Artsource Newsletter by Artsource

august 2013â&#x20AC;&#x201C;november 2013

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Gavin Buckley Chief Executive Officer Yvonne Holland General Manager Magdalena Ambrozkiewicz Marketing Manager Ron Bradfield Jnr Regional + Indigenous Development Manager Loretta Martella Studios + Residencies Manager Ros Brennan Marketing Coordinator Sabina Moncrieff Finance Officer Alisa Blakeney Membership + Administration Coordinator

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Anthony Hasluck – Chair Mal Di Giulio – Treasurer Corine van Hall Jánis Nedéla Miik Green Paola Anselmi

Writers + Contributors Paola Anselmi, Annette Davis, Nikki Miller, June Moorhouse, Sandra Murray, Richard Petrusma, Peter Tullin and Geoff Vivian

In this issue… From the Chief Executive Officer...............................................4 From the Chair..........................................................................................5 Welcome to the conversation….................................................5 Seeking out opportunities in change....................................6 Ideal Patronage – a thread that binds society together...............................................................................9 Go Anywhere is Going Somewhere........................................13 The Howlett keeps on giving.....................................................15 Dogs, stars and crowds get Liz going..................................16 The Making of Moana......................................................................19 Bringing it all together at Bathers..........................................21 Philanthropy and your Visual Arts Project.......................22 Artsource Professional Development Program...........23 A tradition of arts patronage.....................................................24 Patrons + Donors................................................................................25 Consultancy Services.......................................................................26 Bridgetown Bequest....................................................................26 ReadWrite: Professional Development workshop for emerging public artists................................................27 Studios + Residencies......................................................................28 New Studios – Leederville........................................................28 Artsource Fremantle Welcomes New Artists...............28 Artsource Midland Open Studios........................................28 Illustrious Moderns vs. Baden-Powell Death Cult.....30 Regional + Indigenous Artist Development..................31 Membership Services......................................................................33 Members’ News....................................................................................33 Artsource New Members..............................................................36 How to get involved.........................................................................36

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Disclaimer Statements and information appearing in this publication are not necessarily endorsed by, or the opinion of Artsource. Unless otherwise stated, all images are published courtesy and copyright of the artist(s). The images and photographs may not be reproduced, without the permission of the copyright holder. Cover Belinda Mettam, Vessel of light at Sculpture@Bathers, 2013, Aluminium, Acrylic and LED Volt strip lighting, Image: Eva Fernandez

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Design

From the Chief Executive Officer

Gavin Buckley

am pleased to begin with the news that our strategic partnership with Rio Tinto has been renewed and extended for a further three years. Since 2008, Artsource has been working successfully with Rio Tinto to deliver a development program for regional and Indigenous visual artists in the Pilbara. Led by Ron Bradfield Jnr at Artsource and Sandra Chester at Rio Tinto, we will build on the work undertaken to date, focused in the Shires of Roebourne and Ashburton. Our Regional and Indigenous Development Program is a crucial part of what we do. The renewed partnership with Rio Tinto is testament to what has already been achieved and I am delighted that the new partnership builds on this, allowing our work together to continue and grow for a further three years. I would like to express my thanks to our friends at Rio Tinto for their commitment, both to our work and to regional and Indigenous visual artists. I enjoyed meeting the Artsource members who attended our AGM at Nyisztor Studio on

Philanthropy, patronage and private funding for the arts are themes running through this edition of the newsletter. For our own part, I mentioned last time the crucial importance of donors and patrons to the future of Artsource. 29 May. Our Yearbook and Annual Report 2012 was presented at the meeting and, if you have not yet had a chance to read it, you can do so online, or download a copy from our website. Speaking of the website, it was most gratifying for the team to receive a great deal of positive feedback following the launch of phase 1 of the new site at the end of March. Users of the site appear to agree that we have successfully delivered a confident, fresh and dynamic website that is visually appealing, well written and with appropriate links to social media. (Incidentally, if you are not doing so already, you might like to join the 2,000+ people following us on Facebook.) In the first two months of operation we received over 6,600 visitors, viewing between them around 30,000 pages. With phase 2, which includes artists profiles and the database, poised to go live at around the time this newsletter is published, we can expect website traffic to grow substantially. Beyond phase 2, we will be building in further functions, including for new members to sign-up online, membership renewals and for donors and patrons to support us directly. Philanthropy, patronage and private funding for the arts are themes running through this edition of the newsletter. For our own part, I mentioned last time the crucial importance of donors and patrons to the future of Artsource.

We have now launched a refreshed Patrons Program, not only designed to raise muchneeded funds, but also to engage a wider audience in our work and the work of our artist members. Crucially, you don’t have to be a ‘major donor’ to become a patron, in fact, it starts with a tax deducible donation of $30/month, or just $20/month for young patrons. There’s more information on page 25 and online. Naturally, we don’t view our artist members as a source of funds (although members are welcome to be patrons too if they wish) but if members can help us spread the word, make the case and encourage others to sign-up as patrons, well, that would be exceptionally helpful. Finally, I join Anthony Hasluck, our Chair, in welcoming our new Board members, Paola Anselmi and Miik Green. In addition, I would like to take this opportunity to express my thanks to Penny Coss, Olga Cironis and David Doepel for the significant contribution they made to Artsource as Board members and, in David’s case, as our Deputy Chair. It has been a privilege to work with them and, despite no longer being on the Board, I suspect that their talents will continue to support Artsource in many and various other ways in future.  Jeremy Kirwan-Ward and Helen Smith’s studio. Image: Christophe Canato.

From the Chair

Welcome to the conversation…

Anthony Hasluck

June Moorhouse, Editor

One of my goals is to find a way to significantly increase the number of Members voting in our elections.

’d like to start my brief comments by congratulating and welcoming our new Board members Paola Anselmi and Miik Green, who have been elected to represent our Members for the next two years. They join Jánis Nedéla and Corine Van Hall as the other Members’ representatives on our Board. It is pleasing that each year we now have several candidates for election to the Board. While it is great that more individuals want to play a role in guiding Artsource’s future, it would be even better if we could get many more of our Members to cast a vote in this important democratic process. That way we can be sure the membership has spoken at each election. One of my goals is to find a way to significantly increase the number of Members voting in our elections and I will be working with the Board and CEO on achieving this. As we welcome our two new Board members, we must also say farewell and thank you to Penny Coss and Olga Cironis. They have been busy on the Board for the past two years and will now move on to a range of new activities and interests that don’t involve agendas and minutes. I thank them for their hard work on behalf of all our Members. I would also like to thank outgoing Deputy Chair David Doepel for his four years of service to Artsource. We have been privileged to have access to David’s wide range of expertise in sectors as diverse as business, Government, international trade and education. David’s final act as a Board Member was to kindly host our first Patrons’ Program event for 2013 at his home. This event was the first of several that will help develop our Patrons’ Program and enabled us to introduce a wide range of stakeholders to Artsource. Our long-term goal is to use the Patrons’ Program to connect people with Artsource and the visual arts, as well as to provide our organisation with another revenue stream to ensure we continue to deliver quality services to our Members.

This issue takes a look at a host of ways that artists are pursuing their work, their projects and their passion by enlisting support from others

se the term ‘best practice’ and my eyelids start closing, zzzzzzzzz! Whose idea of best practice, how are we measuring etc etc? So, let’s NOT say this issue looks at best practice patronage in the visual arts. Let’s say this issue takes a look at a host of ways that artists are pursuing their work, their projects and their passion by enlisting support from others. It’s a broad canvas, from what we might regard as ‘traditional’ philanthropy, to the latest in online opportunities, right through to artists giving each other a hand. Peter Tullin of CultureLabel in the UK opens the discussion with a broad look at how things are changing and in particular, the impact the internet is having on the relationship between the artist and the donor or supporter. Paola Anselmi muses on the patron/artist relationship and takes a closer look at what is happening in the Western Australian scene, while our regular profiles explore how five artists or artist projects have been made possible through external support. Hopefully this mix will elucidate what can seem to be an impenetrable world and offer you some inspiration on other ways to extend and deepen your practice.

June Moorhouse has a long history of working in the arts across all sectors, in WA and nationally. She is a former journalist, Director of Fremantle Arts Centre, Australia Council Fellow and has been a consultant for 12 years. 5

Seeking out opportunities in change Words by Peter Tullin

hilanthropy is changing. The context for giving is being shaped by changing demand, investment potential and emerging disruptive forces such as the digital revolution. Encouragingly, interest in arts and culture has never been greater. The growth of the cultural industries in recent years is attracting new players. In the UK, the cultural sector grew from 0.1% of GDP to 0.4% during the recession when other sectors shrunk, and creative content accounts for about US$1.6 of every US$15.6 that Britain exports. The investment potential of the visual arts have also seen them become a safe haven in an uncertain global economic environment. Christie’s, the auction house, reported annual sales were £3.92bn in 2012, up 10% from 2011. Crucially, 19% of sales were from new buyers and the average number of registered bidders is up 53% compared to 10 years ago. Finally, disruptive forces like technology are fundamentally changing the interaction between donor, artist and work as innovations such as The Google Art Project and Rijks Studio (launched as part of the newly renovated Rijksmuseum) continue to demonstrate. We can’t hope to fully understand the implications for all of this yet and technological advances mean we need to be able to operate in a world of perpetual change. However, what is clear is just how far the terms of the debate around philanthropy have moved on. CultureLabel recently teamed up with Bloomberg and Google for REMIX – a oneday summit on culture, technology and entrepreneurship, following our recent book in

As some UK patronage adopts commercial characteristics, a number of visual artists have been involved to tap into this new line of funding from individuals and to scale up their output. exploring the trends shaping the future of the cultural sector. The diversity of the participants was a clue to the myriad of disciplines that are merging and cross-pollinating: 50 inspirational speakers from organisations such as the Tate Gallery and V&A (the Victoria and Albert Museum), technology companies like Microsoft and Sony and world-changing startups such as Spotify and Eventbrite. One panel explored new ways of funding the arts. The session juxtaposed the Managing Director of Ingenious Media, a leading European Venture Capital firm (and the leading independent funder of the creative economy in the UK with investments of over $10 billion) with the CEO of Arts Council England – the main public sector funder in the UK with a budget of close to £1 billion – to debate public and private funding approaches. Patrick Bradley of Ingenious chose a performing arts example when he talked about the changing nature of how culture is being financed, describing a recent investment in DigitalTheatre.com, a ‘Netflix for theatre’. This takes the performances from organisations like the Royal Shakespeare Company to a large online audience who pay a fee to see digital versions on demand across a wide variety of devices including Smart TVs. In addition to commercial financing, we are seeing a middle ground emerge in the form

of ‘venture philanthropy’, where investors seek both cultural and commercial dividends. This has been aided in the UK by policy decisions and tax incentives. For example, the recently introduced SEIS initiative (Seed Enterprise Investment Scheme) offers attractive tax breaks for investments up to £100,000, making it low risk to invest in creative ventures such as films or exhibitions. There are other models: The Fine Art Fund Group, started by Philip Hoffman, a former finance director at Christie’s, has a range of funds based on art investments. In 2010, it launched a managed art portfolio service targeted at private investors who want to build up an art collection that will hopefully give them a future return. As some UK patronage adopts commercial characteristics, a number of visual artists have been involved in programs such as School for Startups and Debut Contemporary to tap into this new line of funding from individuals and to scale up their output. The former, set-up by Doug Richard of BBC’s Dragon Den, has an annual showcase event at Somerset House in London, where entrepreneurial artists get a chance to meet a variety of potential investors and partners. It is perhaps not surprising that some donors who have made their living through their commercial skills are applying them to their artistic interests. Foundations are also starting to

follow this model where enterprise potential as well as artistic talent is a consideration. The internet is another transformative factor that offers artists the chance to go direct to patrons and remove geographic constraints. Perhaps the most obvious example of this is crowdfunding where creative ideas can be backed by anyone with pledges both large and small. Kickstarter.com, a New York based startup, aims to fund creative ideas in any shape or form. There are many others such as IndieGoGo (US$100 million raised so far) and in Australia, Pozible.com has come of age in the last year securing AUD$5.3 million in pledges across a wide range of projects from motorcycle repair to food. Kickstarter is the largest (US$640 million) and most mature platform, now embarking on global expansion with its launch in the UK. There are some large-scale arts projects that have been successful but these are typically by established names. For example Spencer Tunick recently raised US$116,270 for his Naked Sea project in Israel. The

cause related to the work remains an important trigger. The resulting exhibition will showcase the importance of water in Israel, bringing world attention to the disappearing Dead Sea. However, the most successful Kickstarter projects involve giving tangible benefits in exchange for investment. For example, the project categories which have raised the most money to date are computer games and films, where the opportunity to play or watch the results are a minimum expectation for a pledge. Larger donors can receive exciting benefits such as becoming an extra in the film or dinner with the Director. The desire for participation – to get close to the idea – is echoed even more in the growth of another space, niche crowdfunding, an area that has great potential for the arts. Further platforms have sprung up to focus on specialist interests. Dig Ventures, for example, offers their audience the chance to both fund and take part in an archaeological dig. In 2012 they successfully

crowdfunded an excavation for the first time, raising enough funding to enable a dig to take place at one of the UK’s most significant bronze age sites, Flag Fen, in Peterborough. One of their rewards, a ‘Dirty Weekend’, definitely brought a new meaning to the phrase! Can the visual arts benefit from a similar specialised fund? Initial indications suggest that on average this will only ever be responsible for relatively small projects, and like all crowdfunding is typically only ever part of the mix of income as most are only for a few thousand dollars. It should also be noted that like conventional philanthropy a range of donors are often required. In the Naked Sea project nine donors contributed US $5,000 or more (or at least $45,000) and they contributed more than

 BALTIC participates in the new National Funding Scheme.  CultureLabel’s Simon Cronshaw and Peter Tullin 7

24/7 globalised media coverage has seen the disappearance of national borders as far as donors are concerned. twice the amount of the most popular level of donation, which was $100 (210 donors contributed at least $21,000). Fundraising historically requires a pyramid approach with a variety of donor levels. Kickstarter is no different and unless projects catch fire (which is where the viral and community mechanics of the internet can be transformative) the project can often be only as successful as the network of donors reached by the organisers. Whilst the internet helps, classic marketing and donor outreach remains critical. Another by-product of internet giving is that it is becoming more international. This has been evident from a number of global environmental disasters where 24/7 globalised media coverage has seen the disappearance of national borders as far as donors are concerned. Indeed, Australian crowdfunding site Pozible reports pledges from 89 countries in 2012.  Griff Rhys Jones supports the development of arts philanthropy in the UK  Spencer Tunick’s Kickstarter funded project, Naked Sea (detail) 8

A further development is the mobile internet, opening up intriguing possibilities for patronage. Australians in particular have fallen in love with their smart phones with research revealing the country has the second highest market penetration in the world (Singapore is highest) with 52% of the population now owning one (IPSOS, 2012). With half the nation walking around with the potential to be online at any time this opens up new possibilities in the proximity of works of art. This trend will only increase with mobile browsing expected to overtake fixed access internet use in 2014. In this environment a mobile-friendly website is the minimum requirement to allow any sort of interaction with patrons. Experts have furthermore been predicting the end of cash for some time – an inevitability as smarter forms of payment evolve. With the arrival of services like Google Wallet and the

integration of Near Field Communications into the market-leading Android devices you simply can tap your phone on a board with a call to action to donate (or SMS if preferred). Technology like this is already available in the National Portrait Gallery in London, and in the UK through the mobile based National Funding Scheme that was recently launched. In a similar way to the emotional triggers of crowdfunding, the scheme is focused around individual causes such as the restoration or purchase of works rather than a blanket donation. Could this see the demise of the humble donations box? Maybe not for a few years yet, but one thing is becoming clear, the impact of the internet and these new forms of patronage are opening up new and exciting possibilities for artists. Peter Tullin is the Co-founder of CultureLabel.com, a website selling limited edition art and products from some of the world’s leading cultural institutions, galleries and artists. The content of this article is in part inspired by REMIX, the latest book from Peter and Simon Cronshaw, the other co-Founder of CultureLabel.com. It can be downloaded as a free eBook at The Guardian website.

Ideal Patronage – a thread that binds society together Words by Paola Anselmi

he concept of the patron in the arts is crucial to an overall understanding of the arts; with the advent of civilization it has always existed in one form or another. Originating in Roman times, the close relationship between the patron and his client, often foremost for political gain and position, evolved into a Renaissance model, when artists were afforded protection, sponsorship and commissions by various nobles and merchants. In this period the patron/client bond was predicated on mutual engagement. This understanding of patronage and philanthropy translated into contemporary times suggests a relationship not exclusively based on money but direct involvement, the giving of time, pro-bono work or volunteering, founded on the social responsibility of giving something back, based on personal circumstances. Patronage and philanthropy should be transformative for both the donor and the recipient organisation or individual. The Schapper Bequest is an example of how a personal gift to a community can have diverse ramifications that not only engender a spirit of cooperation, but also lay the foundations for its future development. Initially a single bequest that proposed a national competition for a public artwork in Bridgetown, it was subsequently split by the bequest holders to include public art commissioning funds for local South West artists from the Bridgetown area. The national competition was won by Sydney artist Damien

“ A society grows great when men plant trees whose shade they know they will never sit in” (Greek Proverb) Butler, who, conscious of the importance of giving back to the local community and the flow on effects of public art projects, has used local knowledge, skills and materials in the creation of the work. This bequest of a public art fund to the Shire instigated the development of a Public Art Strategy to ensure a considered program. Overall, the Schapper Bequest has had radical effects, it has delivered national focus, local engagement, a policy outcome and a strong cultural engagement between patron, artist, community and governing bodies.

We are defined by our creative and cultural environments, our little patch, our surroundings, so why does it often seem so complicated to engender a sense of community fostering and long term giving? Part of the issue may be unsuitable measuring cycles on the return for investment. I don’t believe a cultural ‘return’ can be easily measured in classifiable and restrictive one, two or five year cycles. Philosophically we should be investing in 20 year or 50 year cycles, fostering the idea of investing in a cultural legacy.

 Lifetime Achievement Award winner, Stuart Elliott, who has been selected as the next sculptor to develop a series of human figure focused works for The Syndicate. Image: Christophe Canato. 9

The Myer Foundation1 is a successful example of untied support, an investment into the future of an individual’s creative practice and therefore that of the sector, not requiring a direct time or project based return. Marco Marcon was the recipient of a 2012 Sidney Myer Creative Fellowship for his commitment to IASKA and Spaced; continually readdressing the program’s scope and possibilities to ensure its contemporary relevance in a changing cultural landscape and increasing its public engagement. The Foundation’s aims are underpinned by a belief in the importance of sustainability, creativity and prosperity. These are visionary aims that have translated into a new approach to investing, with the firm belief that culture changes perception and therefore the world in which we operate, and that fundamentally, a diverse and confident society is predicated on a strong cultural framework.2 Philanthropy is not a millionaire’s game. It is certainly easier for a business executive to hand  Stuart Elliott’s work in progress for exhibition at Turner Galleries, April 2013. Image: Christophe Canato 10

over money rather than time; financial donations are tax deductible and the important publicity machine will always make mileage of the milliondollar handshake. However, those who give their time and skill rather than large sums of money are for the most part the silent majority, and although civic giving spaces such as crowdfunding sites are changing traditional perceptions of cashed-up donors, those who offer other resources remain the silent backbone of all cultural industries. Many arts organisations, large and small, must deal with short-term economic imperatives to maintain their operations. These include a lack of promotional opportunities and human, operational and production resources – the quick fix, year by year, or at best, triennium grants or sponsorship, have become the norm for survival. It seems that arts organisations, broadly speaking, have not been well equipped with the knowledge and strategies to address a considered and tactical pursuit for patrons, given the daily grind of keeping afloat. This is where organisations such as Giving West and Creative Partnerships Australia can play an important advisory and collaborative role, providing the backing and support to facilitate lasting holistic relationships between business and the arts. They need to do this without debasing the Government’s social and fiscal responsibilities, but rather by building on them. Giving West was established in 2011 following a research project titled, A Rising Tide? Exploring the Future of Giving in Western Australia, funded by Lotterywest and conducted by Professor Margaret Seares. The report identified a gap in WA’s cultural giving landscape, which included the need to provide information, education and connections to people and organisations that may be willing to give, and to assist them to make sound decisions. Giving West’s reach stretches from establishing an online service called WA Giving Hub, to a direct hands-on engagement to raise Western Australia’s comparatively poor rate of patronage to that of the rest of the country. It also seeks to inspire more of the state’s wealthiest to dig deeper, or better still…to start digging.

Under the newly launched Creative Australia National Cultural Policy (2013), AbaF and Artsupport amalgamated into Creative Partnerships Australia (CPA). This new incarnation is extending the previous services to facilitate new funding models such as crowd sourcing or funding and matched government funding. The website seems loosely built on the crowdfunding model but unlike most arts crowdfunding sites there are no listed benefits for donors. It provides a diverse mix of event driven projects as well as programs and professional development, salaries and touring. Matched support can comport as many pitfalls as potential. Should patrons and donors who have financial liquidity be able to dictate what creative and social needs should be prioritised? Does money equate to authority in determining the future direction of the sector? To what level does and will benefaction dictate current and future policy? What is understood is that support must be a shared responsibility and this is how we seem to be progressing nationally, but the cultural community must remain in the driver’s seat. On a smaller scale, but not less important, civic donor spaces and crowdfunding sites, such as Pozible or KickStarter can work well but only in so far as we understand them to be funding short term goals, projects and events and not as a possible replacement for government funding or large scale visionary philanthropic investment. Crowdfunding has made a definite mark in the evolution of the cultural industry but it is still fraught with teething problems and I do not believe that we fully understand the future implications, positive and negative, of this new Pandora’s box. The clear issue remains that without direct engagement there is little chance that people who do not know the artist will support the project, and the more niche, the more difficult. No amount of benefits will engage an uninitiated audience, which leads me back to the idea that detached patronage is not sustainable overall. Undeniably the most successful, lasting patronage projects seem to be the simplest.

There have been a number of groups in WA who have created new patronage models from scratch. In 1996 the late John Stringer started the Collector’s Club, a small group of like-minded people, some of whom already had caught the collecting bug and newbies alike, coming together to promote the visual arts in WA through informed collecting. In 2001 Helen Turner, Director of the Church Gallery, now Turner Galleries, began a highly successful and ongoing program called the Art Angels. This is a membership group whose fees are wholly dedicated to the promotion of the visual arts through residencies and acquisitions. Over a decade, and with an average of 40 members, the program has contributed over $500,000 to artists and importantly has created

an evolving national network of artistic exchange and professional development. The now wound-up Mark Howlett Foundation led the way for a new initiative along similar lines, The Syndicate. The aim is simple; support the artist. It was set in motion by businessman and avid collector Lloyd Horn, who understood the importance of giving mid-career sculptors the opportunity to develop their practice, free of the creative compromise that often accompanied sculptural commissions. The program affords important financial certainty without constraints for the duration of the commission. The time frame is not important and there’s no obligation for the artist to refrain from other activities such as teaching, part or full time work or holding an exhibition during the commission period.

Programs like these touch upon a fundamental point, they sustain while ensuring there are as few caveats and restrictions to the artist to make the patronage meaningful. Grass-roots patronage and philanthropy is a thread that binds a society together, creating a strong culture based on respect and understanding. It’s a direct confirmation of the worth of someone’s vision, trust in their ability, a respect for their commitment to their practice and acceptance of the occasional side step. This is true for an individual or an organisation. While money is essential, community is too. We must not forget that the arts are largely self-funded; we are our biggest funding source and our own biggest investors.

 Marco Marcon with the 2012 Sidney Myer Creative Fellows and members of the Myer family. L-R: Matthew Whittet, Maria Tumarkin, Lindy Shelmerdine, Patrick Myer, Marco, Sally Lindsay, Danielle Wilde, Paul Stanhope, Sophie Hyde, Kate Shelmerdine, Chris Kohn  Giving West’s CEO, Kevin McDonald and Chair, John Poynton

1 http://www.myerfoundation.org.au/ 2 Van Den Bosch, Annette. “Arts Audiences and Arts Funding: Contemporary Relationships Between Arts and Business in Australia”. Art & Business: An International Perspective on Sponsorship. Ed. Rosanna Martorella Greenwood Publishing Group, 1996. 187. Ebook. June 2013.

Paola Anselmi is a Perth-based freelance curator, arts writer and public art consultant who contributes to Australian arts publications, magazines and has written numerous exhibition catalogue texts. Paola has held a range of curatorial and research roles, and undertaken numerous public and private collection development projects. 11

Go Anywhere is Going Somewhere Kati Thamo by Annette Davis

“ The thing I most valued about this journey was that I was not expected to have an immediate outcome.”

f you’re inclined to think about philanthropy as an investment with future dividends, then printmaker Kati Thamo is an excellent example of what can be achieved. In 2008 Kati was the first recipient of an Artsource Go Anywhere residency, and she continues to honour that investment through her art practice and exhibitions. The Go Anywhere grant is all about the artist and what they want to do to feed their practise. There is no time limit and there is no requirement that they will produce work or an exhibition. Raised entirely through Artsource’s philanthropic fundraising efforts, the grants are generous, with amounts of $10,000 or $20,000 available. For Kati, the freedom to construct her own residency was immensely appealing. “I knew immediately what I wanted to do,” she says. That was to visit the eastern European countries of her heritage. Kati grew up in Perth in a house rich with memories and artifacts such as folk art and embroideries from Hungary, Transylvania and Romania. Kati’s aunt entranced her with

 Kati Thamo, Turn Around (detail) 2012. Solarplate intaglio, 21 x 51 cm. Image: Kati Thamo  Kati Thamo in Maramures, Northern Romania, 2010. Image courtesy of the artist

stories of these places, nurturing Kati’s curiosity and passion for story telling through her art. The Go Anywhere residency enabled Kati to travel for 14 weeks to visit the locations of some of the stories from her childhood, as well as soak up the Eastern European aesthetic. “The thing I most valued about this journey was that I was not expected to have an immediate outcome. So it was purely experience driven. I was there, I experienced the place, I walked, I spoke to people and just absorbed the whole experience. I saw art of all sorts, from humble folk art, ethnographic artifacts, contemporary art and the full gamut of museums and art galleries. And I just took it all in. If it had been the sort of residency which needed an immediate outcome at the end, I would have had to structure it all differently – grabbing an idea early on and with my head down, just developing it.” Kati’s previous artist-in-residence experiences, at the Fremantle Arts Centre and for the Printmaking Association of WA, had specific

printmaking outcomes. A 2009 grant from the Department of Culture and the Arts was directed entirely to the making of bronze sculptures to accompany a print exhibition in Canberra. In contrast, the Go Anywhere grant has, in Kati’s words, “given me the space to roam, both on the ground and in my mind.” Having not travelled overseas since childhood, and again not since her Go Anywhere residency, the memories of the 2010 trip remain extremely vivid for Kati. “I can easily conjure up the memory of being in the places I visited,” she says. “It remains a parallel reality which I carry around in me.” Audiences in Perth, Melbourne and Tasmania, as well as in her hometown of Albany, have all enjoyed artworks by Kati that have been directly influenced by her residency. “Chasing Shadows”, Kati’s 2012 exhibition at Turner Galleries, Perth, will be shown in Melbourne in October 2013. And Kati’s “parallel reality” will offer narratives and imagery to the development of a major body of work that Kati is embarking on, employing a range of printmaking techniques.

Annette Davis is an artist and freelance curator. During the past two decades she has managed arts projects in Perth, Kununurra, Karratha and Albany, where she currently lives. 13

The Howlett keeps on giving Bevan Honey by Nikki Miller

“I lacked restraint initially, everything was quite unfinished…”

hen the opportunity came to subscribe to Bevan Honey’s Mark Howlett Foundation Commission (MHFC) in 2008 it was a nobrainer for me: help support Bevan make work and receive an artwork in return at the end of the process. The question was, what difference would this support make, if any, to his practice? Over 20 years the Mark Howlett Foundation (MHF) did many good things for artists but at its very core was support for 14 mid-career Western Australian artists. It was a pioneering model of support for the visual arts in this State, a prototype of crowdfunding before the word had been invented. For Bevan it was, “…a fantastic thing to be offered. To have faith shown in your practice before you do it…” Bevan Honey’s impressive CV documents one of this State’s most consistent artists. However, in conversation he reveals something the CV doesn’t: how enormously influential the MHFC has been to his subsequent output. Offered uninterrupted time to create, Bevan did the sensible thing and “went nuts” pursuing all

 Bevan Honey, late romantic (detail), 2013. Digital print on hahnemuhle paper, 60 x 90cm  Bevan Honey

of his ideas. “I lacked restraint initially, everything was quite unfinished,” he says. But towards the middle of the MHF term, with the grip of an approaching deadline, he reined in his focus. In the 2009 catalogue to Bevan’s MHF#13 show there is a lengthy quote describing his intention to draw every day of the commission, and the challenges and learning arising from this self-set task. Five years later the artist smiles as I read him this quote and confirms that he still recalls the drawing process as the defining event of his MHF Commission. “Drawing was the constant,” Bevan says. Some of those early MHF drawings show forms rising into three dimensions. These same forms keep emerging and evolving in his subsequent shows – two solo shows at Galerie Dusseldorf (2009, 2012) and another at Perth Institute of Contemporary Arts (PICA) in 2010. A resurging confidence was evident in the PICA show, culminating in his drawing machine entitled ‘Burn Out (state dependent memory)’. At its essence are several of Bevan’s recurrent artistic concerns: probing our constructed environment; excess; and obsession. This, like all great artwork, reveals ineffable, subtle truths and keeps giving when you return to it. Bevan’s only reservation about the MHF Commission is one he ascribes to his own inexperience. That is, by fully throwing himself

into an 18-month commission, it removed him from his regular exhibition regime. This was time lost to forging interstate and other connections. Back in 2008 the Howlett Foundation had no cache beyond the borders of Western Australia, although the MHF Board subsequently took steps to address this by initiating both a touring show and significant publication. Bevan’s observation is an interesting one, not the least because it reveals a savviness with the machinations of the contemporary artworld. Which leads to the most surprising revelation about his MHF experience; for this artist, it was “more important to go on the Board” than to receive the actual commission. Through the MHF Board meetings he learned much about the structure of the artworld. It was eye-opening to witness how and why decisions are made. Nevertheless, “The Howlett” counts for Bevan as the most significant support for his career to date. As for my investment? Five years on, I’m still learning the significance of the MHFC#13.

Nikki Miller is an arts consultant with Art Support Pty. Ltd and is a former Manager of Artsource. 15

Dogs, stars and crowds get Liz going Elizabeth Marruffo by Geoff Vivian

“ I just really didn’t know how I was going to get the money, I was really devastated…”

isappointment at missing out on a grant led Liz Marruffo to an adventure in crowdfunding. Determined to study traditional wood carving in Mexico, where she spent her early childhood, she hit upon an idea after making art about a cherished childhood pet dog. “I just really didn’t know how I was going to get the money, I was really devastated,” she says. “I thought ‘I’ll do an exhibition with a lot of small things and hope that they would sell’. “My partner showed me some crowdfunding campaigns and slowly the idea sort of emerged. I went to Scitech with my son, and I knew I wanted to do something with my childhood dog again. I wasn’t sure quite what. We were at Scitech looking at an exhibition about constellations and planets, emphasizing Canus Major and the dog star Sirus. It all kind of came together to form that idea.” She then spent several weeks making a video. Having already formed a small woollen sculpture of her dog using the traditional craft of needle

 Elizabeth (Liz) Marruffo. Image: Geoff Vivian  Elizabeth Marruffo, Milk and Sleep (detail) 2009. Pastel, acrylic and oil on canvas. Image: Elizabeth Marruffo 16

felting, “that idea” was to make a similar piece for each of her sponsors, suspending each in a silver wire star. The installation “Pup-Pup is Boss of the Stars” would comprise a galaxy of all her stars. She then loaded the video on to the internet crowdfunding utility Pozible, inviting prospective sponsors to commission portraits of their own pet dogs. “I want to include the dog from your childhood,” she wrote. “There are 152 stars in the constellation so there are 152 spots for your dogs. I will need you to send me an image of your dog and also a story or memory if you want to share it. I will then needle felt a small sculpture of your dog to include in the constellation. You can follow the progress on my blog and come to the opening of the show.” To work with Pozible you post a fundraising target with a deadline date, inviting sponsors to pledge an agreed amount of money and lodge their credit card details. If the fundraising target is reached by the deadline date, Pozible deducts

the promised funds from all of the credit cards, otherwise no money changes hands. Liz had an overwhelming response: she reached her target well before the deadline date, and decided to set a new one. “This new target will mean I can add $1260 for an around the world flight which gets me to Florence as well as Mexico,” she wrote.” I have had a place confirmed at The Angel Academy of Art in Florence which offers a two-week intensive academic painting workshop with an amazing instructor.” It worked! She is off to Mexico and to Florence later this year. “What I’ve learned is invaluable,” she says. “I mentioned it to my ex-lecturer. I said: ‘that would be just the best exercise to do when you are in third year, because it gives you so much clarity about what your project is’.” See Liz Marruffo’s crowdfunding campaign on the Pozible website www.pozible.com/project/17222 or follow Liz’s blog elizabethmarruffo.com/blog/

Geoff Vivian, a former studio artist, is a freelance writer and photojournalist who has also spent more than a decade working in community development for local councils and as the manager of the Aboriginal radio station at Halls Creek.

The Making of Moana Kate Mullen by Sandra Murray

Working creatively with two munificent architects from early on in the project was an inspiring process for Kate.

ate Mullen and Dale Buckley have been managing Moana Project Space in central Perth since June 2012, launching the exhibition program in November. While the focus of this article is Kate, it’s important to acknowledge that the directing of Moana is very much a partnership. After studying Fine Arts at the University of Western Australia, Kate was keen to develop her own artistic practice and secured a studio in King Street. She also commenced work at Venn Gallery; an invaluable experience that gives her exposure to local, national and international artists as well as the opportunity to learn the practical aspects of operating an exhibition space. She and Buckley, friends since UWA, became involved with Spacemarket’s redevelopment of Moana Chambers in early 2012, having known the two Directors, architects Nic Brunsdon and Beth George, through King Street Studio. Working creatively with two munificent architects from early on in the project was an inspiring process for Kate. The designing of a self-contained gallery pod within a disused 100year old building necessitated complex logistics

 Kate Mullen with a work by Alistair Rowe, A Minor Occurence 2013, glass, wood, copper, gas lamp  Kate Mullen and Dale Buckley, Co-Directors and Founders of Moana Project Space

and shrewd foresight, including compatibility with historic building codes and working in a shared collaborative environment. Patronage is in the form of time and energy from Spacemarket, Kate and Buckley; they are not paid for their work. The gallery is not commercially driven. The creative studios and café deliver subsidy in shared rental costs. The City of Perth’s initial support for the project was invaluable and any expansion of Moana depends largely on whether funding can be secured, consequently grant applications are a focus. The space itself is an innovative interpretation of the white cube; it’s what impresses on initially entering the gallery. Indeed site-specific work has become a trademark of several of the exhibitions to date, with the intent to show local artists alongside international and interstate. With the craziness inherent in managing a three-week turnaround of exhibitions plus working at Venn and writing, Kate has placed her practice on the backburner but perceives this as a positive opportunity. Her curatorial projects have been her creative focus over the past two years and Kate loves, “…all the elements of being

both artist and curator, mixing it up, the different ways of engaging with people.” When possible, she uses her own practice as escapism from the demands of directing an artist run initiative. Kate has garnered a unique understanding of the artistic climate in Perth, her insight into a current Perth aesthetic is informed and articulate. “It could be said that the following traits are prevalent: a much heavier focus on processbased and temporal work rather than stagnant, established outcomes; a general return to handmade, delicate materials often with a minimalist or raw quality; whimsical narratives.” Moana Project Space is not your standard pop-up as Kate explains that they have an indefinite long-term lease. She regards this singular project, “As a model upon which to base argument for potential future legislation that will aim to enable disused, inner-city buildings to be more affordable and accessible to independently run creative enterprises.” Both artist and exhibition space have extraordinary potential – stay tuned! See moana-ari.com

Sandra Murray is the Art Curator for Bankwest. Previously she was Head Curator at Fremantle Prison for 9 years and began her working life in WA as the inaugural Curator of the Lawrence Wilson Art Gallery, UWA from 1989. 19

Bringing it all together at Bathers Sculpture @ Bathers by June Moorhouse

“ We sought the counsel of artists so that they were the centre of the show.”

culpture @ Bathers, the homegrown sculpture exhibition presented by Kidogo Arthouse at the tail end of Fremantle’s summer, highlighted a group of patrons who underpin much of the artistic life of our community but are frequently overlooked – artists. Kidogo’s Joanna Robertson is effusive about the generosity of the artists, which allowed this ambitious project to get off the ground in four and a half short months. “They were really generous. The work they produced was fantastic but they also gave of their time to pick up each other’s work, you know, whatever it took… When it came to installing everyone helped each other.” Sculptor Tony Jones and Joanna masterminded the show, supported by a voluntary committee of dedicated individuals. It drew together 62 Western Australian artists, presenting a diversity of sculptural works in and around the gallery and Bathers Beach area in Fremantle. A lukewarm response from the City of Fremantle didn’t deter Joanna’s pursuit of support from government and corporates. Eventscorp was enthusiastic about the project and offered

 Sigrid Ranze, Kuchen Stacks 2013, in situ at Sculpture @ Bathers  Odd Anderson Intent 2013. Version built by Lucky Oceans and a visitor. Image: Chris Gosfield 20

marketing support, as did David Handley, Founding Director of Sculpture by the Sea, the national blockbuster that was showing at Cottesloe Beach at the same time. “He thought what we were doing was a great initiative and offered free advertising in their catalogue,” says Joanna. Many others were approached and contributed in kind support and enthusiasm. The short time frame made attracting funds challenging so the ultimate decision to go ahead came down to Joanna confirming she would underwrite any losses. Having invited artists to participate, those selected met with the team every Tuesday evening to walk the site and determine the best placement for each work. “We sought the counsel of artists so that they were the centre of the show. We made that clear at the start, that this is about the artists, it’s about their work…That completely altered the mood of what we were doing. It made it fun, it made it interesting, it made it full of life and energy.” In fact, the more Joanna outlines the process, the clearer it becomes that the constant gatherings and sharing along the way strengthened the goodwill and drew in other volunteers. It also generated a real buzz to the show that was palpable at the summer evening opening, quite rightly described as the artists’ party. It hummed with the creative spirit of 70’s and 80’s Fremantle,

a place where people cooked up good ideas and worked together to bring them to life. Caution usually stymies such initiatives in our risk-averse age, but here people broke through that to create a very special artistic event, whilst ensuring that all safety and security requirements were met. Sculpture @ Bathers attracted 30,000 people into the Kidogo gallery and another 30,000 to the surrounding exhibitions, according to sophisticated tracking of attendance throughout the exhibition. This included many of Perth’s art collectors, who responded to the spirit of the event, often buying several works. About 40% of the work sold and many commissions have resulted from the show. Support from the small business community in Fremantle was critical, as was the effort of people like recently retired engineer Steve Hawkes, who was enlisted as Site Manager. He undertook the logistical challenges of installation and the ongoing risk management of the site. “He was positive, friendly, helped everyone, nothing was a problem.“ What a team! But nothing would have happened without the artists… See and learn more at www.sculptureatbathers.com June Moorhouse is the editor of Artsource Newsletter. She has worked in the arts for 30+ years and has managed major arts organisations and events. She now works as an independent consultant.

Philanthropy and your Visual Arts Project James Boyd, WA Director, Creative Partnerships Australia

s government funding for the arts becomes more competitive, the pressure increases on individual artists to bring in financial support from other sources. Philanthropy is a growing option. But like all forms of revenue generation, it’s not easy for individual artists. However, a little knowledge can be a great help in deciding if philanthropy will work in your situation over traditional government grants, corporate support or selling work. Two options exist for individual artists to raise philanthropic support. One is grants and scholarships from trusts and foundations (private

A little knowledge can be a great help in deciding if philanthropy will work in your situation over traditional government grants, corporate support or selling work. or corporate) and the other is securing donations from individuals (family, friends, mentors, buyers, audience members, art patrons, etc). In Australia there is a significant number of organisations offering grants and scholarships to individual artists. These include the Ian Potter Foundation, Myer Foundation, Perpetual

Trustees, Trust Limited, Sony Foundation and the Marten Bequest Travelling Scholarships, to name a few. An internet search will quickly identify a foundation’s objectives, eligibility and application process. Most grant and scholarship opportunities have long lead times. It’s often very competitive and it’s all about standing out

Artsource Professional Development Program Philanthropy and Your Visual Arts Project Presented by James Boyd, WA Director, Creative Partnerships Australia Join experienced advocate and philanthropic fundraiser for the arts, James Boyd, to talk about how individual artists can tap into philanthropic trusts and foundations and raise private donations to support artistic goals. Drinks and light refreshments will follow the presentation.

Thursday 8 August, 6-8pm Northbridge Piazza Function Room Level 1, Northbridge Piazza, Cnr James and Lake Street, Northbridge from the crowd. Collect letters of support and commendations from industry leaders. Also, do your research on the foundation and ring them for their thoughts and advice. Most philanthropic foundations have been set up by individuals to achieve special goals, so you might be exactly what they are looking for. The other option is to raise donations from individuals. There is no shortcut, it’s hard work, time-consuming and can be challenging. However, with determination and passion it can be effective. Remember, it’s the people closest to you who will support you, including family members or individuals who buy or express

 Peter Dailey, Aperture, 2013, fibreglass, resin, wood, acrylic and oil paints. Image: Eva Fernandez  Peter Dailey, Ruminate (detail), 2013, fibreglass, resin, fabric, wood, perspex, plastic, acrylic and oil paints. Image: Eva Fernandez

interest in your work. Think carefully about what you want to raise money for, how much you wish to raise, who you are most likely to raise the money from and, finally, how best to do it. For example, in some cases it may be best to seek four $5000 private donations towards a target of $20,000. In others, a crowdfunding campaign to secure $5,000 from lots of small donations is better. A fundraising event might appeal to you more, in which case give careful thought to how your hard work will transform into financial support. With all three of these examples, a compelling cause is critical but there may also be additional incentives you can build into your campaign to encourage donors to give. Lastly, consider registering your project with the Australian Cultural Fund and make donations tax deductible for the donor http://www. creativepartnershipsaustralia.org.au/arts/connectwith-donors/australia-cultural-fund.html

Bookings Essential To book: call us on 9335 8366 email us at membership@artsource.net.au or book online at http://is.gd/philanthrophy

Tickets MAX – Free ACCESS, PLUS, ASSOCIATE – $10 Non-members – $20

Advertorial

A tradition of arts patronage Words by Richard Petrusma

t PSZ Partners, we have a long tradition of endorsing, encouraging and practising arts patronage. Arts patronage works best when it’s a natural extension of people’s passions and talents. It’s a rewarding partnership that revolves around the individual aspirations of the artists involved, and the skills that patrons can bring to the table. For PSZ Partners, arts patronage has always been at the heart of what we do. PSZ Partners’ founder Bob Poolman is an enthusiastic art collector, encourager, mentor and friend to many in Western Australia’s arts community. Through Bob’s personal enthusiasms, he has handed on to everyone at PSZ Partners an appreciation of art, and an understanding of how arts patronage can be practised in a professional services business and beyond.

How PSZ Partners practises arts patronage Pro bono services PSZ Partners provides, or has provided, pro bono professional services to these Western Australian arts organisations: – Artsource – Big Kids magazine – Claremont School of Art Foundation – Homegrown Sculpture @ Bathers Beach – Chrissie Parrott Dance Collective Arts business services and mentoring – Tax matters for artists – Individual consultation on specific matters – Partnering to promote an exhibition or event – Speaking to student artists and artist groups Philanthropic foundation services PSZ Partners provides advisory services and makes arrangements for the establishment of philanthropic trusts.

The art of thinking financially. For more than 30 years, PSZ Partners has worked closely with Western Australia’s arts community. Our services include business advice and mentoring for artists and arts enterprises, tax accounting, superannuation and self-managed super funds, and financial planning. Not to mention our PSZ Artshelf micro exhibition space!

Informal gallery space PSZ Partners’ office in Claremont was designed to showcase artworks and introduce non-artist clients, employees and visitors to a greater awareness of art, potentially nurturing new art purchasers. Featured artists have been invited to give floor talks to PSZ employees and friends. The PSZ Artshelf micro exhibition space also gives artists a venue to show their work. PSZ Partners’ proud history of patronage has been richly rewarded by being able to observe the growth of each artist, and the development of the Western Australian arts scene as a whole.

PSZ Partners provide business, taxation and financial services to their clients. Financial planning services are provided by Richard Petrusma and PSZ Plan Pty Ltd as Authorised Representatives of Sentry Financial Services Pty Ltd (AFSL 286 786) ABN 30 113 531 034. In preparing this material we have not taken into account any personal objectives. You should obtain financial advice specific to your situation before making any financial investment or insurance decision.

Find us at: 243 Stirling Highway, Claremont Phone us on: 6365 9000

Patrons + Donors

rtsource is launching a refreshed Patrons’ Program to engage more people as valued participants, supporting artists and actively involved in our work. The partnerships that Artsource enjoys with our patrons, donors and sponsors enables us to make a real and lasting difference for artists and the visual arts in Western Australia. In fact, we couldn’t do nearly as much without them. Although Artsource is proud to have our work part-funded by State Government, via the Department of Culture and the Arts, this accounts for just 18% of our annual income. Finding the remaining 82% is up to us and, like many notfor-profit arts organisations, the role played by private sector funding is growing. Since 2008, Artsource has received just under $100,000 in donations from private individuals, all of which has been paid to artists in support of residencies. In addition, we’ve had some success in raising both cash sponsorship and sponsorship-in-kind from business, for activities such as our Lifetime Achievement Awards and this newsletter. Our strategic partnership with Rio Tinto allows for our Regional and Indigenous Program to happen. However, in order for us to grow, indeed, simply to continue our work, private funding will be an increasingly important and necessary part of the mix. Having said that, it would be quite wrong to think that this is just about money. Of course the money is important; it allows us to support artists through various essential services and projects, but more than this, it’s also much to do with engagement. Not only do individuals like to support our work financially, they also want to

The partnerships that Artsource enjoys with our patrons, donors and sponsors enables us to make a real and lasting difference for artists and the visual arts in Western Australia feel involved as active participants in a cause that they care for and wish to see flourish. Similarly, from our perspective, we love involving people, growing their understanding of, and appreciation for, our members and their art and exciting them about how they can play a vital part in realising our plans for the future. Our refreshed Patrons’ Program is designed to help individuals support us with regular annual, or monthly, donations. Patrons do not need to be ‘major donors’ to join, with contributions starting at $30/month, or just $20/month for Young Patrons. In addition, thanks to our status as a ‘Deductible Gift Recipient’, patrons can claim a tax break.

Our new Patrons’ Program is an important development designed to help Artsource secure the financial resources necessary to support and grow the vital services we offer visual artists. Equally, it presents a great opportunity to involve more people as valued supporters and increase their engagement with our members and their work. The new Artsource Patrons’ Brochure is available to read online at artsource.net.au; simply select ‘support us’ from the top menu.

 Matt Scurfield, No Gas, 2011, archival photo print. Image: Matt Scurfield 25

Consultancy Services Bridgetown Bequest Based in Sydney, Damien Butler used Bridgetown based artisans to help craft his jarrah and steel artwork.

arly in 2011 Artsource was delighted to receive a bequest of $250,000 to oversee the commissioning of a public art project in Bridgetown. The Schapper Bequest is an amazing gift to the community of Bridgetown, allowing the production of artworks that reflect the values of the bequestor and help to educate and advocate more widely, the value of public art. Working with the bequestor’s family, two projects were devised; one commissioned through a national competition (a condition of the bequest) and the second commissioned from within the south west artistic community. Damien Butler travelled to Bridgetown to install his artwork Kaleidoscope in the grounds of the newly built Bridgetown library on the banks of the Blackwood River. Based in Sydney, Damien used Bridgetown based artisans to help craft his jarrah and steel artwork. The work plays with light and vision, changing over the course of the day as a result of shading from the bushland trees. People can interact with the work by entering between the vertical forms, shifting perspectives

 Damien Butler, Kaleidoscope 2013. Jarrah, stainless steel 26

and views with the mirrored steel. These mirrors are angled so that a child-height view reflects the sky back to the eye and flickering bush is glimpsed through the forms. The work was officially unveiled by Shire President Tim Clynch and was celebrated with the bequestor’s family, local community and the Shire of Bridgetown-Greenbushes. Artsource used the opportunity to meet regional south west artists, introduce the second stage of the project and conduct artist talks with Damien discussing Kaleidoscope. In response to the bequest, the Shire of Bridgetown-Greenbushes produced a Public Art Strategy for additional public artworks. South west artists will be able to propose a work, or suite of works, that respond to a number of sites in and around Bridgetown that are identified in this strategy. Some of these sites are stunning parkland and bushland settings along the Blackwood River and creeks in the area. This would seem a fitting response to the bequestor, who was known as an environmentalist with a deep love of the Bridgetown region.

ReadWrite: Professional Development workshop for emerging public artists Artist Geoffrey Drake-Brockman and the client, Terry Hendricks, generously agreed to facilitate a professional development workshop…

ne of the milestones for a public art project is the 50% fabrication milestone. This gives an opportunity for the client, artist and consultant to view the work, assess the progress to date and discuss any issues that might arise. Artist Geoffrey Drake-Brockman, the public artist responsible for the interactive Totem situated at the Perth Arena, has just completed the 50% fabrication stage of a robotic public artwork commissioned by NEXTDC, a data storage company developing a secure data storage facility in Malaga. The artwork, ReadWrite, draws on the concept of encoding data by writing bits to a device. This motif has been abstracted and rendered as a matrix of 24 one-metre square panels that can reconfigure under pneumatic control. The contrast provided by the use of different colours on each side of the panel allows for a great amount of variation in the overall look of the work, which will be installed on the façade of the building. Geoffrey and the client, Terry Hendricks, generously agreed to facilitate a professional development workshop to give invited emerging public artists an inside look into the process for achieving the 50% milestone on a major art project of considerable complexity.

Geoffrey explained the checklist of requirements he met to achieve the milestone, discussed his response to the brief and how he and the client worked together in the development of the design. Geoffrey also demonstrated a prototype of one of the robotic elements in the piece. Workshop participants had the opportunity to view concept documents and the 50% fabrication report and put questions to Geoffrey, Artsource consultants and the client. The workshop offered artists the opportunity to strengthen their knowledge of best practice public art processes, network with other emerging public artists and gain insight into the public art and studio practice of one of Western Australia’s major public artists.

 Geoffrey Drake-Brockman 27

Studios + Residencies STUDIOS New Studios – Leederville

rtsource has given a vacant Leederville warehouse a new lease on life, converting it into studios and providing 21 artist members with affordable working spaces close to Perth’s city centre. Artsource Leederville on Douglas Street is a welcome addition to our growing portfolio of studio buildings, which includes more than 80 private studios across the Perth metro area. After 13 months in The Ward studios on Newcastle Street, we had to find a new place in a hurry once the building was sold. We were able to bring 11 artists from The Ward with us across the road to new premises – albeit on a rainy March day! Joining those artists is another batch of creative peers, working across art practices, including painting, photography, textiles, sculpture, installation, graphic design, film and illustration. Current studio artists include Rina Franz, Christopher Young, Kirsten Biven, Ruth Halbert, Debbie Oakley, Elisa Markes-Young, Josephine Pittman, Elizabeth Marruffo, Brad Ladyman, Tarryn Gill, Amanda Humphries, Joni Sercombe, Emily Shingleton, Kennedy Boy Productions, Emma Craig, Sandy Jones, Andrea Sheldon, Aster McBee and Stephanie Holt.

Artsource Fremantle Artsource Midland Welcomes New Artists Open Studios

rtsource welcomes Lucy Griggs, Katie West, Amanda Marsh and Michelle Tindale to the Fremantle Studios on five year leases. These four artists were chosen as part of the 2013 application process by a panel of Artsource members. They join the ranks of more than 200 visual artists to benefit from studio tenure at Artsource Fremantle building since 1986. We also bid farewell and good luck to Ian de Souza, Jacinda Bayne, Richard Coldicutt and Kathrin Peters who came to the end of their studio tenures. Applications for Artsource Fremantle studios open in January each year and close on 15 March. Check your members’ e-zine or contact studios@artsource.net.au for more info.

he Artsource Midland studios have been running for four years and offer individual studios to 18 artist members. Julie Hein has also launched the shop-front Front Gallery as an exhibition space where members can apply to show their works. Come and see what’s happening out there and join the artists as they invite you into their spaces.

Sunday 25 August, 11am to 2pm 1 Old Great Northern Highway, Midland – across the road from the Town Hall clock.

 Lucy Griggs, Independence Day India, 2013, watercolour on paper, 29.7cm x 42cm  Artwork on display at the 2012 Midland Open Studios. Photo: Christophe Canato.

RESIDENCIES Illustrious Moderns vs. Baden-Powell Death Cult Thea Costantino, 2012 Artspace Residency Recipient

I found the experience of the residency to be both frustrating and intensely rewarding … I will be wrestling with this material for some time to come.

ast year I travelled to Sydney as one of the privileged Western Australian artists who Artsource support annually to undertake studio residencies in far-flung places – away from the pristine beaches, inflated house prices and mining boom of our beloved Perth. As all artists know, particularly those with day jobs, uninterrupted work time is an enticing, elusive thing. So I arrived in Sydney with bold plans for my three months in the Artspace ‘Gunnery’ studio, knowing that I have achieved miraculous quantities of work in less time. I think, somewhere in my optimistic brainpan, I was expecting to walk out with a ready-made solo exhibition. Inevitably, my plans changed. One of the special things about Artsource’s residency program is that there is no pressure to produce finished outcomes. It’s a space for research, investigation and reflection – a time in which to develop one’s artistic practice, rather than churn out work. Such freedom is intoxicating. It meant that I was able to luxuriate in research and get lost pursuing unexpected trajectories. My primary interest in travelling to Sydney was to examine traces of colonial history within the city. As the place where the first British penal colony was established, it has a special significance in the national imagination. The heritage sites surrounding Woolloomooloo

– Sydney Harbour, the Domain, the Botanic Gardens, the Mitchell Library and so on – are sites where the land was first appropriated from its original owners, where the colony fashioned an identity and where the notion of a national history, even a nation, took root. A leisurely stroll through these areas is littered with stone statues of bewigged sober men in breeches, speckled with bird excrement, and disrobed neoclassical maidens that stand as allegories for something or other. The Hyde Park Barracks, now a museum, are a reminder of the inhumane conditions endured by the convicts, while the Museum of Sydney attempts to chart the overlapping cultural histories of Sydney’s Indigenous people and the colonists on the site of Governor Phillip’s house. In the State Library of New South Wales, a collection of cameos by Josiah Wedgewood commemorating the British ‘discovery’ of this new territory are displayed; he called the series Illustrious Moderns. I became fascinated by the public face of the colony still evident in Sydney’s urban spaces. Commemorative public sculptures depict idealised colonial bodies of neoclassical proportions, glossing over the horrific realities of the British invasion and the brutality of the penal colony. In the studio, I undertook a series of sculptural investigations that sought to subvert such heroic depictions of the colonial body by working with

the metaphor of physical invasion. In this instance, the foreign body attacked itself. I produced an investigative series of ‘neoclassical-ish’ busts which were wracked by buboes, cysts and strange vegetal protrusions. I also produced a number of drawings that depicted a grotesque image of the militarised force of the colony – which, when I hosted an open studio, I described as a ‘BadenPowell death cult’ to anyone that would listen. I found the experience of the residency to be both frustrating and intensely rewarding. Frustrations are inevitable when one discovers such a rich field of interest in a place where one’s time is limited. However, the rewards continue well beyond the period of the residency, and I find myself continuously returning to the discoveries I made in Sydney, both in the city and in the studio. I will be wrestling with this material for some time to come.

 Thea Costantino, Ancestor III, giclée print

Regional + Indigenous Artist Development It’s been a pleasure to work so closely with Rio Tinto staff on the ground; they are aware of the artists in their area and aware of the issues artists face.

ver the last three months, Artsource has been busy renewing its partnership with Rio Tinto to continue our support of artists and art centres in and around the Shire of Roebourne, and within the Shire of Ashburton. We’re fortunate that Rio Tinto values the support we’ve been able to offer artists in the Pilbara and that they understand how artists grow and develop their arts practices. It’s been a pleasure to work so closely with Rio Tinto staff on the ground; they are aware of the artists in their area and aware of the issues artists face. The slumping Indigenous art market will bring a new challenge for Indigenous artists in the coming years and we look forward to working with Rio Tinto in assisting artists over the next three years.

Children’s Book Illustrations Workshop with Magabala Books in Tom Price

invited Magabala Books to partner with us to guide community members towards potential projects. Magabala Books publisher, Margaret Whiskin and illustrator and writer, Briony Stewart joined Tuesday Lockyer from Rio Tinto and Artsource, for a series of workshops with local Indigenous community members in Tom Price. The workshops helped artists to consider illustration as an extension of their arts practice and to explore local stories for further development and potential publishing. We thank Rio Tinto, Gumala Aboriginal Corporation and the Ashburton Aboriginal Corporation for their support in the area, and particularly Garry Parker for his insight and cultural support across the communities.

Artsource has been working with Garry Parker, a local Banyjima artist in Tom Price, since November last year, in developing community connections and opportunities for artists in and around the communities between Tom Price and Paraburdoo. Artists in the area had expressed an interest in exploring illustration and developing their own stories – either from community yarns or working towards their own range of children’s books. As a result of this interest, Artsource

 Preparing for workshop.  Briony Stewart shares illustration techniques with participants in workshop. (From L: Briony Stewart, Joyce Drummond from the Wakathuni Community, with Tuesday Lockyer and Regina Fisher from Rio Tinto. Images: Ron Bradfield Jnr 31

Membership Services Members’ News EXHIBITIONS THOMAS HOAREAU, A Case of Déjà Vu, Art on the Move touring exhibition, Goldfields Arts Centre, Kalgoorlie, 19 July to 31 August 2013. JUDY ROGERS, Still, Melody Smith Gallery, Carlisle, 2 August to 24 August 2013. HARRY HUMMERSTON, Double Vision, Turner Galleries, Northbridge, 2 August to 31 August 2013. PENNY MADDISON, Me, Myself & I, ZigZag Gallery, Kalamunda, 2 August to 25 August 2013. DANI ANDRÉE, In Plane Site, Free Range Gallery, Perth, 5 August to 30 August 2013. CLAIRE BEAUSEIN, Reef Matrix, Linton and Kay Galleries, Perth, 12 August to 27 August 2013. HELEN SEIVER, Strangers in My Palace, Heathcote Museum and Gallery, 16 August to 22 September 2013. CHRISTOPHER YOUNG, Six, Subiaco Museum, 30 August 2013 to 28 February 2014. SUE CODEE, Meet the Artist, Kings Park Festival, Aspects, Kings Park, 1 September to 30 September 2013. ZOE BARRY, SUE CODEE, FREE WILL, ANGELA MCHARRIE, ANDY QUILTY, AMANDA SHELSHER, and others, Unconscious ARTiculation, Melody Smith Gallery, Carlisle, 6 September to 28 September 2013. SARAH MCNAMARA, Catching the Dawn, Pop Up Gallery Marine Terrace, Albany, 28 September to 13 October 2013. SUE CODEE, New Works, Bendigo Bank Southern Art & Craft Trail, Vancouver Café, Albany, 28 September to 13 October 2013. ANNETTE DAVIS, Walking, Bendigo Bank Southern Art & Craft Trail, WA Museum, Albany, 29 September to 13 October 2013. LIA MCKNIGHT, pieces of ourselves we leave behind, Free Range Gallery, Perth, 5 October to 13 October 2013.

 Judy Rogers, Resting (detail) 2013. Mixed media on board, 90 x 120cm

 Andy Quilty, Australia Day #2 – Jimblah 2013. Ballpoint pen, enamel and aerosol on Arches paper, 129 x 114cm 33

EXHIBITIONS LESLEY MEANEY, Innovative Works In Wood, Canvas and Textiles, Linton and Kay Galleries, Subiaco, 9 November to 25 November 2013. PAUL KAPTEIN, The Contours of Emptiness, The Moores Building, Fremantle, 15 November to 1 December 2013. RESIDENCIES LEWIS HORNE will undertake the Awesome Arts Creative Challenge residency in the Gascoyne Junction from 12 August to 26 August, 2013. CHARLOTTE O’SHEA is Artist in Residence at Princess Margaret Hospital between 6 May and 29 September 2013 as part of the ArtsedgeAiR Grants Program.

ANGELA ROSSEN has been appointed Artist in Residence at the University of Western Australia Oceans Institute, working in collaboration with UWA Winthrop Professor Di Walker, Marine Plant Biology. CHRISTOPHER YOUNG was artist in residence at the Subiaco Museum. AWARDS DANI ANDRÉE won the Minerals and Metals Group Highly Commended Award at the Mid West Art Prize 2013 for her work A Plied Way. BRUCE BRADFIELD was awarded the Geraldton Regional Art Gallery Mid West Aboriginal Award at the Mid West Art Prize.  Harry Hummerston, R2D2, 2013, enamel on acrylic sheet, acrylic on board, timber

SHERYL CHANT received a Highly Commended Award at the City of Melville Sculpture Walk 2013 for her artwork Chime. JAKE COGHLAN received the People’s Choice Award at the City of Melville Sculpture Walk 2013 for his artwork Breaching. PATRICIA HINES was awarded the 2013 Regional Award at the Mandjar Art Awards for her work Typographic Landscape – The Orange Tree. EVELINE KOTAI was awarded the Gerry Gauntlet Award at the Minnawarra Art Awards for her work Thrum #2. PAM LANGDON was awarded the $1000 Acquisitive Award at the Minnawarra Art Awards for her work Britannica Metamorphosis.

2013 City of

South Perth Emerging Artist Award Call for Entries

$4,000 Acquisitive Prize Plus individual category prizes of $500 each Entries close Friday 20 September 2013

Exhibition and Sales

Friday 25 October Saturday 2 November 2013 City of South Perth Community Hall, Cnr Sandgate St & South Tce, South Perth 10am - 5pm Monday - Friday 10 am - 3 pm Saturday

Entry Forms and Enquiries Telephone 9474 0777 Email events@southperth.wa.gov.au Website www.southperth.wa.gov.au

KYO TE MORRISON received the Mossenson Galleries Prize for Creativity at the University of Western Australia. ANDY QUILTY was awarded the Overall Alcoa Corporate Prize at the 2013 Mandjar Art Awards for his work, Fighter, 2012; the People’s Choice Prize at the 2013 Mid West Art Prize for Australia Day #1 (portrait of Jimblah); and 2nd prize at the 2013 Vasse Art Awards for Jimblah (James Alberts). JUDY ROGERS won the Best City of Wanneroo Resident Award for her painting Resting at the City of Wanneroo Art Awards. HELEN SEIVER received the Major Prize at the City of Melville Sculpture Walk 2013 for her artwork Swan River Mahogany.

PUBLIC ART AND OTHER COMMISSIONS LEWIS HORNE was privately commissioned to make a work similar in scale and materials as (Cray) Pot Luck, an artwork exhibited in 2013 Sculpture by the Sea, Cottesloe. CINDY POOLE and PHIL SHELTON received a public art commission at Esperance Primary School. GERA WOLTJER was selected for a public art commission for the Fitzgerald Street Community Culture Garden Art Project 2013 in Geraldton, in collaboration with two other artists.

OTHER NEWS SUE CODEE and GERA WOLTJER were selected for inclusion in the Bunbury Biennale 2013. STUART ELLIOTT was selected as the third Syndicate artist. SOHAN ARIEL HAYES was selected for inclusion in the Edinburgh International Film Festival 2013 for his film, Cannibal Story, made in collaboration with artist Billy Atkins. PATRICIA HINES now has two works in the Mandurah Performing Arts Centre Collection. ANDY QUILTY’s work Australia Day #2 – Jimblah 2013 was selected for the 2013 Salon des Refusés in Sydney.

Artsource New Members ACCESS Paola Anselmi Bec Atkinson Nadine Bastow Corinne BersetMeadmore Clifton Bieundurry Albert Biggar Lynn Boladeras Kieron Broadhurst Emma Buswell Leonie Cannon Gila Cohen Emma Craig

Jeanette Dyson Suzanne Franklin Tarryn Gill Jordy Hewitt Peter Hyatt Jessica Ipkendanz Jochen Kitzbihler Kate Koivisto-Wheeler Shannon Lyons Ioannis Michaloudis Carolyn McIntosh Brett Nannup Kathleen Neeling

Deborah Ralph-Kafarela Maureen Rigby Andrea Sheldon Emily Shingleton Jeannette Sproule

Michelle Lee Tindale Janelle Veitch Simon Venturi Bill Wernham Katie West

PLUS Monia Allegre Wajipha Chongwe Paul Donnachie Peter Ellis Thomas Hoareau Charles Kasprzak Rowena Keall-Walsh

Iona McAuley Ian Mutch Ben Reynolds Roly Skender

MAX Odd Anderson Kerrie Argent Pam Boyd-Goggin Jillian Ciemitis Jenni Doherty John Farrington Patricia Fernandes Geoffrey GreenArmytage Delrene Hemingway John Manson Sarah McNamara Sue-Lyn Moyle

Michael O’Doherty Sandy O’Doherty Cynthia Orr Lisa Pensabene Shelley Piang-Nee Terri Pikora Lance Reid Helena Sahm Ivan Shaw Russell Sheridan Yolanda Stapleton Sheryl Stephens Glen Taylor

How to get involved Artsource offers three membership categories. You can also get involved with Artsource by becoming an Artsource Associate or joining us as a Patron. ACCESS ACCESS opens the door to Artsource’s programs including studio rental, residencies, professional development and networking opportunities. Benefits also include regular news updates and visual arts information, discounts to a range of services and Artsource workshops, subscription to this Newsletter and membership voting rights. Our basic membership is perfectly suited to emerging artists, art workers, artist collectives and groups and anyone interested in keeping up-to-date with the visual arts industry. Annual Fees: Individual Artist: $70 Art Student concession: $35 Artist Organisation: $125 (e.g. artist collectives, art groups, art society) PLUS Receive all the benefits of the ACCESS membership PLUS real income generating possibilities through Artsource’s Employment Agency; suitable for individual professional* visual artists. Benefits include representation for art commissions, purchase and lease. Annual Fee: $150

MAX MAX membership provides all the benefits of Artsource ACCESS and Artsource PLUS, but with a comprehensive insurance package designed specifically for professional* visual artists. Addition benefits include FREE entry to any Artsource-run workshop and talks. Annual Fee: $280 (All MAX memberships expire 1 March each year; pro rata fees apply.) ASSOCIATE Artsource ASSOCIATES is suitable for individuals and organisations with a professional interest in the visual arts. As an Artsource Associate, you will receive essential services to keep your finger on the pulse of Western Australia’s vibrant visual arts community, including a range of Artsource Ezines and promotional materials, plus support and advice about engaging with artists. Annual Fee: $180 Membership Enquiries: 08 9335 8366 * Artists who have a serious commitment to their arts practice and consider it a major aspect of their working life, regardless of their income or employment status.

PATRONS + DONORS When you donate to Artsource, or join us as a Patron, you enable our vital work supporting artists. We welcome donations of all sizes and you can become a Patron for as little as $20/month. Every $1 we receive is put to work to help artists and to enrich the visual arts in Western Australia. We value the contribution made by all our Patrons and donors, in fact, we couldn’t do nearly as much without you. Please visit Artsource.net.au and click “support us” for details on how to get involved.

western australian contemporary art circuitonline.com.au

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Yarra Vega, Diamante del Norte (2013) 360 x 180 x 1 cm, enamel on aluminium Courtesy of the artist and Venn Gallery

2013 City of

Albany

Art Prize

A national painting survey 29 September â&#x20AC;&#x201C; 27 October 2013 Albany Town Hall Artist talks, curatorial tours, screenings www.albanyartprize.com.au Proudly sponsored by: The Jack Family Charitable Trust Helen Smith, Arc Drawing #3 (2011), oil on canvas; winner of the 2012 Albany Art Prize.

City of Stirling Art Award & Exhibition 26 September - 6 October 2013 Exhibition open daily 10am - 4pm Stirling Civic Complex, 25 Cedric Street, Stirling Quality Artworks on Show Artworks are available for purchase Entries close 4pm, 30 August 2013 For more information visit www.stirling.wa.gov.au or phone 9205 8555.

City of Stirling

2013

CMY

Third Space

WA Aboriginal artists creating art in the space between Traditional and Western cultures

19 July to 25 August

Paper Cut

Contemporary WA artists working with paper beyond the cut

30 August to 6 October

With a dedicated membership and volunteer base, Mundaring Arts Centre promotes the work of WA artists through an annual program of exhibitions, workshops for all ages, community Festivals and a Gift Shop showcasing handcrafted artworks.

MORE Collective

Works by multi-disciplined artists exploring the notion of â&#x20AC;&#x2DC;Lagniappeâ&#x20AC;&#x2122;a little bit more repetition and pattern

11 October to 10 November