Theatre Charitable Trust

§ Scout Association of New Zealand, Hutt Valley Gang Show

§ Sri Lanka Dance Academy

§ The Nepalese Society of Wellington

§ Toku Reo Charitable Trust Board

§ Voice Arts Trust

Creative Communities Scheme update

§ The Creative Communities Scheme Round 2 of 2016/17 funding deadline was Mon 27 March 2017. Twenty one applications were submitted. The panel met on 9 May 2017 to allocate funds.

§ Several community groups presented in support of their applications.

§ The requests for this funding round totalled $225,265.33 and the panel had $35,000 to allocate. Eighteen local arts projects were funded.

Community art programmes and events:

6. The current funding for Community Arts is $125,000.

7. Events and programmes core-funded by the Community Arts budget and managed by the Community Arts Advisor include:

§ the annual Summer in Dowse Square performing arts programme

§ the biennial Common Ground Hutt Public Art Festival

§ The Hutt Winter Festival

§ A mentoring programme

§ A mural programme

§ Community arts network

8. These events and programmes are designed to increase community connectedness through arts and culture, increase opportunities for local practitioners to present their work, to help build the local arts infrastructure, and to increase access to arts experiences for the Hutt community. The Community Arts Advisor works with several divisions of Council to realise these events.

Officer’s update

9. A report covering Common Ground: Hutt Public Art Festival and Summer in Dowse Square was submitted for the 11 April 2017 Subcommittee meeting. There are no updates for these events as no further activity on these projects has been undertaken.

Updates for the following projects follow: Hutt Winter Festival, Mural programme, Community Arts Networks and Stokes Valley Hub art projects.

Hutt Winter Festival planning and progress

10. Planning for the Hutt Winter Festival (HWF) is going well. See below for progress:

- Sponsors have been secured from public funders to local businesses including: Dusty’s and Lulu Design, Wellington Community Trust, Hutt City Creative Communities, Pub Charity Ltd, Pelorus Trust, Pete’s Emporium, Resene, Bunnings Warehouse and Bicycle Junction (HWF Supporters’ page attached as Appendix 2 to the memorandum)

- Partners include: Hutt City Libraries, About Space, Film for Change, Beyond the Page, The Common Unity Project, CPAT and Creative Voice.

- The programme has been finalized.

- Website is live www.huttwinterfestival.co.nz (See Hutt Winter Festival website screenshot attached as Appendix 3 to the memorandum)

- A website launch event was held at The Dowse on 19 May 2017. The event also functioned as a photo shoot to compile key images for promotion.

- Promotion material was printed and distributed throughout Lower Hutt and the Wellington Region, week of 19 June 2017.

- The Hutt Winter Festival Facebook page has attracted over 300 ‘likes’ and followers. The aim is for 1000 by the end of this year’s festival.

Community consultation workshops and community arts networks

11. Two workshops were held on 13 and 14 June 2017 to collect suggestions from our local arts community about the Community Arts Implementation Plan.

12. At the Koraunui Marae workshop the focus was on reviving the Māori arts and crafts network in order to support local emerging Māori arts practitioners.

13. The Dowse workshop focused on arts assets and gaps and ideas to strengthen community arts over the next three years. Reigniting the community arts network was strongly supported.

14. Mentoring by experienced arts practitioners and administrators was also a strong theme of both workshops.

15. The Community Arts Advisor is exploring ways to reignite both networks.

Mural projects

16. A mural project for the Queen’s Arcade was initiated in partnership with the Council’s Graffiti Manager. The Graffiti Manager has just completed a project in Stokes Valley where she recruited a team of six Stokes Valley youth and a local artist to work on a place-making project that included a mural on the Stokes Valley container. She identified two youth from that project to develop into youth mentors for future mural crews.

We will include those two boys to work with two local experienced mural artists to paint a mural in the Queen’s Arcade. This is going to be accompanied by officers upgrading the lighting system in the arcade.

17. Refresh the Koi mural in the Knights Road service lane, highly visible from the road. The Koi mural photo is attached as Appendix 4 to the memorandum.

18. Began investigating running a mural painting course for our local youth, to develop their painting skills and train them to put together mural proposals. The programme will aim to achieve several of the Community Arts Policy outcomes, including Objective 1:1 Local creative talent is retained and supported and others are attracted to make the city their home, 1:3 The quality of life, attractiveness and vibrancy is improved, and 1:4 Community connectedness is strengthened through arts and culture. Objective 2:3 Economic and urban development initiatives are linked to arts and culture and 2:5 Education, scholarships for young and emerging artists are established.

19. Began planning 2017/18 mural projects with the Graffiti Manager and local mural artists, thinking long term about building local training and opportunities for youth and youth mentors, consolidating our links with schools, churches, marae and other local community youth organisations and working together to make our city liveable and loveable.

Community Arts and Council’s Hubs

20. The Community Arts Advisor continues to be involved in facility developments.

21. Art projects for the Stokes Valley Hub include:

a. A carved entranceway by Mr Sam Hauwaho, local esteemed Te Atiawa artist, has begun. We have seen photos of the work in progress and it is looking very impressive. These photos are not available to the public yet, which is an established protocol in relation to works in progress.

b. The Community Arts Advisor will work alongside the Graffiti Manager to commission a community mural along the service lane, incorporating the youth she worked with on the recent Stokes Valley container mural. The Stokes Valley Pride mural project is attached as Appendix 5 to the memorandum.

c. Professional murals inside the building will be painted on site from August 2017.

d. The art project being led by The Dowse education team is underway with research trips to local Stokes Valley Schools.

22. The Community Arts Advisor has begun exploring ways that the community hubs can bring arts programmes into their everyday activities and facilities.

Appendices

No.	Title	Page
1 ⇩	Successful Creative Communities Scheme grant applicants Round 2 2016/17	106
2 ⇩	Hutt Winter Festival Supporters page	108
3 ⇩	Hutt Winter Festival website screenshot	109
4 ⇩	Koi mural Knights Road service lane	110
5 ⇩	Stokes Valley Pride mural project	111

Author: Pippa Sanderson

Community Arts and Culture Adviser

Reviewed By: Courtney Johnston

Director, Museums

Approved By: Matt Reid

General Manager Community Services

Applicant	Successful Project	Brief Description	Amount Granted
Barbara Hanlen	Camp Shutterbug	A camp where Guides will live, learn and practice photography on film and digital cameras	$500.00
Chamber Music Hutt Valley	Fathers Day concert	An afternoon concert featuring Ludwig Treviranus and Charles Wilson	$1,750.00
Chantelle Brader	Bird Booth	A travelling, outdoor, interactive theatrical performance for the Hutt Winter Festival using humour, mask and puppetry to explore oceanic environmental issues	$2,000.00
Community Performing Arts Trust	Wild Arrivals	Bringing artists and community groups together to build large creatures that will emerge throughout the course of the Hutt Winter Festival and converge as a parade at the festival finale, the Big Winter Blast	$3,000.00
Harbour Capital Chorus	Silverstream Retreat	An intensive weekend retreat to practice and improve singing techniques and skills in performing to an audience	$440.00
IHC New Zealand Incorporated	Creative Expression Through Music	Provides music workshops to give adults who have an intellectual disability opportunities for creative expression through music and movement.	$1,400.00
Koraunui School Polyfest	Polyfest 2017	Sixth year of the annual Polyfest involving 44 Hutt Valley schools secondary schools regional kapa haka, early childhood and kaumatua kapa haka groups concert and an oratory celebration by ESOL children in their first language.	$6,000.00
Lucid Dream Bikes	A Wonder of Light and Motion	A people powered parade for Hutt Winter Festival in collaboration with Naenae Clubhouse. Five bike sculptures will form part of the night parade which is open to the public to participate though workshops and joining the parade on their own pimped out bicycle.	$3,600.00
Mayur Dance Academy	Mayur Dance Academy Lower Hutt dance program 2017	A dance programme for Indian classical dances on 5 August 2017	$1,400.00
Natraj School of Dance	Thematic Indian classical Dance Production	Indian classical dance production performed by students of the Natraj School of Dance	$1,400.00
Randwick School	Waharoa/Tomokanga Project	Students and the school community will work with an artist to create a waharoa, tomokanga and mural.	$2,000.00
Stokes Valley Christian Life Centre Trust	JAM Music	Provide free or low cost music tuition to Stokes Valley kids that would otherwise not have access to the opportunity.	$2,250.00
Team Naenae Trust	Ukulele Classes	A year of one hour ukulele classes during school term time beginning May 2017	$500.00
The Rangatahi Learning Centre	Al Capone's Soup Kitchen	A free, Depression style soup kitchen, created and staffed by Rangatahi Learning Centre students. Open to the public at the Holy Trinity Church in Wainuiomata, this event is part of the Hutt Winter Festival.	$2,000.00
Thumbs UP Charitable Trust	Leading Voices	Develop song leading and music engagement in the community for a group of adults with intellectual disabilities. They will deliver four public performances, including a performance in a local train station.	$1,460.00
Vietnamese Community in New Zealand Incorporated	Vietnamese learning is fun	Vietnamese language classes for children five years and older to help them speak and write Vietnamese.	$800.00
Wainuiomata Little Theatre Inc	Wainuiomata Little Theatre's season of "Hairspray" 2017	A musical theatre production of ‘Hairspray’ in Wainuiomata, November 2017.	$1,500.00
Hutt City Lunchtime Concerts	Lunchtime concerts	Weekly concerts at St. Mark’s church from June – October 2017 to promote local musical talent and provide affordable, accessible music experiences for the local community.	$3,000.00

[3] An exemplary example of a market garden as an artwork is Amy Franceschini’s Victory Gardens, in which the artist developed land in front of San Francisco’s City Hall into a food production area in an initiative that has now grown to include private gardens and rooftops.

Mayor W R Wallace	Deputy Mayor D Bassett
Cr T Lewis (Deputy Chair)

Community Representatives:
Christine Fagan	Iwi Representative
Pam Hindmarsh	Nextstage Theatre
Anita Mansell	Hutt Multicultural Council
Johannes Mueller-Welschof	Hutt Art Society
Desiree Mulligan	Heritage and local history expert
Noel Woods	Atiawa FM, Event organiser, musician

(A)	(B)	(C)

General subject of the matter to be considered.	Reason for passing this resolution in relation to each matter.	Ground under section 48(1) for the passing of this resolution.


Minutes, 11 April 2017: Community Representatives on Arts and Culture Subcommittee	The withholding of the information is necessary to protect the privacy of natural persons. (s7(2)(a)).	That the public conduct of the relevant part of the proceedings of the meeting would be likely to result in the disclosure of information for which good reason for withholding exist.

Determine and monitor:

Consider and make recommendations to Council on:

General:

Delegated Authority:

COMMUNITY ARTS BUDGET 2017/18		COMMUNITY ARTS BUDGET 2018/19		COMMUNITY ARTS BUDGET 2019/20
Summer in Dowse Square 2018	$15,000	Summer in Dowse Square 2018	$15,000	Summer in Dowse Square 2018	$15,000
Winter Festival 2018	$50,000	Winter Festival 2019	$60,000	Winter Festival 2020	$70,000
Common Ground 2019 planning	$20,000	Common Ground 2019 delivery	$50,000	Common Ground 2021 planning	$20,000
Murals programme	$15,000	Murals programme	$15,000	Murals programme	$15,000
Hub art programmes (Taita)	$10,000	Hub art programmes x 4 (Taita, SV)	$20,000	Hub programmes (Taita, SV, Naenae)	$30,000
Community Arts Networks	$5,000	Community Arts Networks	$5,000	Community Arts Networks	$5,000
Mentoring programme	$2,000	Mentoring programme	$2,000	Mentoring programme	$2,000
Scholarships – develop programme	$0.00	Scholarships for emerging artists	$2,000	Scholarships for emerging artists	$5,000
Operational (marketing, catering etc)	$3,000	Operational (marketing, catering etc)	$3,000	Operational (marketing, catering etc)	$3,000
Multicultural Festival	$5,000	Multicultural Festival	$5,000	Multicultural Festival	$5,000
Develop an evaluation framework	$0.00	Data collection and evaluation	$5,000	Data collection and evaluation	$5,000
SUBTOTAL	$125,000	SUBTOTAL	$182,000	SUBTOTAL	$185,000

*Community Arts and Culture Fund	$40,000	*Community Arts and Culture Fund	$60,000	*Community Arts and Culture Fund	$80,000
TOTAL YEAR 1	$165,000	TOTAL YEAR 2	$240,000	TOTAL YEAR 3	$265,000