Public Art Research Archive, Sheffield Hallam University, UK


1. Introduction
1.1 Work in the 1st year has concentrated on Policy Development, Project Development, Procedure Development and Information.

1.2 We are at a very early stage of development and are seen as pioneers in the field. The next stage is the consolidation of a firm policy and procedural base to work from.

2. Policy Development within the City Council
2.1 A policy is being developed based on the City as a studio, a place for artists to work in and contribute to. Not an art collection, rather work opportunities for specific sites.

2.2 To implement Percent for Art a statement is now included in substantial planning briefs, area plans and UDP. This ensures work will occur at some point in the future.

2.3 Through on-going projects, slide presentations, conferences and reports, good practice working methods are being promoted and assessed. This is a gradual process of involving different departments, sections and officers in public art projects.

Outside the City Council
2.4 Following discussions the Sheffield Development Corporation has adopted a Percent for Art policy, and is currently assessing ways of implementing it.

2.5 The lead status of the Authority is recognised nationally, and information on policy and implementation has been requested by three London Boroughs and Plymouth, Bristol, Salford, Leeds, Brighton, Newport, Manchester, Kirklees, Edinburgh, Cardiff and Sunderland.

2.6 Invitations have been received to speak at National conferences and to participate in Regional Arts Associations conferences and training programmes, as well as lectures at the Polytechnic.

3. Project Development Inside the City Council
3.1 The major project of the 1st year was the organisation of a National Competition for the World Student Games Facilities - Ponds Forge Swimming Complex and the Don Valley Stadium. As flagship projects, these were to set high standards of quality and be leading examples of how artists and craftspeople can enhance buildings, create local connections and provide a humane, lively, welcoming atmosphere for competitors, visitors and passers-by.

3.2 The Competition was judged to be a great success, attracting submissions from all over the country, and attracting top name artists. The resulting exhibition hosted by the Mappin Art Gallery attracted 4,000 visitors in one week. Despite the public and political support for the project it has not been possible to realise the majority of the commissions.

3.3 Two commissions are taking place at the Stadium:
  1. Hilary Cartmel is working with pupils at Wisewood Middle School to create the main entrance gates. The estimated cost is 10,000.

  2. Joanna Veevers is working with the design team on the design of the main entrance road. The cost of this design project is 8,000.

3.4 Other artists in the competition who received public approval have benefited.

  1. Catrin Jones was selected by Renton Howard Wood Levine to produce work for the Lyceum Theatre. Her stained glass windows are to be completed in September 1990. Delays in contracting her had a positive side in establishing procedures for future projects.

  2. Amber Hiscott was asked to produce a glass frieze for the new Town Hall extension entrance. This work will be installed at the end of March. The project is an excellent example of an artist working within an existing budget.

3.5 The artists selected, but not commissioned for the Student Games are:-
Bruce McLean		-	Ponds Forge Entrance
Sarah Galloway		-	Ponds Forge Stained Glass
Charles Quick		-	Ponds Forge Sculpture
Richard Perry		-	Stadium Marble Wall Relief

3.6 Tudor Square is seen as a major opportunity to involve artists in a new development. Paul Mason - a Student Games short-listed artist - has been asked to prepare initial designs for a frieze celebrating the cultural aspect of the games, and to work with the design team on associated matters. Other opportunities exist within the square for metal work, paving etc, and artists selected for these projects will also work with the design team.

3.7 The Kelvin Flats Stairtower painting and Tinsley Subway mural were successful projects in terms of the quality of the work and involvement of the local community. The Kelvin project was also an excellent example of an artist working with a design team to make a positive contribution to the environment using the trained, professional skills of an artist.

4. Project Development Outside the City Council
4.1 Two major projects - Cambridge Street and Moorfoot - are both including a Percent for Art in the developments. The programme has not yet been determined, but they are the first private developments to come through the planning process.

4.2 The Esso/Granada development on the Parkway highlighted the problems of working with the private sector which are addressed in the attached paper, though formal confirmation of the project has not yet been received.

4.3 Crystal Peaks independently commissioned a sculpture for their new car park. The Public Art Development Officer carried out a public consultation exercise on their behalf.

30th January, 1990


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