THURSDAY 16 OCTOBER 2014 - City of Joondalup · 2014-10-24 · City of Joondalup Artist Residency Program 2014-15 – [103932] 12 . 3 . Acquisition of Artwork by Marlene Harold–

THURSDAY 16 OCTOBER 2014

MINUTES OF THE ART COLLECTION AND ADVISORY COMMITTEE – 16.10.2014 Page 2

TABLE OF CONTENTS

Item No. Title Page No.

Declaration of Opening 3

Declarations of Interest 3

Public Question Time 4

Public Statement Time 4

Apologies/Leave of absence 4

Confirmation of Minutes 4

Announcements by the Presiding Member without discussion 4

Identification of matters for which the meeting may be closed to the public

4

Petitions and deputations 5

Reports 6

1 2014 City of Joondalup Community Invitation Art Award - Artworks for Acquisition – [35613]

6

2 City of Joondalup Artist Residency Program 2014-15 – [103932] 12

3 Acquisition of Artwork by Marlene Harold – [14158] 18

4 Review of the 2014 Community Art Exhibition Award Categories Size and Price Restrictions – [104010]

22

5 Review of Potential Inside-Out Billboard Locations Within the Joondalup City Centre – [35613]

30

Urgent Business 39

Motions of which previous notice has been given 39

Requests for Reports for future consideration 39

Closure 39


CITY OF JOONDALUP MINUTES OF THE ART COLLECTION AND ADVISORY COMMITTEE MEETING HELD IN CONFERENCE ROOM 1, JOONDALUP CIVIC CENTRE, BOAS AVENUE, JOONDALUP ON THURSDAY 16 OCTOBER 2014. ATTENDANCE Committee Members Cr Liam Gobbert Presiding Member Cr John Chester arrived at 7.02pm Cr Russ Fishwick, JP Cr Kerry Hollywood Deputy Presiding Member Cr Mike Norman Cr Sam Thomas Mr Mike Tidy Director Corporate Services Officers Mr Brad Sillence Manager Governance Mr Mike Smith Manager Leisure and Cultural Services Mr Thomas De Mallet Burgess Coordinator Cultural Services Ms Gemma Ben-Ary Curator Mrs Dawn Anderson Governance Officer There were no members of the public and no member of the press in attendance. DECLARATION OF OPENING The Presiding Member declared the meeting open at 7.00pm. DECLARATIONS OF INTEREST Disclosures of Financial / Proximity Interest Nil. Disclosures of interest that may affect impartiality Elected Members (in accordance with Regulation 11 of the Local Government [Rules of Conduct] Regulations 2007) and employees (in accordance with the Code of Conduct) are required to declare any interest that may affect their impartiality in considering a matter. This declaration does not restrict any right to participate in or be present during the decision-making process. The Elected Member/employee is also encouraged to disclose the nature of the interest.


Name/Position Cr Russ Fishwick. Item No./Subject Item 1 - 2014 City of Joondalup Community Invitation Art Award -

Artworks for Acquisition. Nature of interest Interest that may affect impartiality. Extent of Interest One of the artists is a work colleague of Cr Fishwick.

PUBLIC QUESTION TIME Nil. PUBLIC STATEMENT TIME Nil. APOLOGIES/LEAVE OF ABSENCE Apology: Mayor Troy Pickard. Leave of Absence Previously Approved: Cr Christine Hamilton-Prime 5 November to 20 November 2014 inclusive; 6 December 2014 to 5 January 2015 inclusive; Cr Teresa Ritchie, JP 6 November to 14 November 2014 inclusive. CONFIRMATION OF MINUTES MINUTES OF THE ART COLLECTION AND ADVISORY COMMITTEE HELD 12 JUNE 2014 MOVED Cr Fishwick, SECONDED Cr Norman that the minutes of the meeting of the Art Collection and Advisory Committee held on 12 June 2014 be confirmed as a true and correct record. The Motion was Put and CARRIED (6/0) In favour of the Motion: Crs Gobbert, Fishwick, Hollywood, Norman and Thomas and Mr Tidy. ANNOUNCEMENTS BY THE PRESIDING MEMBER WITHOUT DISCUSSION Nil. IDENTIFICATION OF MATTERS FOR WHICH THE MEETING MAY BE CLOSED TO THE PUBLIC Nil.


PETITIONS AND DEPUTATIONS Nil.


REPORTS Cr Chester entered the meeting at 7.02pm. Disclosures of interest that may affect impartiality Name/Position Cr Russ Fishwick. Item No./Subject Item 1 - 2014 City of Joondalup Community Invitation Art Award -

Artworks for Acquisition. Nature of interest Interest that may affect impartiality. Extent of Interest One of the artists is a work colleague of Cr Fishwick.

ITEM 1 2014 CITY OF JOONDALUP COMMUNITY

INVITATION ART AWARD - ARTWORKS FOR ACQUISITION

WARD All RESPONSIBLE Mr Mike Tidy DIRECTOR Corporate Services FILE NUMBER 35613 ATTACHMENT Nil. AUTHORITY / DISCRETION Executive - The substantial direction setting and oversight

role of Council, such as adopting plans and reports, accepting tenders, directing operations, setting and amending budgets.

PURPOSE For the Art Collection and Advisory Committee (ACAC) to consider the acquisition of artworks from the City’s 2014 Community Invitation Art Award. EXECUTIVE SUMMARY 2014 marks the second year of the Community Invitation Art Award (CIAA), which has replaced the annual Invitation Art Award (IAA). The CIAA is an acquisitive award with eligibility limited to City of Joondalup residents or a member of the Joondalup Community Art Association (JCAA); and aims to promote and support local professional visual arts. The CIAA offers a variety of non-acquisitive awards to support the Overall Award, which is acquisitive. The event calls for initial expressions of interest from professional local artists or members of the JCAA. From the entries received, a shortlist of artists is selected by an independent panel of industry experts to receive an invitation to exhibit a new series of three artworks. Artists receive a $500 fee to assist with the development of their works.


Prior to the official opening of the CIAA, a separate independent judging panel determines the winners of four award categories. In addition, a People’s Choice is awarded by popular vote (general public). In total, the five award categories are as follows: • The Overall Award. • The Overall Runner up Award. • The Award for Excellence. • The Celebrating Joondalup Award. • The People’s Choice Award. A condition of the CIAA is that the winning artwork of the Overall Award is acquired by the City for its art collection. The CIAA is officially opened by the Mayor in October of each year with members of the ACAC being briefed prior to the opening. Following the briefing and guided by recommendations from the City’s Curator, the ACAC determine which pieces are acquired and the Chief Executive Officer exercises his delegation and purchases those pieces. Those pieces are then reserved at the time of the opening of the CIAA. The City currently budgets an amount of $7,000 for the Overall Award (acquisitive prize), and has a further $15,000 to acquire purpose identified works in the 2014-15 financial year to include the CIAA, the Community Art Exhibition and works selected by other means (for example, galleries or private collections).

BACKGROUND The City of Joondalup’s CIAA is an annual exhibition that brings together a diverse selection of Western Australian leading artists and provides members of the public with access to a high standard of artworks. 2014 is the second year of the City’s CIAA. The event is held in October of each year within the ‘Great Space’ of Lakeside Joondalup Shopping City. As part of the CIAA, a first prize of $7,000 is awarded to the winner of the Overall Acquisitive Award, with the City automatically acquiring that work. In addition, there are four other prize categories. In total the prize categories are as follows: • The Overall Award (acquisitive) $7,000. • The Overall Runner up Award (non-acquisitive) $2,000. • The Award for Excellence (non-acquisitive) $2,000. • The Celebrating Joondalup Award (voluntary category) $2,000. • The People’s Choice Award (all artworks eligible) $2,000. The IAA had a strong history in the City and within the state and national art industry; the CIAA aims to further strengthen the City’s relationship with the broader arts community. The City supports Western Australian art and artists through an art acquisition program. The City adopts a multi-criteria approach to its art collection, acquisitions and awards. This approach ensures that the collection, acquisitions and awards include contemporary art and art that demonstrates local content and context. The term ‘contemporary art’ is used to reference art produced at this present point in time and produced since World War II. In regard to the City’s philosophy, contemporary artworks are to be conceptually resolved and reflect current practice.


DETAILS As the name suggests, the CIAA is only open to those artists that the City formally invites to exhibit. The City invited Expressions of Interest (EOI) from 21 March 2014 to 4 May 2014. A total of 61 EOI’s were received, an increase from the 27 entries received for the inaugural Award in 2013. Following the close of the EOI, the City appointed a selection panel comprising: • Simone Johnson – Exhibitions Coordinator, Fremantle Arts Centre • Thea Costantino – Artist and Lecturer from Curtin University (2013 CIAA Artist) • Louise Morrison – Independent Curator and Arts Writer. The shortlist of artists invited to enter totalled fourteen; however, one artist, Nien Schwarz, withdrew in August leaving a total of thirteen artists: • Jacqueline Ball. • Christophe Canato. • Teelah George. • David Ledger. • Alex Maciver. • Elisa Markes-Young. • Dan McCabe. • Mark Parfitt. • Perdita Phillips. • Jody Quackenbush. • Nicole Slatter. • Justin Spiers. • Roderick Sprigg. The official opening of the 2014 CIAA is scheduled for Saturday, 18 October 2014, where the winners of each award will be presented. The winners are selected by a City appointed judging panel comprising the following industry related professionals: • Paola Anselmi – Independent Curator, Arts Writer and Public Art Coordinator. • Erin Coates – Installations Coordinator, Fremantle Arts Centre. • Nadia Johnson – Curatorial Fellow and Exhibitions Coordinator, Perth Institute of

Contemporary Arts (PICA). In addition to the City acquiring the piece of artwork that wins first prize, the City also has the opportunity to acquire other work exhibited within the CIAA. This is generally done prior to the CIAA opening, which allows the City first choice on preferred pieces. Issues and options considered There are three options open to the ACAC: • accept the recommendations for acquisitions • accept part of the recommendations for acquisitions

or • not accept any recommendations for acquisitions.


Legislation / Strategic Community Plan / policy implications Legislation The ACAC and the Chief Executive Officer have been

granted delegated authority to purchase artworks recommended up to an amount of $15,000 and within budget allocations.

Strategic Community Plan Key theme Community Wellbeing. Objective Cultural development. Strategic initiative Invest in publicly accessible visual art that will present a

culturally enriched environment. Policy Art Collection and Memorabilia Policy. Risk management considerations The risks of adding artwork that is not aligned to the City’s current art collection are as follows: • The City's art collection is a specialised and curated collection. The integrity of the

collection could be jeopardised by purchasing artworks on subjective criteria. • The collection is building in value year on year and now represents a sizeable asset.

Thus, the overall value of the collection is of concern and this will deteriorate if not directed correctly or if 'weak' works enter the collection.

Financial / budget implications The 2014-15 Budget has an amount of $30,000 allocated; $7,000 for the overall winner of the CIAA acquisition award, $8,000 for the prize winner in the CIAA non-acquisitive prizes and a further $15,000 for the City to acquire art throughout the financial year of which none has been spent. Account No: C1020 Account No: C10211 Budget Item: Community Invitation

Art Award Acquisition Budget Item: Art

Acquisitions Budget Amount: $7,000 Budget Amount: $15,000 Amount Spent to Date:

$0 Amount Spent to Date: $0

Proposed Cost: $7,000 Proposed Cost: $TBD Balance: $0 Balance: $TBD

All amounts quoted in this report are exclusive of GST.


Regional significance The CIAA attracts entries from professional artists from across the state and is therefore considered to be a regional event hosted by the City. The ongoing provision of an accessible and high calibre art event is integral to the cultural development and vibrancy of the City of Joondalup and for the development of visual arts within the industry of local government. Sustainability implications The CIAA has positive social sustainability implications for the City. The event provides enhancement of the locality and acts as a catalyst for public discussion about current social, economic and environmental issues. The CIAA physically enhances public places and the public realm by creating points of interest, animating spaces and providing beauty, character and colour to the City of Joondalup. It also enhances the relevance for the local community of the City’s cultural position and increases the value of the City’s cultural resources. Consultation Not applicable. COMMENT A presentation will be made to the Committee recommending items of artwork for purchase as part of the City’s 2014 CIAA. VOTING REQUIREMENTS Simple Majority. OFFICER’S RECOMMENDATION That the Art Collection and Advisory Committee gives CONSIDERATION to acquiring the recommended pieces of artwork displayed as part of the City of Joondalup’s 2014 Community Invitation Art Award. MOVED Cr Gobbert, SECONDED Mr Tidy that the Art Collection and Advisory Committee: 1 AGREES to purchase the following pieces of artwork from the City of

Joondalup’s 2014 Community Invitation Art Award:

1.1 “Nothing and everything that is near peripheral 1” by Teelah George at a purchase price of $2,300;

1.2 “Interior with Glass” by David Ledger at a purchase price of $1,200.

It was requested that part 1.1 be voted upon separately.


MOVED Cr Gobbert, SECONDED Mr Tidy that the Art Collection and Advisory Committee: 1 AGREES to purchase the following pieces of artwork from the City of Joondalup’s

2014 Community Invitation Art Award: 1.1 “Nothing and everything that is near peripheral 1” by Teelah George at a

purchase price of $2,300.

The Motion was Put and LOST (4/3) Against the Motion: Crs Fishwick, Hollywood, Norman and Thomas. In favour of the Motion: Crs Gobbert and Chester and Mr Tidy. MOVED Cr Gobbert, SECONDED Mr Tidy that the Art Collection and Advisory Committee: 1 AGREES to purchase the following pieces of artwork from the City of

Joondalup’s 2014 Community Invitation Art Award:

1.2 “Interior with Glass” by David Ledger at a purchase price of $1,200. The Motion was Put and CARRIED (7/0) In favour of the Motion: Crs Gobbert, Chester, Fishwick, Hollywood, Norman and Thomas and Mr Tidy. MOVED Cr Thomas, SECONDED Cr Fishwick that the Art Collection and Advisory Committee: 2 NOTES the purchase in Part 1 above is subject to the piece of artwork not being

acclaimed the Acquisitive Award 2014 for the City’s 2014 Community Invitation Art Award.

The Motion was Put and CARRIED (7/0) In favour of the Motion: Crs Gobbert, Chester, Fishwick, Hollywood, Norman and Thomas and Mr Tidy.


ITEM 2 CITY OF JOONDALUP ARTIST RESIDENCY

PROGRAM 2014-15 WARD All RESPONSIBLE Mr Mike Tidy DIRECTOR Corporate Services FILE NUMBER 103932 ATTACHMENT Attachment 1 Artists reviewed Attachment 2 Background information on

recommended artists AUTHORITY / DISCRETION Executive - The substantial direction setting and oversight


PURPOSE For Council to select an artist to undertake a residency in the City of Joondalup and produce an artwork for the City’s art collection. EXECUTIVE SUMMARY In February 2013, Council agreed to invite an artist from outside of Western Australia to undertake a residency in the City of Joondalup to develop an artwork that documents and captures the iconic landmarks and people who represent the City of Joondalup. In June 2014, the Art Collection and Advisory Committee (ACAC) resolved to refer the item back to the Chief Executive Officer to liaise with the ACAC and facilitate a review of the list of artists with a report to be presented at the next meeting of the ACAC. Forty-four professional artists were reviewed for consideration. From these, seventeen responded saying that they were interested in receiving more information about the project. The City sent an information package to these artists, and eight responded with interest and a proposal of the activities that they would undertake if successful. A workshop with members of the ACAC was held on 2 September 2014 to review the eight artists. It is therefore recommended that Council: 1 APPROVES artist Brandon Bellengée from New York, USA, to complete the City of

Joondalup artist residency, to liaise with the community and develop artwork that documents the landmarks and people who represent the City, with a contract value not to exceed $30,000;


2 In the event that Brandon Bellengée is no longer available, APPROVES as the

second option Joan Linder, from New York, USA to complete the City of Joondalup artist residency, to liaise with the community and develop artwork that documents the landmarks and people who represent the City, with a contract value not to exceed $30,000.

BACKGROUND At its meeting held on 19 February 2013 (CJ021-02/13 refers), Council resolved that it: “1 ENDORSES the completion of the artwork commission to the value of $30,000; 2 AGREES to invite an international or national artist to undertake arts residency in the

City of Joondalup, developing an artwork commission that documents and captures the iconic landmarks and people who represent the City of Joondalup;

3 NOTES the arts residency detailed in Part 2 above will be completed by 2014-15”. At its meeting held on 10 February 2014, the ACAC resolved as follows: “That the item relating to International Artist Residency be REFERRED BACK to the Chief Executive Officer for further investigation, with a view to including a number of Australian artists and increasing the number of shortlisted applicants for consideration by the Art Collection and Advisory Committee.” At its meeting held on 12 June 2014, the ACAC resolved as follows: “That the item relating to the City of Joondalup Artist residency program 2014/15 BE REFERRED BACK to the Chief Executive Officer to liaise with members of the Art Collection and Advisory Committee and facilitate a review of the list of artists identified in Attachment 1 to this Report with a report to be presented to the next meeting of the Art Collection and Advisory Committee.” Following the decision of the ACAC on 12 June 2014, a workshop with members of the ACAC was held on 2 September 2014, to review the shortlisted artists. DETAILS Residencies are an effective way of contracting an artist to create an original artwork for a particular purpose and also to liaise with a community, bringing about discussion of shared values and allowing the host to reveal a place from a new perspective. Residencies also offer artists the opportunity to develop their practise and access a new audience, with the support of a hosting community who can assist in providing access and an opportunity to research the history and landmarks of the place. A successful residency is an exchange and should be of mutual benefit to both artist and host. Issues and options considered The values, objectives and themes of the City’s art collection and in particular styles and genres of art that would contribute in the long term to the art collection were examined. The objectives, timeframe and budget of the residency were defined. A phase of research was conducted utilising industry networks to compile a list of national and international artists


who might be suitable for a residency in Joondalup. Arts organisations, galleries and artists were contacted in America, the United Kingdom, Brazil, Australia and Europe. Consideration was given to artists working with environmental concerns, communities, communality engagement, and in traditional art-forms such as painting, drawing, sculpture, mural art and public art.

Forty-four professional artists from eleven countries, (including Australia) were reviewed (Attachment 1 refers) for the residency by a process of research and peer recommendation rather than a process of expression of interest. During this process, the following selection criteria were applied: • Artists’ professional standing (only professional artists were considered). • Level of engagement the artist was likely to have with Joondalup - engagement with

place, people, culture, history. • Value of the artist’s work in relation to the City of Joondalup art collection and long

term investment potential. • Links between the artist’s practice and the City’s existing art collection (including the

capacity of the City to appropriately house, display, conserve and manage the artist’s work).

• Availability of the artist to complete the residency within the 2014-15 financial year.

Forty artists were contacted to assess their level of interest in the project and of these, eight indicated they are available and interested and subsequently provided a proposal and some information about themselves as a way to express their interest. These eight shortlisted artists have indicated a significant level of engagement with the City and in the creation of an artwork if successful. Each artist provided a list of 8-10 images showing examples of previous work, a Curriculum Vitae, an artist’s biography, and a one-page proposal outlining the activities they propose to undertake during the residency. Option one: Brandon Bellengée, New York, USA Brandon Bellengée is a transdisciplinary artist who combines scientific studies with ecological art and a form of environmental activism. He works with a highly systematic methodology, working collaboratively and promoting the use of artistic enquiry as a means of realising scientific research, and vice-versa. Much of his work has a high degree of public involvement as he works to promote natural resources and living in harmony with the natural world, or at least understanding evolutionary and biological principles. His artworks come from direct experiences with amphibians, birds, fish and insect species found in natural ecosystems, and also observed in laboratory settings. His proposal includes a series of community education sessions as well as the creation of a commissioned public artwork entitled Love Motels for Insects, which is a successful series of artworks that appear in capital cities across the world and are designed to attract nocturnal flying insects. More information about Brandon Bellengée and examples of his work is provided in Attachment 2.


Option two: Joan Linder, New York, USA Joan Linder is a highly skilled, illustration-based fine artist, living and practising in New York, USA, and currently employed as an associate professor at Buffalo University, New York. She achieved her Master of Fine Art from Columbia University, New York in 1996. Joan Linder works in the traditional medium of quill-pen and ink, partly as a reaction against mass produced, electronic imagery that is so prevalent in modern life, and partly to allow viewers to experience and understand the value of mark-making and the evidence of the artist’s hand within an artwork. Her drawings are ambitious in scale and varied in subject matter. In previous commissions she has created large botanical illustrations for New York subway stations. In another project she drew the contents of her kitchen sink every day over the course of a year as a study of domestic life. She is a dedicated and energetic artist, with a rigorous approach to the craft of drawing. She is very interested in exploring the potential for new developments in her artistic practice, inspired by the urban and natural environments in Joondalup. More information about Joan Linder and examples of her work is provided in Attachment 2. Legislation / Strategic Community Plan / policy implications Legislation Not applicable.


culturally-enriched environment. Policy Not applicable. Risk management considerations Not applicable. Financial / budget implications At its meeting held on 19 February 2013 (CJ021-02/13 refers), Council endorsed the artist in residency program to the value of $30,000. The artwork commission fee paid to the artist would be in the region of $15,000 with a further $15,000 used to cover costs of hosting the artist such as travel, accommodation and daily allowance. $30,000 has been budgeted in the 2014-15 Budget. Regional significance The City’s art collection, including its public art, archives and memorabilia, plays an important part in shaping and developing a sense of community. The ongoing provision of an accessible and high calibre art collection is integral to the cultural development and vibrancy of the City of Joondalup region and to best practice standards for the development of the visual arts in local government.


Sustainability implications Environmental Art strengthens the public realm by creating points of interest, animating spaces and providing beauty, character and colour to places. Social Art provides a catalyst for public discussion about current social, economic and environmental issues. Economic Art is a driver for cultural tourism. Consultation Not applicable. COMMENT The two shortlisted artists represent high quality contemporary artists whose work would represent a culturally valuable asset for the City and whose practise will be of interest to the local community. Brandon Bellengée from the USA is the preferred artist because his proposal is to build a Love Motels for Insects for the City of Joondalup and perform a series of citizen science eco-educational programs themed around pollinator insects. The Love Motels for Insects sculptures, surrounded by a native flowering pollinator garden, will utilize UV LED lights inside an enormous sculpted canvas to attract insects. In the past decade, Love Motels for Insects have been commissioned at over 20 locations around the world. The City of Joondalup’s Love Motels for Insects would be inspired by the shape of a native pollinator species such as the Western Jewel butterfly (Hypochrysops halyaetus) or the Silver Spotted skipper (Trapezites argenteoornatus). Conceptually, the sculpture will create an opportunity for the public to focus on important pollinator arthropod species. Such species are essential to terrestrial ecosystems and pollinate upwards of 70% of our food supply. “By inviting people to bug watch, I hope to show them an essential side of local nature that many have never paid attention to. I am thrilled at the opportunity to explore this side of local nature for the first time in Australia and to bring the Love Motels for Insects to the City of Joondalup”. While in Joondalup, the artist will also be afforded opportunities to engage with community groups and collaborate with local artists and visual arts groups. Once the artist is appointed, a more specific timetable and budget will be determined that may facilitate further opportunities.


VOTING REQUIREMENTS Simple Majority. MOVED Cr Hollywood, SECONDED Cr Chester that Council: 1 APPROVES artist Brandon Bellengée from New York, USA, to complete the

City of Joondalup artist residency, to liaise with the community and develop artwork that documents the landmarks and people who represent the City, with a contract value not to exceed $30,000;

2 In the event that Brandon Bellengée is no longer available, APPROVES as the

second option Joan Linder, from New York, USA to complete the City of Joondalup artist residency, to liaise with the community and develop artwork that documents the landmarks and people who represent the City, with a contract value not to exceed $30,000.

The Motion was Put and CARRIED (7/0) In favour of the Motion: Crs Gobbert, Chester, Fishwick, Hollywood, Norman and Thomas and Mr Tidy. Appendix 1 refers

To access this attachment on electronic document, click here: Attach1ARTagn161014.pdf


ITEM 3 ACQUISITION OF ARTWORK BY MARLENE

HAROLD WARD All RESPONSIBLE Mr Mike Tidy DIRECTOR Corporate Services FILE NUMBER 14158 ATTACHMENT Attachment 1 About Marlene Harold

Attachment 2 Marlene Harold’s CV AUTHORITY / DISCRETION Executive - The substantial direction setting and oversight


PURPOSE For the Art Collection and Advisory Committee to consider the acquisition of an artwork titled ‘Early Morning Mist’ by Western Australian Aboriginal artist Marlene Harold, recently exhibited in the ‘Yey Susurrus’ exhibition at the Joondalup Art Gallery as part of the City of Joondalup NAIDOC week program 2014. EXECUTIVE SUMMARY The City’s art collection comprises over 200 artworks, with a primary focus on the work of Western Australian contemporary artists. Artworks span a wide range of media; over half of the collection consists of paintings, with the remainder of the collection including sculpture, drawings, ceramics, print works, photographs, textiles and one glasswork. The City allocated an annual acquisition budget of $15,000 for the purchase of artworks for inclusion in its collection for the 2014-15 Financial Year, of which $15,000 remains. The recommended acquisition total is $4,900. This amount falls within the Chief Executive Officer’s purchasing limit of $15,000, as outlined in the Art Collection and Memorabilia Policy. Acquisition of the proposed artwork would leave $10,100 remaining in the budget. The City’s Curator has identified this artwork as a valuable investment that will strengthen the overall value of the collection. It is therefore recommended that the Art Collection and Advisory Committee APPROVES the acquisition of the artwork entitled ‘Early Morning Mist’ (2013) by Marlene Harold for a cost of $4,900.


BACKGROUND There is a selection criteria for acquiring art into the collection, and this is outlined in the Art Collection Management Plan, which is currently under review. The purpose of the management plan and the selection criteria are to guide the way that acquisitions are made, and ensure that the integrity of the collection is maintained in terms of financial and cultural value. The City’s Curator has identified the named artwork as a valuable investment that will strengthen the overall value of the collection, and that each meets the following selection criteria: • Is a quality example that will be a significant addition to the collection. • Enhances the current scope of the City of Joondalup art collection. • Is an unconditional donation, purchase or lease which has valid and clearly verifiable

legal title. • Has the capacity to be displayed in a City building or other appropriate space without

hindrance to public access or safety. • Has the necessary resources allocated to resolve all foreseeable issues related to

conservation, presentation and storage, as part of the acquisition. • Is quality artwork by a contemporary Western Australian artist. • Represents a significant period, occasion or initiatives in the evolution of the City of

Joondalup. • Represents the artistic practice of a Western Australian artist (or artist residing in

Western Australia) who has received acclaim for their work locally, nationally or internationally.

• Strengthens and add to an existing series of works. • Builds on identifiable themes within the whole collection. The criteria for the purchase of an artwork to add to the City’s art collection differs from the criteria for directly commissioning an artist to create a new artwork. The commissioning process requires that artwork has local content, and celebrates Joondalup iconic landmarks, unlike the purchasing process required in this case. DETAILS Marlene Harold has become a coveted name among collectors in recent years. One of her paintings was presented to Queen Elizabeth II during her visit to Perth as part of the CHOGM Conference in 2011. Marlene’s work is distinguishable by its soft shimmering palette and unusual blending of colour. ‘Early Morning Mist’ is a fine example of this artist’s work and will be a sound investment for the City of Joondalup art collection. Further information about the artist is contained in Attachment 1. Issues and options considered There are two options open to the ACAC: • accept the recommendation for the acquisition

or • not accept the recommendation for the acquisition.


Legislation / Strategic Community Plan / policy implications Legislation The ACAC and the Chief Executive Officer have been

granted delegated authority to purchase artworks recommended up to an amount of $15,000 and within budget allocations.

Strategic Community Plan Key theme Community Wellbeing. Objective Cultural development. Strategic initiative Invest in publically accessible visual art that will present a

culturally enriched environment. Policy Art Collection and Memorabilia Policy. Risk management considerations The risks of adding artwork that is not aligned to the City’s current art collection are as follows: • The City's art collection is a specialised and curated collection. The integrity of the

collection could be jeopardised by purchasing artworks on subjective criteria. • The collection is building in value every year and now represents a sizeable asset.

Thus, the overall value of the collection is of concern and this will deteriorate if not directed correctly or if 'weak' works enter the collection.

When the City’s art collection was assessed in 2011, the valuer’s comments noted that the City has a significant contemporary art collection of excellent financial and cultural value. Overall, selections have been made in order to build a collection of high artistic and financial value. Financial / budget implications The City allocated an annual acquisition budget of $15,000 for the purchase of artworks for inclusion in its collection for the 2014-15 Financial Year, of which $15,000 remains. The recommended acquisition total is $4,900. This amount falls within the Chief Executive Officer’s purchasing limit of $15,000, as outlined in the Art Collection and Memorabilia Policy. Acquisition of the proposed artwork would leave $10,100 remaining in the budget. All amounts quoted in this report are exclusive of GST. Regional significance The City's art collection is a specialised and curated collection of artworks by Western Australian artists. Selections have been made in order to build a collection of high artistic and financial value.


The collection is building in value and now represents a sizeable asset. When the City’s art collection was assessed in 2011, the valuer’s comments noted that the City has a significant contemporary art collection of excellent financial and cultural value. Sustainability implications The acquisition of artworks for the collection has positive social sustainability implications for the City. The art collection acts as a catalyst for public discussion about current social, economic and environmental issues. The Collection physically enhances public places and the public realm by creating points of interest, animating spaces and providing beauty, character and colour to the City. It also enhances the relevance for the local community of the City’s cultural position and increases the value of the City’s cultural resources. Consultation Not applicable. COMMENT The artwork recommended for acquisition ‘Morning Mist’ (2013) by Marlene Harold, has been identified by the City’s Curator as a valuable investment by a significant Western Australian artist that will strengthen the overall value of the collection. VOTING REQUIREMENTS Simple Majority. MOVED Mr Tidy, SECONDED Cr Norman that the Art Collection and Advisory Committee APPROVES the acquisition of the artwork entitled ‘Early Morning Mist’ (2013) by Marlene Harold for a cost of $4,900. The Motion was Put and CARRIED (5/2) In favour of the Motion: Crs Gobbert, Chester, Norman and Thomas and Mr Tidy. Against the Motion: Crs Hollywood and Fishwick. Appendix 2 refers



ITEM 4 REVIEW OF THE 2014 COMMUNITY ART

EXHIBITION AWARD CATEGORIES SIZE AND PRICE RESTRICTIONS

WARD All RESPONSIBLE Mr Mike Tidy DIRECTOR Corporate Services FILE NUMBER 104010 ATTACHMENT Nil. AUTHORITY / DISCRETION Executive - The substantial direction setting and oversight


PURPOSE For Council to review the 2014 Community Art Exhibition (CAE) award categories, size and price restrictions. EXECUTIVE SUMMARY The CAE is an annual non-acquisitive art award and exhibition open to City of Joondalup residents and members of local visual arts associations. At the Art Collection and Advisory Committee meeting (ACAC) held on 12 June 2014 a report was requested on the size of artworks presented in the Community Art Exhibition. A community feedback survey was conducted seeking feedback on the size of artworks and other issues. This report presents the results of a community feedback survey and outlines options regarding the CAE award categories, the size restriction of 50 x 50 centimetres and the price restriction of maximum $1,000 introduced in 2013 and an option to limit the number of entries. The feedback survey indicates the community supports the current award categories and a price restriction on artworks; however, the size restriction implemented in 2013 is not supported. Survey participants have strongly indicated they will support a return to the previous maximum artwork size of 100cm x 100cm. As a result of community feedback received and a review of the award by City officers, a series of recommendations are made including: • increasing the size restriction from 50cm x 50cm to 100cm x 100cm • introducing a change to the terms and conditions to include an option for the City to

limit entries to a maximum of 200.


BACKGROUND At the ACAC meeting held on 12 June 2014, a report was requested relating to the size of artworks presented in the CAE. As a result of this request, the report also examines other elements of the CAE. The City of Joondalup CAE is an annual exhibition open to all City of Joondalup residents and members of local visual arts associations. It offers non-acquisitive awards in a variety of categories: • Most Outstanding Work (any medium) - $1,500. • Works on Paper - $1,000. • Painting - $1,000. • Sculpture / Three Dimensional - $1,000. • Textiles - $1,000. • Photomedia - $1,000. • Celebrating Joondalup Award - $500. • Student Award Jacksons Voucher - $250. • Popular Choice Award - $500. • Artist in Focus Award - $500 and a solo exhibition at Joondalup Art Gallery (formerly

blend(er) Gallery).

The Community Art Exhibition is not restricted to any medium and is an important event in the City’s local visual arts calendar. The visual arts form an important part of the cultural and economic development of the City of Joondalup. The CAE contributes to the community’s sense of wellbeing through the promotion and support of local arts and culture culminating in a showcase exhibition run to a professional standard. The exhibition provides an engaging cultural experience for the general public and is much anticipated by local artists, who range from high school art students and hobbyists to professional artists. For a small entry fee, local artists have the opportunity to gain exposure for their art practise and participate in an annual community exhibition. The exhibition has an ongoing partnership with the Joondalup Community Art Association (JCAA). According to the terms and conditions of entry developed for the CAE, artists are required to adhere to size restrictions. Between 2009 and 2012 size restrictions for artworks were as follows: • 2-Dimensional work must not exceed 1m x 1m (including frame). • 3-Dimensional entries must not exceed 2m x 2m (including base), if intended for floor

display. • Artwork prices must not exceed $10,000.

In 2012, a series of changes were proposed and approved by Council.


At its meeting held on 20 November 2012 (CJ247-11/12 refers), Council agreed (in part): “1 To amend the Terms of Reference for the Community Art Exhibition by limiting:

1.1 two dimensional artwork to a size of 50 x 50 centimetres (including frame); 1.2 three dimensional artwork to a size of 50 centimetres high x 50 centimetres

wide x 50 centimetres deep; and 1.3 the maximum price of artworks to $1000.”

The changes were designed to revitalise the award in the following ways: • To present established artists with an interesting challenge in developing their

practice by working in a new size. • To encourage amateur artists to enter an exhibition for the first time. • To present a level playing field for participating artists. The changes were also introduced in order to address the issue of limited exhibition space available and it was anticipated the size restriction would offer an opportunity to present the exhibition in a more coherent and aesthetically pleasing way. It was also proposed when setting a maximum price of $1,000 on any work, that this would help members of the public feel more inclined to purchase works while encouraging artists to set realistic boundaries for their own sales. The price and size restrictions were implemented for the 2013 and 2014 CAE’s and the City received some negative feedback from participants and audiences, specifically regarding the size and price restrictions. In addition, entry numbers into the CAE demonstrate a decline over the last six years with the largest drop in numbers occurring between 2013 and 2014 with 43 fewer entries received.

Year Number of CAE Entries Received 2009 204 2010 200 2011 190 2012 180 2013 162 2014 119

In July 2014 following the CAE, an online survey was developed to gather feedback on the CAE and was sent to CAE stakeholders. The survey was sent to approximately 571 people including artists who exhibited between 2011 and 2014, exhibition attendants, members of the JCAA and to the Visual Arts mailing list. A total of 58 people took part in the survey. The survey requested feedback on the Award categories, size and price restrictions and participants were also invited to submit general comments.


DETAILS Feedback survey participants were asked to indicate their level of support for the areas detailed below: AWARD CATEGORIES

Support Unsure Oppose

Most Outstanding Work 50 5 3 Works on Paper 53 4 1 Painting 55 2 1 Sculpture / three dimensional 52 5 1 Textiles 44 11 3 Photomedia 43 10 5 Artist in Focus 42 12 4 Celebrating Joondalup 51 4 3 Student Award 50 7 1 Popular Choice 49 4 5

PRICE RESTRICTION Strongly

Support Support Unsure Oppose Strongly

oppose Level of support for $1,000 price restriction

20 25 5 7 1

PREFERRED SIZE RESTRICTION

100x100cm 90x90cm 80x80cm 70x70cm 60x60cm No restriction

Level of support for suggested sizes

28 1 1 2 3 11

OPTION TO LIMIT ENTRIES Strongly

Support Support Unsure Oppose Strongly

oppose Level of support for an option to limit entries

15 13 14 7 9

Issues and options considered Award Categories: Results for the survey indicate support for all categories. Three categories received slightly less support: Textiles, Photomedia and Artist in Focus. With regard to the Textiles and Photomedia categories, survey feedback indicates a perception among artists that these categories receive fewer entries thereby increasing the chances for artists in these categories to win the award.

SIZE RESTRICTION Strongly Support

Support Unsure Oppose Strongly oppose

Level of support for 50cm x 50cm size restriction

7 12 0 18 21


In terms of addressing the lower entries for the Photomedia and Textile categories, direct advertising to art groups, camera clubs and educational institutions such as Edith Cowan University and West Coast Institute may increase the entries into these categories in 2015. With regard to the Artist in Focus Award survey feedback indicates lesser understanding of what this award entails. This will be addressed in the entry process for the 2015 exhibition with the introduction of a Frequently Asked Questions (FAQ) page to explain the categories clearly as well as provide additional information about other aspects of the Award. Changing the existing Award categories is not recommended as they are supported by the community and are appropriate for the majority of entries received. However, a new category, Mixed Media could possibly be considered in the future. Mixed Media is a standard category in many art awards and categorises works that use a combination of visual art mediums. Many artists use a combination of media to create artworks that cannot be classified as sculptural or three dimensional, for example a paper based work that may incorporate painting, textiles and found objects. The introduction of a new Mixed Media category could offer opportunities for artists to enter a category in which their artwork will be judged more appropriately against entries of a similar nature. The City will ask for feedback from the community about the introduction of a Mixed Media category to establish whether this would be supported. Price restriction: Survey results indicate overall support for the $1,000 price restriction. The City has received additional feedback from some local professional artists who have indicated they would support an increase in the price restriction to $2,000 in recognition that their works normally sell for over $1,000. Given the results of the survey, it is not proposed to alter the price restriction but review in future CAE’s. Size restriction The size restriction introduced in 2013 was the most contested change by artists. Survey feedback and comments received from the general public indicated audiences enjoyed earlier exhibitions containing a variety of sizes and larger works. Survey participants support retaining a size restriction and survey results indicate the most supported size restriction is 100cm x 100cm. Following the 2014 CAE, a review was undertaken of the available space, the average size of entries and the financial implications of installing additional walling infrastructure and concluded up to 200 artworks based on a 100cm x 100cm size restriction would be manageable within the Great Space. It is suggested that the ACAC support increasing the maximum size restriction to 100cm x 100cm (allowing up to 102cm for pre-made stretched canvases) and implementing this change for three years to assess the impact on the Award and the number of entries received.


Limited entries Survey participants were also asked to consider the option of limiting the number of entries accepted into the award instead of having a maximum a size restriction and survey feedback indicates this idea was supported. At this stage, there is no immediate requirement to limit entries, as the number of entries has not exceeded 204 in the last five years. However, it is recommended introducing an option for the City to limit entries received and include this in the CAE Terms and Conditions to ensure the event remains manageable in the future. A limit of 200 entries at a maximum of 100cm x 100cm would be optimal. By implementing an option to limit entries rather than maintaining a size restriction, planning the exhibition infrastructure and layout remains manageable. Options to consider: Option 1 Continue with running the CAE with the current format, size restrictions and reassess the impact of the size restrictions in 2015. Option 2 Make the changes recommended and reassess the impact of the changes after three years in 2017. Legislation / Strategic Community Plan / policy implications Legislation Not applicable.

Strategic Community Plan Key theme Community Wellbeing. Objective Cultural development. Strategic initiative • Invest in publicly accessible visual art that will present

a culturally-enriched environment. • Promote local opportunities for arts development.

Policy Not applicable. Risk management considerations The risk of not making the recommended changes could mean the further reduction of entries into the CAE and a loss of community interest and support in the Award.


Financial / budget implications Future financial year impact Annual operating cost The annual CAE operating cost for 2013-14 was $45,695.

Estimated annual income The annual income for the 2014 CAE is $5,200. This total

comprises of entry fees and sales of artworks generating a commission of 20%.

Regional significance The creation of a high standard of professional art creates a cultural asset for the entire northern region. It promotes the City as an instigator of supporting development in local arts and culturally invigorates the City of Joondalup through engaging the local community. Sustainability implications The CAE is an important event in the City’s local visual arts calendar. The visual arts form an important part of the cultural and economic development of the City of Joondalup. The CAE contributes to the Joondalup community’s sense of wellbeing through the promotion and support of local arts and culture culminating in a showcase exhibition run to a professional standard. Consultation Consultation took place by inviting community stakeholders to submit comment through an online feedback survey (also available in print on request). The survey was available from 23 July and closed on 22 August 2014. COMMENT Through community consultation and a review of the CAE, a series of recommendations are made which are designed to improve the process of administering and running the award and to address negative feedback due to changes introduced in 2013. VOTING REQUIREMENTS Simple Majority.


MOVED Cr Norman, SECONDED Mr Tidy that Council: 1 AGREES to amend the Terms and Conditions of the Community Art Exhibition

by:

1.1 Increasing the Community Art Exhibition artwork size restriction to 100cm x 100cm (including frame) and three dimensional artworks to a size of 100cm high x 100cm wide and x 100cm deep;

1.2 Introducing a change to the Terms and Conditions to include an option

for the City to limit entries to a maximum of 200;

2 REQUESTS a further report following the 2017 Community Art Exhibition that evaluates the amendments made in Part 1 above.

The Motion was Put and CARRIED (5/2) In favour of the Motion: Crs Gobbert, Chester, Norman and Thomas and Mr Tidy. Against the Motion: Crs Fishwick and Hollywood.


ITEM 5 REVIEW OF POTENTIAL INSIDE-OUT BILLBOARD

LOCATIONS WITHIN THE JOONDALUP CITY CENTRE

WARD All RESPONSIBLE Mr Mike Tidy DIRECTOR Corporate Services FILE NUMBER 35613 ATTACHMENT Attachment 1 Proposed billboard locations AUTHORITY / DISCRETION Executive - The substantial direction setting and oversight


PURPOSE For Council to consider the list of sites identified within the City of Joondalup as feasible for new billboard locations as part of the Inside-Out Billboard project. EXECUTIVE SUMMARY There are eight sites within the City of Joondalup considered potential locations for the Inside-Out Billboard project. Potential locations were identified and initial quotes were obtained from suppliers of the necessary infrastructure. Following consideration of the feasibility of each potential location, one site is recommended as the preferred option: • The land between Teakle Court and Central Park West Parking Station number 8,

site of the proposed Joondalup Performing Arts and Cultural Facility. The recommended site is on City owned land and suitable for standard size (6m x 3m) free standing billboards. This site is situated on one of the busiest roads in the City Centre and would provide maximum exposure for art work displayed on the billboards.


BACKGROUND At its meeting held on 20 November 2012 (CJ247-11/12 refers), Council agreed (in part) that it: “2 AGREES to list an amount of $24,500 for consideration within the 2013/14 budget for

the project; and 3 ADVISES that no Community Consultation will be undertaken for the ‘Inside Out

Billboard’ Public Art project for the City of Joondalup.” In September 2013, a 6m x 3m standard billboard was installed on the west facing side of the Joondalup Library and in March 2014, an artwork by Western Australian Artist Helen Smith, selected from the Community Invitation Art Award 2013, was installed. Positive feedback was received for the inaugural billboard display. At its meeting held on 12 June 2014, the Art Collection and Advisory Committee requested a report assessing the feasibility of new billboard locations for the Inside-Out Billboard project. DETAILS In assessing the suitability for billboard locations the issues considered are as follows: • Visibility within the designated public space. • Whether a billboard would block sight lines of vehicle traffic. • Whether a billboard would obstruct or alter the flow of pedestrian traffic. • Proximity to the first billboard on the library in the Joondalup City Centre. • The type of billboard structure suitable for the location (wall based, free standing,

rooftop). • The amount of site preparation and works required to install the billboard structure. • Whether the site is owned by the City of Joondalup or private property requiring

negotiation with private lease holders. In assessing new billboard locations the following points need to be considered: The first billboard installed on the side of the Library uses sail track to rope the 6m x 3m canvas banner into place. For it to be possible to rotate canvas banners between sites, the other sites must also have 6m x 3m billboard frames that utilise the same sail track system. Canvas banners (especially facing west) begin to fade after six months, and the banner surface can begin to crack. Each banner may only be able to be displayed for six months and may need to be reprinted for future display at another site. The cost for banner printing and installation is between $2,000 and $4,000 depending on the location. Banners in reasonable condition can be stored and reinstalled; however, their lifespan at best would not extend beyond two displays.


This report provides a summary of the sites and the range of quotes provided by four suppliers. As they are estimated quotes the costs may change if engineering drawings and site preparation/management are required. The quotes are to be regarded as accurate but not final. The quotes provide an indication of the cost of installing a billboard in the listed locations however the final quality of the quoted infrastructure would need to be assessed before committing to a supplier and to determine the final budget that would be required if a new site is approved. All costs quoted in this Report are exclusive of GST. Visual representations of billboards in the proposed sites are shown on Attachment 1 to this Report. Issues and options considered Eight sites have been identified within the City Centre. The identified sites contain a combination of freestanding, wall-based and rooftop billboards. The feasibility of each site has been considered and issues identified. The recommended sites are the simplest in terms of site preparation, infrastructure install and cost and visibility to the general public. In considering sites, the potential to attract graffiti has also been considered. The suggested sites are situated in high foot and vehicular traffic areas, reducing the risk of graffiti occurring. The canvas banners can be graffiti coated, or if they are slashed or damaged beyond repair they can be reprinted. The type of lighting selected will also have an impact on costs. External floodlights attract insects that stick to the lamps and can fall and gather below the billboard, and cause hot spots that flare on the surface of the billboard. Internal (lightbox) lighting is the preferred option as it is uniform and washes the entire surface of the banner. The first billboard on the side of the Library is lit with internal lighting. The two different types of lighting are very different in visual effect, and internal lighting is premium in effect and price. Proposed location 1: The land between Teakle Court and Central Park West Parking Station number 8, site of the proposed Joondalup Performing Arts and Cultural Facility.

The land is owned by the City. Negotiation to install billboards would not be required.

One billboard could be installed on the corner of Teakle Court and Grand Boulevard facing South West: 1 x freestanding illuminated billboard (lightbox)

Quote range

Capital cost to manufacture and install $16,000 - $27,500 Annual operational cost (banner print, install and artist fees)

$10,000 - $14,300

Contingency $2,000 Contingency includes traffic management costs and site preparation including the removal of vegetation where required.


Proposed location 2: The north-west and/or south-west corners of Kendrew Crescent and Grand Boulevard. This site is directly opposite the entrance to Edith Cowan University (ECU) with a large amount of exposure to passing vehicle traffic travelling in both directions on Grand Boulevard, as well as foot traffic between ECU, West Coast Institute and the Joondalup bus and train station. The land is owned by ECU and negotiation would be required to install billboards. One billboard could be installed on the north-west corner of Kendrew Crescent. 1 x freestanding illuminated billboard (lightbox)

Quote range


$10,000 - $14,300

Contingency $2,000 Proposed location 3: The City of Joondalup Police Station and Courts, 9 Reid Promenade. This site is owned by Department of Lands and negotiation would be required to install billboards. Options: • One free standing billboard could be installed on the lawn facing south-east towards

Grand Boulevard. • One billboard may be installed on a structurally suitable and sound part of the roof. • One wall based billboard could be installed on a suitable wall, for example the east

wall facing Grand Boulevard.

1 x wall-based illuminated billboard (lightbox)

Quote range


$10,000 - $14,300

Contingency $2,050 1 x rooftop illuminated billboard (lightbox)

Quote range


$11,500 - $16,400

Contingency $3,800 1 x wall mounted illuminated billboard (lightbox)

Quote range


$11,500 - $16,400

Contingency $3,800


Proposed location 4: Corner of Shenton Avenue and Grand Boulevard. This site is owned by the Department of Lands and negotiation would be required to install billboards. One free standing billboard could be installed facing the intersection of Grand Boulevard and Shenton Avenue facing north-east. 1 x freestanding illuminated billboard (lightbox)

Quote range


$10,000 - $14,300

Contingency $2,000 Proposed location 5: 140 Grand Boulevard, above Westpac overlooking the intersection of Boas Avenue facing south-east. This site is privately owned and negotiation would be required to install billboards. One roof mounted billboard could be installed on a structurally suitable part of the roof on top of the building overlooking the intersection of Grand Boulevard and Boas Avenue. 1 x rooftop illuminated billboard (lightbox)

Quote range


$11,500 - $16,400

Contingency $3,800 Proposed location 6: Lakeside Joondalup Shopping City buildings, Corner of Grand Boulevard and Boas Avenue. This site is owned by Lend Lease and negotiation would be required to install billboards. Options: • One free standing billboard could be installed on the roof facing east over the

intersection of Grand Boulevard and Boas Avenue. • One wall based billboard could be installed on the wall facing east over Grand

Boulevard.

1 x rooftop illuminated billboard (lightbox)

Quote range


$11,500 - $16,400

Contingency $3,800 1 x wall mounted illuminated billboard (lightbox)

Quote range


$11,500 - $16,400

Contingency $3,800


Proposed location 7: 151 Grand Boulevard, Grand Boulevard Hotel. This site is privately owned and negotiation would be required to install a billboard. One rooftop billboard could be installed above the wall facing south over Boas Avenue. 1 x rooftop illuminated billboard (lightbox)

Quote range


$11,500 - $16,400

Contingency $3,800 Proposed location 8: 52 Boas Avenue. This site is privately owned and negotiation would be required to install a billboard. One rooftop billboard could be installed facing south-east over Boas Avenue or could be positioned facing west along Boas Avenue. 1 x rooftop illuminated billboard (lightbox)

Quote range


$11,500 - $16,400

Contingency $3,800 Legislation / Strategic Community Plan / policy implications Legislation As the construction and installation of the ‘Inside-Out

Billboard’ will be undertaken by the City, it would therefore be regarded as a ‘public work’ and no planning approval would be required. Section 6(3) of the Planning and Development Act 2005 requires the responsible authority to be consulted with at the time the public work is being formulated. The structure would be classified as a class 10b within the Building Code of Australia and would require a building permit as required by the Building Act 2011. The structure may also require a Structural Engineer Certificate.


culturally-enriched environment. Policy Not applicable. Risk management considerations All works considered would need to meet stringent public safety criteria.


Financial / budget implications The financial implications are variable and will be determined by the choice of site and billboard type approved. Further final/detailed quotes would be required. All amounts quoted in this report are exclusive of GST. Below is the actual capital cost to the 2013-14 budget for installation of the Inside-Out Billboard located at the Library. Item Cost

Manufacture and installation of billboard including printing of first banner

$26,755

Traffic management for 1.5 days $2,684

Manufacture, printing and install of the tag/sign (once off cost)

$930

Total $30,361 The installation of the tag/sign at the inaugural site at the Library was to launch the project and will not be repeated at future sites. The annual cost to operate the Inside-Out Billboard located at the Library is $15,200. Item Cost

Artist commission fee 1 $3,000

Artist commission fee 2 $3,000

Banner printing, changeover for commission 1 $3,800

Road traffic management for commission 1 $800

Banner printing, changeover for commission 2 $3,800

Road traffic management for commission 2 $800

TOTAL $15,200 If Council proceeds with additional Inside-Out Billboard locations, a capital budget will need to be established for each site for the design, manufacture and installation of a billboard. An annual operational budget will need to be established and allocated to the annual program of each additional site. Regional significance The City’s art collection, including its public art, archives and memorabilia, plays an important part in shaping and developing a sense of community. The on-going provision of an accessible and high calibre art collection is integral to the cultural development and vibrancy of the City of Joondalup region and to best practice standards for the development of the visual arts in local government.


Sustainability implications The installation of public artworks has positive social sustainability implications. Public artworks physically enrich a locality and provide a catalyst for public discussion about current social, economic and environmental issues. Public artworks strengthen the public realm by creating points of interest, animating spaces and providing beauty, character and colour to places. A new public artwork will build upon the relevance of the City’s public spaces for the local community and increase the value of the City’s cultural resources. Consultation At its meeting of 25 October 2012 Council agreed that no community consultation will take place for the Inside-Out Billboard project. However engagement would need to be undertaken with the relevant land owners and statutory authorities where appropriate. COMMENT The feasibility of each location has been considered and one site is recommended as a preferred option; the land between Teakle Court and Central Park West Parking Station number 8, site of the proposed Joondalup Performing Arts and Cultural Facility. The recommended site is on City owned land and suitable for standard size (6m x 3m) free standing billboards. This site is situated on one of the busiest roads in the Joondalup City Centre and would provide maximum exposure for art work displayed on the billboards. The recommended site also requires minimum preparation, no negotiation with private owners and will promote the site of the proposed Joondalup Performing Arts and Cultural Facility on Grand Boulevard. VOTING REQUIREMENTS Simple Majority.


OFFICER’S RECOMMENDATION That Council: 1 APPROVES the installation of a billboard at the site between Teakle Court and

Central Park West Parking Station number 8, site of the proposed Joondalup Performing Arts and Cultural Facility as the next Inside-Out Billboard location;

2 REQUESTS that funds be listed for consideration in the 2015-16 budget for the

approved site for the next Inside-Out Billboard location. MOVED Cr Gobbert, SECONDED Cr Hollywood that Council: 1 REQUESTS that funds be listed for consideration in the 2015-16 Budget for the

approved site for the next Inside-Out Billboard location as detailed in Part 2 below;

2 Subject to funds being approved in the 2015-16 Budget, APPROVES the

installation of a billboard at the site between Teakle Court and Central Park West Parking Station number 8, site of the proposed Joondalup Performing Arts and Cultural Facility as the next Inside-Out Billboard location.

The Motion was Put and CARRIED (4/3) In favour of the Motion: Crs Gobbert, Fishwick and Hollywood and Mr Tidy. Against the Motion: Crs Norman, Chester and Thomas. Appendix 3 refers



URGENT BUSINESS Nil. MOTIONS OF WHICH PREVIOUS NOTICE HAS BEEN GIVEN Nil. REQUESTS FOR REPORTS FOR FUTURE CONSIDERATION A report was requested on the possibility of including a member of the public on the selection panel for the Community Invitation Art Award. CLOSURE There being no further business, the Presiding Member declared the meeting closed at 7.53pm; the following Committee Members being present at that time:

Cr Liam Gobbert Cr John Chester Cr Russ Fishwick, JP Cr Kerry Hollywood Cr Mike Norman Cr Sam Thomas Mr Mike Tidy, Director Corporate Services

1

ATTACHMENT 1

Artists Reviewed

1. Aly de Groot, Australia* 2. Amy Youngs, USA* 3. Angela Valamanesh, Australia 4. Beatriz Milhazes, Brasil 5. Bjorn Schuelke, USA 6. Brandon Bellengée, USA* 7. Brenda Cablayan, Hawaii 8. Bruno Miguel, Brasil 9. Byeong Doo Moon, China 10. Camilla Lawson, Australia 11. Chen Qyulin, China 12. Coco Meacham, Australia 13. Dale Chihuly, USA 14. Daniel Noronha, Brasil 15. Emidio Contente, Mexico 16. Eran Reshef, Israel 17. Henrietta Stuart, UK* 18. Huang Yulong, China* 19. Jamie North, Australia 20. Jenny Fraser, Australia 21. Joan Linder, USA* 22. Kusama, Japan 23. Laertes Ramos, Brasil 24. Laura Delaney, Australia 25. Lee Jay Heo, Japan 26. Luanna Jimenes, Brasil 27. Mark Fox, USA 28. Massimo Vitali, Germany 29. Nazarene, Brasil 30. Nick Selenitsch, Australia 31. Nicola Costantino, Argentina 32. Raquel Kogan, Brasil 33. Robbbbb, China 34. Robbie Karmel, Australia* 35. Robbie Rowlands, Australia* 36. Sergio Lucuna, Brasil 37. Simon and Tim Bloor, UK 38. Talitha Kennedy, Australia 39. Theo Firmo, Brasil 40. Theo Jansen, Netherlands 41. Tobias Richardson, Australia 42. Victorine Muller, Switzerland 43. Yayoi Kasama, Japan 44. Zoe Croggin, Australia

*Artists who have responded with an expression of interest and a proposal stating the activities they would undertake if successful.

APPENDIX 1

ATTACHMENT 2

Artist Information and Images

1

Artist information and images

Contents

Page 2 Brandon Bellengée, example of previous artwork

Page 3 Brandon Bellengée, Artist Statement and Biography

Page 4 Brandon Bellengée, Resumé

Page 8 Brandon Bellengée Proposal for the City of Joondalup

Page 9 Joan Linder, example of previous artwork

Page 10 Joan Linder, Resumé

Page 14 Joan Linder, Proposal for the city of Joondalup

ATTACHMENT 2


2

Brandon Bellengée, example of previous artwork

ATTACHMENT 2


3

BRANDON BALLENGÉE: Artist Statement Since 1996, my transdisciplinary practice has bridged primary scientific studies with ecological art and engaged environmental stewardship. Underlying my practice is a systemic methodology, which posits art practice as a means of realizing research science, and vice-versa. Inherent to this working method is an impetus for “ecosystem activism” implemented through participatory biology field investigations and laboratory programs that stress public involvement – my attempt at social sculpting. My artworks come from direct experiences with amphibians, birds, fish and insect species found in today’s preternatural ecosystems and those observed in postnatural laboratory settings. The art itself is made from diverse mediums including biological materials (chemically cleared and stained deformed specimens displayed as glowing gems, preserved specimens to represent collapsing global food webs, living plants and animals displaced in temporary mesocosums, paintings from my own blood mixed with industrial pollutants found in my own body and the living bodies of all organisms), large-scale scanner photographs representing the individuality of non-human individuals, outdoor light sculptures to encourage insect breeding and participatory trans-species happenings- all of these try to re-examine the context of the art object from a static form (implying rationality and control) into a more organic structure reflecting the inherent chaos found within evolutionary processes, biological systems and nature herself.

BRANDON BALLENGÉE: Biography As an artist, biologist and environmental activist, Brandon Ballengée has been creating transdisciplinary artworks and participatory ecological programs for more than two decades. Born in 1974 in a rural Ohio, he grew up surrounded by nature and animals. His earliest memories are of looking at frogs, toads, salamanders, fish and insects - drawing them and later recording their behavior in a lab built in his parent’s basement. As a teenager, he was making large-scale abstract paintings and sculptures made from downed trees. In the late 1980’s, when news started to come out about global diminishing biodiversity, and in particular the decline of amphibians and malformations in their populations, he felt compelled to do something. He began making art about environmental issues attempting to get the message out and also started studying biology, first informally as a volunteer, and later conducting his own primary research studies. In 1996, Ballengée moved to New York to focus on his art career. Employing media as diverse as billboard sized digital prints of chemical cleared and stained multilimbed frogs, eco-displacement installations, sculptures incorporating preserved and living materials, laboratory filmed videos and performative Eco-Actions, his work has since been exhibited throughout the USA and internationally in 18 countries. His art has been featured in several major US publications, including ARTnews, Art in America, The New York Times, New Yorker, The New York Times Magazine, Orion, Audubon Magazine and Sculpture. Internationally, it was also featured in Beaux Arts (France), Liberation (France), L’Oeil (France), The Observer (England), The Guardian (England), Financial Times (England), BBC News (England), D’Ars (Italy), Domenica (Italy), Il Venerdi (Italy), The Sunday Guardian: New Dehli (India) and others. Ballengée now holds a transdisciplinary Ph.D. in art and science from University of Plymouth (England). His artwork is still inspired by his studies of ecosystems and animals - by sharing it with others, he hopes to inspire conservation.

ATTACHMENT 2


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BRANDON BALLENGÉE: Resume SELECTED SCULPTURES IN THE ENVIRONMENT 2014 Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY, Love Motels for Insects: Anax Junius Variation Museum Het Domein, Sittard, Netherlands, Love Motels for Insects: Het Domein Variation 2013 Central Park, New York, NY, USA, Love Motels for Insects: Anax Junius Variation Staten Island Museum, Staten Island, NY, USA, Love Motels for Insects: Magicicada Variation 2012 Jim Kempner Fine Art, New York, NY, USA, Love Motels for Insects: Actius Luna Variation, travelling to: The Point, Bronx, NY, Love Motels for Insects: Actius Luna Variation Smithsonian National Zoological Park, Washington DC, USA, Love Motels for Insects: Anax Junius Variation 2011 The Front, New Orleans, LA, USA, Love Motel for Insects: Nola Variation Select Citywalk, New Delhi, India, Love Motel for Insects: Delhi Variation 2010 Sculpture in the Parklands, County Offaly, Ireland, Love Motel for Insects: Lough Boora Variation Eining/Neustadt an der Donau, Germany, Love Motel for Insects: Eining Variation SELECTED SOLO EXHIBITIONS 2014 Museum Het Domein, Sittard, Netherlands, Seasons in Hell Alden B Dow Museum of Art and Science, Midland Center for the Arts, Midland, MI, Nature's Fading Chorus National Academy of the Sciences, Washington D.C., Collapse Acadiana Center for the Arts, Lafayette, LA, Eco-Displacement 2013 DOCVA, Viafarini, Milan, Italy, Committed Chateau du Domaine de Chamarande, Chamarande, France, Augures d’Innoncence (catalogue) The Schuylkill Center for Environmental Education, Philadelphia, PA, The Cryptic Ones 2012 Ronald Feldman Fine Arts, New York, NY, Collapse: The Cry of Silent Forms 2011 Prospect New Orleans 2 Satellite, Longue Vue House and Gardens, New Orleans, Audubon’s Absence 2010 Parco Arte Vivente, Centro d’Arte Contemporanea, Turin, Italy, Praeter Naturam, The Royal Institution of Great Britain, London, England, The Case of the Deviant Toad SELECTED BIENNIALS AND GROUP EXHIBITIONS 2014 Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY, Beyond Earth Art Art Laboratory Berlin, Berlin, Germany, [macro]biologies II: organisms The Sanctuary for Independent Media, Troy, NY, Ecological Interventions 2013 I.D.E.A.S. 40203, Louisville, KY, Imaginary Landscape: Eco-Sustainability + Urban Environments Central House for Artists, Moscow, Russia, Eco-consciousness Amelia A. Wallace Gallery, SUNY College, Old Westbury, NY, Signs of Existence: Biotech Art

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Gallery@calit2, University of California, San Diego, CA, Consume Marin Community Foundation, Novato, CA, Works on Water Les Territoires, Montreal, Canada, De La Nature RESUME // PAGE 2 BRANDON BALLENGEE // 646-726-1387 // [email protected] // WWW.BRANDONBALLENGEE.COM 2012 Koroška Galerija & Kibla Multimedia Center, Maribor, Slovenia, Soft Control: Art, Science and the Technological Unconscious Hudson Valley Center for Contemporary Art, Peekskill, NY, Peekskill Project Georg Kolbe Museum, Berlin, Germany, BIOS – Concepts of Life in Contemporary Sculpture Exit Art/The First World, New York, NY, Every Exit is an Entrance Acadiana Center for the Arts, Lafayette, LA, Lost and Found: Louisiana’s Landscapes Revisited 2011 Khoj Studios & Select Citywalk, New Delhi, India, In Context: Public. Art. Ecology II Porin, Taidemuseo, Pori, Finland, Eco-Art Embassy of Canada, Berlin, Germany, Transmediale 11 Root Division, San Francisco, CA, A Live Animal Verbeke Gallery, Antwerp, Belgium, First Exhibition 2010 Muse Della Scienza e Della Tecnologia, Milan, Italy, STEP 09 Art Fair Charlie Smith Gallery, London, England, Polemically Small Koning Boudewijngebouw, Brussels, Belgium, Sustainable Philanthropist Ronald Feldman Fine Arts, New York, NY, Resurrectine Fondazione Marino Golinelli, Palazzo Re Enzo, Bologna, Italy, Antroposfera: New Life Forms Zentral Bibliothek, Zürich, Switzerland, Last Book Hudson River Museum, Yonkers, NY, Collecting for a New Millennium: Recent Acquisitions 2000 – 2010 SELECTED AWARDS / HONORS / REDISIDENCIES 2013 Residency, Institute for Electronic Arts, Alfred University, Alfred, NY Artist Grant Award, Awesome Foundation, New York, NY 2013 Residency, Kapelica Gallery, Ljubljana, Slovenia 2013 Artist Grant Award, CEC Artslink, New York, NY 2012-13 Residency, Château de Chamarande, Charmarande, France 2012 Artist Grant Award, Brooklyn Council for the Arts, Brooklyn, NY 2011-12 Conservation Leadership Award & Fellowship, National Audubon Society & Toyota TogetherGreen Program, Washington, DC 2011 Residency, Khoj International Artists Association, New Delhi, India 2010-12 Visiting Scientist, Redpath Museum, McGill University, Montreal, Canada 2010 Residency, Parco Arte Vivente, Centro d'Arte Contemporanea, Torino, Italy 2010 Sculpture in the Parklands, County Offaly, Ireland PUBLIC COLLECTIONS American Museum of Natural History, New York City, NY, USA Columbus Public Library, Columbus, OH, USA Cross Hill Academy, Yonkers, NY, USA Drew Gardens, New York City, NY, USA Gallery Oldham, Manchester, England Geumgang Nature Art Museum, Gungju, South Korea

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Hartwick College, Oneonta, NY, USA Hudson River Museum, Yonkers, NY, USA Kunstverein Ingolstadt, Ingolstadt, Germany Lafayette College, Easton, PA, USA Museum Het Domein, Sittard, Netherlands Museum of Vertebrate Zoology at U.C. Berkeley, Berkeley, CA, USA Natural History Museum, London, England RESUME // PAGE 3 BRANDON BALLENGEE // 646-726-1387 // [email protected] // WWW.BRANDONBALLENGEE.COM NASA, Washington, DC, USA New York State Museum, Albany, NY, USA Peabody Museum, Yale University, New Haven, CT, USA School of Art and Design New York State College of Ceramics at Alfred University, Alfred, NY, USA Shrewsbury Museum, Shropshire, England State University of West Georgia, Carrolton, GA, USA Teaneck Creek Conservancy, Teaneck, NY, USA Verbeke Foundation, Westakker, Belgium Yorkshire Sculpture Park, Wakefield, England SELECTED BIBLIOGRAPHY Viskontas, I. “Designer Butterflies, See-Through Frogs, Giant Neural Networks…and Other Works of Modern Art”, Mother Jones, July 12, 2014. http://www.motherjones.com/environment/2014/07/inquiring-minds-arthur-miller-art-meets-science Staff, “Itinerary”, Sculpture, Vol. 33, No. 5, June 2014, p.17. Hill, K. “These Frogs Are Nature’s Mistakes…And They Are Beautiful”, Discover Magazine, April 8, 2014. http://blogs.discovermagazine.com/but-not-simpler/2014/04/08/frogs-natures-mistakesand-beautiful/ Minoff, A. “SciArts Spotlight: Brandon Ballengée“, Science Friday, April 4, 2014. http://www.sciencefriday.com/blogs/04/04/2014/sciarts-spotlight-brandon-balleng-e.html?series=20 Eagen, S. A. “Frameworks of absence”, Artfile Magazine, April 2014 http://www.artfilemagazine.com/article/v02/absence.php Staff, “These Amazing Photos Will Make You Think Twice About Animal Deformities”, Huffington Post, March 30, 2014. http://www.huffingtonpost.com/2014/03/30/frog-deformities-photos_n_5043639.html Johnston, A. “Biologist Brandon Ballengee uses deformed frogs to create art”, Metro, March 25, 2014. http://www.metro.us/philadelphia/news/national/2014/03/25/photos-biologist-brandon-ballengee-uses-deformedfrogs- to-create-art/ O'Callaghan, J. "Rise of the mutants? Images of deformed frogs reveal how chemical waste is breeding a new class of monster", Daily Mail, April 2, 2014. http://www.dailymail.co.uk/sciencetech/article-2595071/Rise-mutants-Images-deformed-frogs-reveal-chemicalwaste-

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breeding-new-class-monster.html Nadir, L.C. “Invitation to an Insect Rendezvous.” American Scientist, 102, no. 2 (March-April 2014). Staff. “Straight Talk with Brandon Ballengée.” SciArt in America, February 2014, p.18. http://read.uberflip.com/i/253207 Ebersole, R. “The Art of Absence”, Audubon Magazine, December 4, 2013. http://www.audubonmagazine.org/articles/birds/art-absence-0 Ramade, B. “Instruction Civique.” L’Oeil, no. 659, Summer 2013, p.96. Staff. “Chamarande, jardin divers.” Libération, France, June 7, 2013. Maslin Nir, S. “Finding Love at 17, Staten Island Cicadas Come of Age.” The New York Times, May 22, 2013. Miranda, CA. “Weird Science.” ARTnews, 112, no. 3 (March 2013). 64 – 69. Muchnic, S. “Under the Microscope.” ARTnews, 112, no. 3 (March 2013). 70 – 75. Saunders, FS. “How to be a Stuffed Animal.” Lapham’s Quarterly, VI, no. 2 (Spring 2013). 199-208. Boettger, S. “Brandon Ballengée, Ronald Feldman.” Art in America, no. 9 (October 2012). 175-176. Cotter, H. “Brandon Ballengée: ‘Collapse: The Cry of Silent Forms’” The New York Times, June 14, 2012. Bar, C. “Insects Encouraged to Shack Up in Midtown Manhattan.“ Discover Magazine, June 12, 2012. http://blogs.discovermagazine.com/visualscience/2012/06/12/insects-encouraged-to-shack-up-in-midtownmanhattan/ Shuster, R. “Brandon Ballengée: Creature Discomfort.” The Village Voice, June 6, 2012. Nadir, L.C. “Eco-Art and the Battle of Invisible Evidence.” Hyperallergic: sensitive to art and its discontents, June 6, 2012. http://hyperallergic.com/52538/eco-art-and-the-battle-of-invisible-evidence/ RESUME // PAGE 4 BRANDON BALLENGEE // 646-726-1387 // [email protected] // WWW.BRANDONBALLENGEE.COM Staff. “Brandon Ballengée's 'Collapse: the Cry of Silent Forms' At Ronald Feldman Gallery.” Huffington Post, April 24, 2012. http://www.huffingtonpost.com/2012/04/21/brandon-ballenge_n_1441001.html?view=print&comm_ref=false Siddiqui, S. “Greenhouse art experimentation.” The Sunday Guardian: New Delhi, April 3, 2011. Trivellin, C. “Praeter Naturam.” D’ARS, Milano, Italy, no. 203, September 2010. TEACHING EXPERIENCE 2011-Present Professor, Fine Arts Department and Humanities and Sciences Department, School of Visual Arts, New York, NY EDUCATION 2005-Present Ph.D. Candidate (viva passed), University of Plymouth, England 2005-08 M.Phil., University of Plymouth, England/ Hochschule Für Gestaltung Zürich, Switzerland 1992-96 B.A., Art Academy of Cincinnati/ University of Cincinnati, Cincinnati, OH, Fine Arts and Biology

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BRANDON BALLENGÉE: Proposal for the City of Joondalup For my residency, I propose to build a Love Motels for Insects for the City of Joondalup and perform a series of citizen science eco-educational programs themed around pollinator insects. The Love Motels sculptures, surrounded by a native flowering pollinator garden, will utilize UV LED lights inside an enormous sculpted canvas to attract insects. In the past decade, Love Motels for Insects have been commissioned at over 20 locations around the world. The City of Joondalup’s Love Motels for Insects would be inspired by the shape of a native pollinator species such as the Western Jewel butterfly (Hypochrysops halyaetus) or the Silver Spotted skipper (Trapezites argenteoornatus). Conceptually, the sculpture will create an opportunity for the public to focus on important pollinator arthropod species. Such species are essential to terrestrial ecosystems and pollinate upwards of 70% of our food supply. By inviting people to bug watch, I hope to show them an essential side of local nature that many have never paid attention to. I am thrilled at the opportunity to explore this side of local nature for the first time in Australia and to bring the Love Motels for Insects to the City of Joondalup!

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Joan Linder, example of previous artwork

Buffalo Main Street, 2014 Pen and Ink on Paper

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Joan Linder Resume SELECTED SOLO AND TWO PERSON EXHIBITIONS 2013 Sink, Mixed Greens, New York, NY 2010 Cost of Living, Mixed Greens, New York, NY Domestic Products, University of the Arts, Philadelphia, PA Junk Mail Drawings, Incident Report, Hudson, NY 2008 Resume with Mixed Greens at Preview Berlin, Berlin, Germany more fun in the new world, Judi Rotenberg, Boston, MA 2007 The Pink Redux, Mixed Greens, NY The Pink, Hallwalls, Buffalo, NY drawings of bodies and buildings, Anthony Giordano Gallery, Dowling College, Islip, NY 2006 death sex war, Rowland Contemporary, Chicago, IL 118-60 Metropolitan Ave, American Jewish Museum, Pittsburgh, PA 2005 what was was, Mixed Greens. New York, NY self help, Samson Projects, Boston, MA 2004 making money out of nothing, running up debt, trusting in god, Mixed Greens, New York, NY 2003 White Room, White Columns, New York, NY Project Space, Riva Gallery, New York, NY 2000 When? Now., Queens Museum of Art at Bulova Corporate Center, Queens, NY 118-60 Metropolitan Avenue, Katharina Rich Perlow Gallery, New York, NY SELECTED GROUP EXHIBITIONS 2013 V-Mode, Hallwalls, Buffalo, NY 2012 Decade, Albright Knox Art Gallery,Buffalo, NY 2011 Visual Epistemologies, Anderson Gallery, Buffalo, NY Functional Shift, Mixed Greens, New York, NY Buds, Blooms & Berries: Plants in Science Culture & Art, Everhart Museum, Scranton, PA Idee Fixe, Winkleman Gallery, New York, NY The Bank and Trust Show, The Arts Exchange, White Plains, NY, curated Dara Meyer Kingsley, Flora, David Klein Gallery, Birmingham, MI Figuration and its Disconnects, University of Buffalo Art Galleries, Buffalo, NY You Told Me So, Beaver Projects, Copenhagen, DK 2010

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Magna Carta, Caine Shulte Gallery, San Francisco, CA Beyond/In Western NY, Albright Knox Art Gallery, Buffalo, NY Ucross: 27 Years,The Nicolaysen Art Museum, Casper, WY Brooklyn Beijing Babble– in collaboration with Stephanie Rothenberg, Bike Box, Devotion Gallery, Brooklyn, NY All In The Family, Judi Rotenberg Gallery, Boston, MA The House in My Head, Kunsthallen Brandts, Odense, Denmark Back to the Drawing Board, Arin Contemporary, Laguna Beach, CA Drawing Itself: A survey of Contemporary Practice, Brattleboro Museum, Brattleboro, VT 2009 Mixed Greens X: 10 Year Anniversary Show, Mixed Greens, NY To Draw, Galleri Tom Christoffersen, Copenhagen, Denmark Contemporary Portraiture, Cristin Tierney Fine Art, New York, NY 1:1 Contemporary Large-Scale Drawings from the West Collection, Pollock Gallery, Southern Methodist University, Dallas, TX 2008 The Labyrinth Wall, Exit Art, New York, NY gangbusters, Plane Space, New York, NY Versions of Reality: the West Collection at NEXT, Chicago, IL PED St. John’s, (w/ Millie Chen, Paul Vanouse, Andrew Johnson Warren Quigley, Sound Symposium, St. John’s, Newfoundland, Canada Don't Tread on Me, The Park School, Baltimore, MD Union Square, Then & Now: Draw-A-Thon, Union Square Park, New York, NY Opportunity as Community: Artist Select Artists, Part Two, Dieu Donne, New York, NY 2007 Anatomies, Heskin Contemporary, New York, NY PED Rio (w/ Millie Chen, Paul Vanouse, Andrew Johnson & Warren Quigley), File Rio, Rio de Janeiro, Brazil Ornament: Ho Hum All Ye Faithful, Bravin Lee Programs, New York, NY 2006 Works on Paper, Weatherspoon Museum, Greensboro, NC Prevailing Climate, Sara Meltzer, New York, NY Home For Lost Idea, General Public, Berlin 2005 Five Projects, Glyndor Gallery at Wave Hill, Bronx, NY 759 Running Feet, Gwanjgu Art Museum, Gwangju, South Korea Erotic Drawing, Aldrich Museum, Ridgefield, CT & Diverse Works, Houston, TX Fifteen Paces, Smack Mellon, Brooklyn, NY Cold Cuts, Rowland Contemporary, Chicago, IL 2004 Finesse, Catherine Clark Gallery, San Francisco, CA Bush League, Roebling Hall, Brooklyn, NY Conceptual Realism, Rotunda Gallery, Brooklyn, NY The Drawn Page, The Aldrich Museum of Contemporary Art, Ridgefield, CT Visiting Artist Biennial, Ewing Gallery, University of Tennessee, Knoxville, TN 2003

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637 Running Feet, Black and White Wall Drawings, Queens Museum of Art, Queens, NY New Lawn, Jack the Pelican Presents…, Williamsburg, NY Dreamy, ZieherSmith, New York, NY 2002 Kinda Figurative, hereART, New York, NY Four Brooklyn Artists, Saito Tomayo Gallery, Tokyo Low End Theory, curated by Amy Wilson, University of Arkansas, AK 2001 Traveling Scholars, Museum of Fine Arts, Boston, MA Skank, Plus Ultra, Williamsburg, NY Chicken Show, curated by Sarah Wentworth, Boston Center for the Arts, Mills Gallery, Boston, MA 2000 Nude + Narrative, PPOW, New York, NY Private Worlds, Art In General, New York, NY Public Culture, Private Nature, Sommer Contemporary Art, Tel Aviv, Israel 1999 Size Matters, Gale Gates., Brooklyn, NY Artist in the Market Place, Bronx Museum, Bronx, NY Paradise 8, Exit Art, New York, NY 1998 Hey You Never Know, curator - Kenny Schacter, 534 LaGuardia Place, NY 1997 Inside Out Art Fair, curator - Kenny Schacter, 32 Mercer Street, NY, NY Tweakville, Catherine Clark Gallery, San Francisco, CA Showcase Exhibition, Alternative Museum, New York, NY PUBLIC COMMISIONS 2012 MTA, D LINE – Permanent Installation 71st Street Station, Brooklyn, NY AWARDS 2014 Residency Fellowship, Millay Colony, Austerlitz, NY 2013-14 Hunaities Institute Faculty Fellowship, SUNY at Buffalo 2012 LEAP, Residency Fellowship in association with ISEA, Quest, NM 2007-08 Smack Mellon, Artist Residency Fellowship and residency, Brooklyn, NY 2006 Ucross Foundation, Residency Fellowship, Ucross, WY Constance Saltonstall Foundation, Artist Grant, Works on Paper, Ithica, NY 2005 Lucas Artist Residency Fellowship at Montalvo, Villa Montalvo, Saratoga, CA 2004 MacDowell Colony, Residency, Peterborough, NH 2003 Yaddo, Residency Fellowship, Saratoga Springs, New York ArtOmi, Residency, Ghent, New York Ronnie Heyman Prize for Emerging Artist, National Foundation for Jewish Culture, New York, NY Artist in Residence, University of Tennessee, Knoxville

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2002 Yaddo, Fellowship, Saratoga Springs, New York Special Editions Fellowship, Lower East Side Printshop, New York, NY 2001 Pollock Krasner Foundation Grant, New York, NY 2000 School of The Museum of Fine Arts, Alumnae Traveling Scholars Grant Karl Hofer Gesellschaft, Guest Resident Artist, Berlin, Germany PUBLIC + CORPORATE COLLECTIONS Albright Knox Art Gallery, Buffalo, NY Bank of America, NYC Davis Museum, Wellesley College, MA Department of Homeland Security, NY Eweing Gallery, University of Tennessee Art Gallery, Knoxville, TN The Art Collection at Hebrew Home at Riverdale, NY Metropolitan Transit Authority, NYC Progressive Corporation, OH The Gwangju Art Museum, Korea The West Collection at SEI, PA Ritz-Carleton, Tahoe, CA W Hotel Seattle, WA Zabludowicz Collection, NYC & London EDUCATION 1999 Skowhegan School of Painting and Sculpture, Skowhegan, ME Columbia University, New York, NY (MFA) Tufts University, Medford, MA (BFA) Grinnell College, Grinnell, IA EMPLOYMENT 2012-Present Associate Professor, University at Buffalo, SUNY, Buffalo, NY 2006-2012 Assistant Professor, University at Buffalo, SUNY, Buffalo, NY 2004-2005 Visiting Assistant Professor, University at Buffalo, SUNY, Buffalo, NY

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Joan Linder proposal for the City of Joondalup I use a process of slow looking and situate myself in both familiar and new places. In 2000 on a residency in Berlin I began drawing the urban landscape. This was the first of my life drawings and has since become a theme that is threaded through my drawings of the past 14 years. The process of on-site drawings affords me the role of artist and naturalist /architectural observer/ cultural & social anthropologist, learning about the place I am located in. Urban and life drawing projects that I have engaged stem from my ability to be in physical proximity to my subject. Past projects include, drawing of the post 9/11 skyline of downtown NYC from a Brooklyn rooftop in 2001-2003; trees in NY and California 2003-2004, weeds in my back yard 2010; Flora of Bensonhusrt 2012; a mile stretch of Main Street in Buffalo, NY mid-winter 2013; and currently toxic waste sites of Niagara Falls, NY. I am increasingly interested in panoramic and even rambling drawings that function as narrative form where viewers are able to scroll through or walk along to see. In recent years I have been annotating the drawings with historical and observed facts and this is approach that I plan to take in Perth. I first visited Perth in 2004 and was taken by the city, its particular density, architecture, proximity to the ocean, and of course its European and Aboriginal histories. I am interested in the local flora and fauna, extraction and service industries, water and architecture. I will be working in “plein air” on a series of drawing that will be a refined system of field notes, familiarizing myself with city and land, everything from architectural views to detailed sections of ground, plants and animals. Following the preliminary investigation, I will select a site, one that resonates on multiple levels, and create grand-scale drawing one that speaks of Perth in I hope a new and unexpected view. As teacher and artist, community engagement has always been important to my work. Because I work in “plein air,” or on-site, my process is almost completely accessible to the public. Other ways that I would to engage the community include having a public exhibition of the final drawings, and either or both running an onsite drawing workshop and giving a public talk about the work.

ATTACHMENT 1

About Marlene Harold

Marlene Harold b.1954

Millstream Tablelands, Pilbara Western Australia, near Mt Florence Station

Tribe: Yindjibardi

Skin: Banaga

Represented by Japingka Gallery, Fremantle

Marlene Harold is a highly and sought-after and collectable artist, who was greatly honoured

when one of her paintings was presented to Queen Elizabeth II on her visit to Australia in 2011.

She has a particularly delicate way of mixing and layering colour that differentiates her from other

Pilbara artists.

This painting, entitled Early Morning Mist, is an excellent example of this artist’s work and is a

sound investment. Not only is this a fine piece of art that will complement the existing work in the

Joondalup Collection, it also has the ability to greatly enhance a formal office environment. It is a

timeless example of an exceptionally talented contemporary Aboriginal artist whose work

continues to increase in value and quality as she progresses through her career. This painting

encapsulates a visionary and innovative interpretation on traditional dot painting with a subtle

palette and a soft, shimmering quality.

Early Morning Mist appeared in the exhibition Yey Susurrus at the Joondalup Art Gallery as part

of the City’s NAIDOC week program in June / July 2014 and has been selected by the City’s

curator as a worthy acquisition, and an outstanding work which had a wide appeal to audiences

during the exhibition.

APPENDIX 2

Early Morning Mist

Acrylic on canvas

126 x 75 cm

2013

Marlene was born on Mt Florence Station in the Millstream Tablelands. She began her schooling

in Nullagine and Marble Bar, finishing her education in Roebourne when her family was moved to

the Roebourne Reserve. She has one son, two brothers and a sister. Marlene started painting

late in 2006 at Yinjaa-Barni Art, taking a TAFE short course in art and design. An active

participant in class with a witty sense of humour, she also quickly revealed herself to be a

promising painter.

Marlene paints native grasses and plants and the ancestral sites and stories that come from her

country around the Millstream Tablelands in the Pilbara region of Western Australia. One of her

main subjects is the creation story according to Yindjibarndi law, called Ngurru Nyujunnggama –

When the World was Soft. When the creation spirits, the Marrga, arose from the ground they

raised the sky and the world out of the ocean. They first gave names and form to the country and

then to all the birds and animals. Finally they created the Ngaardangarli, the Aboriginal people. In

the early morning, the mist over the water is known to be the smoke from the Marrga’s breakfast

fires, and it is this fine mist rising over the water and the Pilbara grasses that is one of Marlene’s

favourite subjects.

Page 2

ATTACHMENT 2

Marlene Harold’s CV 2007 Colours of our Country, Rio Tinto, Perth WA 2008 Colours of our Country, Rio Tinto, Perth WA 2009 Yinjaa-Barni Artists, Japingka Gallery, Fremantle WA 2010 Yinjaa-Barni Artists, Japingka Gallery, Fremantle WA 2010 Chalk Horse Gallery, Sydney NSW 2010 Senior Women Artists, Japingka Gallery, Fremantle WA 2011 Chalk Horse Gallery, Sydney NSW 2011 Ngurra Nyingu, Woodside, Perth WA 2011 Yinjaa-Barni Artists, Japingka Gallery, Fremantle WA 2011 Colours of our Country, Rio Tinto, Perth WA 2012 The Pilbara: Yinjaa-Barni Artists, Japingka Gallery, Fremantle WA 2013 Future Perfect Gallery, Singapore 2013 Yinjaa-Barni Artists, Japingka Gallery, Fremantle WA 2011 Pilbara Painting, Indigenous, Cossack Art Awards

ATTACHMENT 1

PROPOSED BILLBOARD LOCATIONS

Proposed location 1 (recommended site): The land between Teakle Court and Central Park West Parking Station number 8, site of the proposed Joondalup Performing Arts and Cultural Facility.

Options:

• One billboard could be installed on the North West corner of the land between Teakle Court and Central West Parking Station number 8 facing North West; or

Owners: City of Joondalup, negotiation to install billboards would not be required.

View of proposed billboard situated on North West corner, facing North West.

APPENDIX 3

ATTACHMENT 1

Proposed location 2: The North West and/or South West corners of the intersection of Kendrew Crescent and Grand Boulevard, directly opposite Edith Cowan University (ECU). Options:

• One billboard could be installed on the North West corner of the intersection of Kendrew Crescent and Grand Boulevard facing South East and/or:

• One billboard could be installed on the South West corner of the intersection of Kendrew Crescent and Grand Boulevard facing North East.

Owners: Edith Cowan University C/O Knight Frank Australia Pty Ltd GPO Box X2253 PERTH WA 6847

ATTACHMENT 1

View of proposed billboard situated on the North West corner, facing South East across from the main entrance to ECU.

View of proposed billboard situated on the South West corner, facing North East (also showing a side view of the billboard on the North West Corner facing South East).

ATTACHMENT 1

Proposed location 3: The City of Joondalup Police Station & Courts, 9 Reid Promenade. Options:

• One free standing billboard could be installed on the lawn facing South East towards Grand Boulevard.

• One billboard may be installed on a structurally suitable and sound part of the roof.

• One wall based billboard could be installed on a suitable wall, for example the East wall facing Grand Boulevard.

Owners: Department Of Lands PO BOX 1143 WEST PERTH WA 6872

ATTACHMENT 1

View of proposed billboard positions on the Courthouse front lawn and roof. Due to the nature of the building, a rooftop billboard would need to be custom built.

A wall based custom billboard could be installed on the Courthouse East facing wall however a window would need to be permanently blocked off.

ATTACHMENT 1

Proposed location 4: Corner of Shenton Avenue and Grand Boulevard

• One free standing billboard could be installed on the South West corner of the intersection of Grand Boulevard and Shenton Avenue facing North East.

Owners: Department Of Lands PO BOX 1143 WEST PERTH WA 6872

View of proposed billboard situated on the South West corner of Shenton Avenue and Grand Boulevard, facing North East.

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Proposed location 5: 140 Grand Boulevard, above Westpac overlooking the intersection of Boas Avenue.

• One roof mounted billboard could be installed on a structurally suitable part of the roof of the Westpac building on the North West corner of the intersection of Grand Boulevard and Boas Avenue, facing South East.

Owners: Kynamont Pty Ltd, PO Box 2034 Marmion WA 6020

View of proposed billboard on the roof of 140 Grand Boulevard, above Westpac

ATTACHMENT 1

Proposed location 6: Lakeside Joondalup Shopping City buildings, Corner of Grand Boulevard and Boas Avenue. Options:

• One free standing billboard could be installed on a structurally suitable part of the roof facing East over the intersection of Grand Boulevard and Boas Ave.

• One wall based billboard could be installed on the wall facing East over Grand Boulevard.

Owned by: Lend Lease Property Management, PO Box 3385 Joondalup WA 6027

View of proposed billboard above the Lakeside Joondalup Shopping City buildings on the corner of Grand Boulevard and Boas Avenue, facing East.

ATTACHMENT 1

Proposed view of a wall mounted billboard on Lakeside Joondalup Shopping City building, facing East on Grand Boulevard.

ATTACHMENT 1

Proposed location 7: 151 Grand Boulevard, The Boulevard Hotel.

• One roof top billboard could be installed above the wall facing South over Boas Avenue.

Owners: Privately owned.

View of proposed billboard above 151 Grand Boulevard, The Grand Boulevard Hotel, facing South.

ATTACHMENT 1

Proposed location 8: 52 Boas Avenue

• One roof top billboard could be installed on a structurally sound part of the roof, facing South over Boas Avenue and/or;

• One rooftop billboard could be installed on a structurally sound part of the roof, facing East across Davidson Avenue.

Owners: Privately owned.

.

Proposed billboard positions for 52 Boas Avenue, one facing South and the second facing East.

Documents

THURSDAY 16 OCTOBER 2014 - City of Joondalup · 2014-10-24 · City of Joondalup Artist Residency Program 2014-15 – [103932] 12 . 3 . Acquisition of Artwork by Marlene Harold–