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Home , 1964 in Northern Ireland, Belfast, Belfast City Hall, Bleach Green, Deborah Brown, Derrytrasna

PUBLIC HANDBOOK FOR NORTHERN Council of MacNeice House 77 BT9 6AQ Northern Ireland

Tel: +44 (28) 9038 5200 Fax: +44 (28) 9066 1715 www.artscouncil-ni.org

First published 2005. Reprinted with minor revisions 2006. Copyright in publication © Arts Council of Northern Ireland

Text: Paul Harron : www.whitenoisestudios.com Printed: Nicholson & Bass Ltd

Acknowledgements: In addition to those commissioning organisations which supplied images of and information about artworks funded by the National Lottery through Council of Northern Ireland, the Arts Council would like to thank the following for supplying and permitting reproduction of images: (Good Relations Unit and Development Department) and NICCY (Northern Ireland for Children and Young People). Most images have been supplied to the Arts Council as a condition of grant offer, the rest have been commissioned by the Arts Council from Harrison ; copyright in the images will usually rest with the commissioner or their photographer in each case, and no image should be reproduced without the prior permission in writing from that body. HANDBOOK FOR NORTHERN IRELAND

2002, Clarendon Dock,Belfast LEFT: Vivien Burnside, CONTENTS Dividers , Appendix Select Bibliography Contacts Further Information Community-focused Pr Temporary Projects Multiple W Public ArtinHealthcare Case Study:MovementwithinanEdge,UlsterHospital,Dundonald Brief DescriptionsofotherIntegratedAr Case StudyII:TheMaterHospitalMcAuleyBuilding,Belfast Case StudyI:TheVerbal ArtsCentre, Brief DescriptionsofotherMultipleWorks Projects Case StudyII:XPlore Art& , LaganValley Island, Case StudyI:LoughMacNeanSculpture Trail, Fermanagh Brief DescriptionsofotherSingleWork Projects Case StudyII:LettheDanceBegin, Case StudyI:BigFish,Belfast Single Works Types ofProject A Documentation andEvaluationLaunchingtheWork Contracts A Open Competitions Selecting The Brief Developing aBrief The Vision Foreword Preface Ar Brief DescriptionofotherTemporary Project Case Study:DrawingtheBlinds,Belfast Case StudyII:EalaínSraide–Street ArtProject, UpperSpringfield, Belfast Case StudyI:SouthLoughNeaghWetlands Arts Initiative Integrated ArtsProjects The CommissioningProcess The ArtsCouncil’s RoleandFundingRoutes Ireland: aBriefSynopsis Public ArtinNorthern Word onMaintenance Word onShortlistingandSelection ts Council’ 07 76 08 orks s Ar 21 37 chitectur 78 71 ojects e 61 49 & the BuiltEnvir 22 16 65 ts Pr 72 onment PolicySummar 50 ojects 74 24 14 26 10 42 54 66 38 52 y 62 80 40 68 PAGE 06 Public art is not a distinct artform; rather the term refers to works of art in

E any media created for and in the context of the civic realm, be it the built or natural environment. The only constant quality of public art is that it is C always site specific. As www.publicartonline.org.uk puts it, public art ‘aims

A to integrate artists’ and craftspeople’s skills, vision and creative abilities

F into the whole process of creating new spaces and regenerating old ones, in order to imbue the development with a unique quality and to enliven and E animate the space by creating a visually stimulating environment’. R

P Public art, while often invigorating, stimulating and regenerative, can also sometimes be banal or of poor quality, quickly becoming superfluous urban clutter. There is much current debate around the commissioning of public art and what it can and cannot achieve – in this sense the term and activity of creating it is sometimes contested. At its worst, public art can seem somehow patronising or compromised, but at its best it can be beautiful and uplifting, capable of rendering unexpected delight, and, to quote Jay Merrick, may provide ‘lively presences, objects that force us to look and think again, or grin, or swear’.1

This Handbook is intended to help enable those involved in the process of commissioning art within the public context achieve the most rewarding outcomes, by approaching their project in an informed way that best benefits the (s), funder(s) and community(ies) involved. It outlines a short history of public art in Northern Ireland to date; the Arts Council of Northern Ireland’s role in supporting public art projects and the routes available for funding future projects; best practice guidelines for commissioning and the relevant stages of the process depending on the nature and scale of the project; case studies of selected exemplar projects; and a short guide to some public art that has been funded by the Arts Council of Northern Ireland – mostly through the National Lottery since 1995. The aim of these case studies and thumbnail profiles is to record what has been achieved by so many to date and to provide stimulus for future possibilities.

Paul Harron Arts Development Manager ( and Public Art) Arts Council of Northern Ireland.

1 Blueprint No. 216, February 2004

LEFT: Eamonn O’Doherty, Bicentenary Sculpture, 1997, Royal Group of Hospitals, Belfast PAGE 07 The phrase public art is generally accepted as that catch-all term that

D encompasses the making or placing of art in non-gallery settings. In recent decades the practice of public art has developed and diversified R significantly and includes a wide variety of contextual art practices which

O can be temporary or permanent or which are process orientated rather than purely product or outcome focused. In the context of this document

W the term can generally be taken to refer to the process by which an artist is commissioned to make new work in response to a particular people or E public, a place or space. It is this very process of commissioning that

R reveals perhaps the most significant aspect of what makes public art a markedly different activity to other forms of art making. O

F Any public art project generally involves a wide range of individuals, organisations and interests in its conception, creation and delivery. When we think of a public art project, we like to think of its output as the creation and vision of the artist. There are, however, a whole range of others involved in the production of public art, from commissioners, funders, administrators, consultants, , planners, politicians and communities whose input and influence greatly affect the nature and outcome of a public art project. It is this collaborative process that makes public art both complex and challenging. It is also what creates the potential for exciting and creative partnerships between artists, commissioners and many others.

The commissioner is the starting point for any public art project and from the beginning the commissioner is faced with a wide variety of possibilities. There are numerous decisions that will be taken as a project is being conceived and considered that will ultimately affect the artistic product or process. This underlines the power but also the responsibilities of commissioners in relation to the contribution they make to successful, creative, ambitious and challenging public art projects.

If experience can tell us anything it is that the commissioning and management of artistic projects of the highest quality is a difficult and complex task. It requires experience and knowledge, patience, negotiation and commitment. Research and preparation are essential in order to undertake a commission with a sense of purpose and with clear aims and objectives. All decisions about the nature of the commissioning process should be taken knowingly and at all stages the commissioner should be aware of precisely what it is doing and why.

Commissioners should also be wary of having preconceptions about what an artist can contribute to an artistic process. Creative decisions in the commissioning process take place in the planning and research stages. Commissioners should aim to fully utilise the creative potential of artists. In order to do this, artists should be brought into the process at the earliest possible stage both as members of any management committee as well as artistic producers.

PAGE 08 In addition, it is not sufficient for the commissioner to simply provide the financial support; the commissioner must also lend sufficient support to the artistic process on an ongoing basis. The commissioning or contracting of an artist is quite different to the contracting of other professionals. It is not like contracting a cleaning company or building firm to carry out a job. Firstly the artist is an individual, which can make it very difficult for them to operate without the support of the commissioner. As well as being an individual the artist is undertaking a creative task i.e. creating an artwork. This will mean that whatever they are engaged in, one would expect it to be unusual, unique, a one off. It may involve doing things that have not been done before; it may involve quite challenging situations, pushing the boundaries of what is considered the normal way to do things. This is the nature of what it means to create an original work of art. This can be awkward and sometimes frustrating for the commissioner; however, the challenges, the discussions and encounters that are thrown up can often be revealed as positive and productive by- products of the overall process.

Finally, there is one particular issue that so often seems prevalent amongst commissioners – the fear of controversy. Public art invariably involves public money from some source or other. It does seem that this can bring with it a real fear amongst commissioners of any form of potentially negative publicity. The pressure to play it safe, to do what has been done before, not to rock the boat can seem overwhelming and can impact negatively on the vision and ambition of a project. More often than not, however, this hesitancy seems to stem more than anything from a lack of confidence, where a commissioner feels unable to justify or articulate creative and artistic decisions. It is for this precise reason that artistic expertise on a commission management committee is so valuable. It can build confidence and is a key aspect in creating and sustaining ambition in a truly creative process.

While a positive response to a new public art project is something to be hoped for, more important than anything is that at least some form of engagement takes place. Where public art really fails is not where there is negative publicity but rather where there is indifference. Public art is about engagement and discussion, about new ways of thinking and looking, it is challenging, creative, ambitious and, dare one say, ‘controversial’. These are principles that underpin our understanding of art and consequently ones that should be embedded in the commissioning of art for our towns, cities and communities.

Toby Dennett Director, Visual Artists Ireland

PAGE 09 A The public in Northern Ireland was slow to mature. John

D Hewitt noted in Art in No.1, in 1951, ‘Of sculpture, there is little to B tell…’, although there had been a reasonably lively tradition of architectural N

R sculpture in Victorian and Edwardian times and a notable exception of very

A refined work in the public or quasi-public realm by Rosamund Praeger, I

E whose work can be seen in St Anne’s Cathedral and the Royal Victoria L Hospital, both in Belfast, and at , Co. , where the bronze F E Johnny the Jig (1953) takes pride of place. We can, perhaps, mark the

R emergence of a ‘public art movement’ with the Festival of Britain S I commissions to John Luke for his in and to George Y McCann for his relief panels, St Columba and The Four Just Men N N of the Guilds, on the Guildhall in Derry. Also in Derry, two of the earliest public art works emerged when the architects of R O Hospital – the firm of , Rosenberg and Mardall – commissioned E

P Princess Macha by the remarkable F. E. McWilliam and the huge mural

H Four Seasons by William Scott. In 1964, the in Belfast’s S created a stir with its commissioning of two untitled T I cast aluminium prone works by the renowned English sculptor Elisabeth S

R Frink for the corner façade of its building; affectionately dubbed ‘Draft’ and ‘Overdraft’, they have come to define that urban space. O

N By 1971, the Arts Council of Northern Ireland was endeavouring to take artists’ work out of the gallery and into public places under the auspices

N of a scheme called Art in Context. Competitions held in 1975 and 1978 I resulted in works such as Oisin Kelly’s Grasshopper in scrap metal for T R A C I L B U P

CLOCKWISE FROM TOP LEFT: Arthur Armstrong, Play Sculpture, 1976 (no longer in situ); John Aiken, Untitled, 1987, City Hospital, Belfast; Eilis O’Connell, Untitled, 1987, City Hospital, Belfast; Dame Elisabeth Frink, Untitled, 1964, Ulster Bank, Shaftesbury Square, Belfast PAGE 10 St Mary’s Primary School, Strabane; Arthur Armstrong’s Play Sculpture; Caroline Mulholland’s Three Free-Standing Figures for the Forum; Bob Sloan’s sculpture at Greenland County Secondary School, ; and Graham Gingles’ Concrete Trees at St Colmcille’s Primary School in . In total, some 14 works were commissioned for a variety of locations, including parks, libraries, hospitals and colleges. Also during the Seventies, the commissioned Barry Flanagan’s New Metal Piece in mild steel (1978) for placement outside its main entrance.

During the 1980s the Arts Council focused its public art policy on direct commissions with identified clients or commissioning bodies. The selection of artists was on the basis of limited competition; one example was , where works were commissioned from Eilis O’Connell (Untitled, 1986-7), John Aiken (Untitled, 1986-7) and F. E. McWilliam (Homer, 1986). Elsewhere during this decade, Queen’s University, Belfast, commissioned Clifford Rainey’s granite and cast iron Sulpicia (1984) to add to its collection of public realm work which included Seated Figure (1962) by F. E. McWilliam and Industry by Barry Orr (1974-6).

The late 1980s and early 1990s saw the successful completion of John Kindness’ Waterfall of Souvenirs at the Europa Bus Centre and Louise Walsh’s Monument to the Unknown Woman Worker on Great Victoria Street. The Arts Council also embarked in 1990 on the creation of a Sculpture Park at its former headquarters at Riddel Hall on Road. Eight artists were invited to submit proposals for the park, and a large bronze Umbilicus was purchased from F. E. McWilliam. The Sculpture Park project had to be suspended when the Arts Council’s tenure at Stranmillis Road became uncertain (the Arts Council subsequently moved to MacNeice House on the Malone Road). In addition, the purposes for which the park had been set up – to stimulate an interest in public works, and to act as a resource from which work could be purchased – became less necessary as the direct commissioning of art by district councils and others became more common. Since then the Arts Council has sold one piece, ’s Sheep on the Road to Laganside, which has been very successfully relocated to the front of the where it resonates with site’s original function as a livestock market, and loaned another to Laganside – Untitled by Bob Sloan which is now relocated beside the Lagan at Mays Meadow – and one to Ballynahinch Market House: John Kindness’s ceramic and bronze pig, Romulus and Seamus (1992). The Council is investigating strategies for the long-term relocation of three other works.

In the early 1990s, the Department of the Environment commissioned a range of works, including three for St Anne’s Square on Donegall Street, Belfast – Untitled by John Aiken (1990), Globe by Brian Connolly (1990), TOP TO BOTTOM: Louise Walsh, Monument to the Unknown and Boat, a mosaic by Dierdre O’Connell (1990) – and, in Derry, Hands Woman Worker, 1993, Great Victoria Across the Divide by (1992) and The Emigrants by Street, Belfast; Eamonn O’Doherty in Waterloo Place. John Aiken, Untitled, 1992, Riddel Hall, Belfast; John Kindness, Waterfall of Souvenirs, With the introduction of National Lottery funding in 1994, a new financial 1991, Europa Bus Station, Belfast; resource for public art has become available, and has significantly Deborah Brown, Sheep on the Road, 1991, accelerated the commissioning of it in Northern Ireland (the Arts Council Riddel Hall, Belfast (now relocated to of Northern Ireland holds the licence for distributing Lottery funding for the Lanyon Place) PAGE 11 arts). Since May 1995, when the first Lottery grants were made in Northern Ireland, the Arts Council has allocated over £1.9 million to over 50 public art projects, ranging from large-scale urban works to smaller scale community and rural commissions and integrated arts projects for new buildings – many of these works are showcased later in this publication. These have been commissioned by a wide range of organizations, from community organizations to local authorities to health trusts to regeneration agencies.

A of commissioning artworks for the public realm has arguably now gained momentum – the wisdom of building-in a ‘Per Cent for Art’ of a capital budget for new building projects (which allows for meaningful creative collaboration between artists and other design professionals from the earliest stages) is increasingly accepted (it is now official policy for the Arts Council and Health Estates), and community groups have begun to develop their own localized public art strategies (such as at Holywood and Omagh), for example. Laganside, meanwhile, has commissioned a large number of works by a range of artists along the banks of the Lagan and its hinterland in Belfast, which has been complemented there and along other cycle paths elsewhere along the , by commissions developed by Sustrans. Increasingly commissioners raise funds for public artworks from their own resources, seeing the benefits of engaging artists in either interpreting or presenting a ‘message’ to the public or simply enlivening the public realm. Examples of such commissioning in 2004 included: Belfast City Council’s commissioning of Katherine Nixon to create interpretive bronze information panels for Belfast’s Cathedral Quarter; the City Council’s Good Relations Unit commissioning of Elizabeth O’Kane to sculpt a bust of Mary Ann McCracken for the City Hall’s rotunda; and the Northern Ireland Commission for Children and Young People (NICCY) engaging Martina Galvin to create a large photographic work for the entrance to their premises on Great Victoria Street – in this, children and young people were active participants in the whole creative process, from writing the brief, judging the submissions and completing the work. (In each of these examples, the Arts Council was able to provide advice and support at competition stage by participating in the selection process.)

TOP TO BOTTOM: John Kindness, Romulus and Seamus, 1992, Riddel Hall, Belfast (now relocated to Ballynahinch Market House); Bob Sloan, Untitled, 1992, Riddel Hall, Belfast (now relocated to May’s Meadow, Belfast); Katherine Nixon, Interpretive Panel, 2004, Cathedral Quarter, Belfast; Martina Gavin, Photographic Panels, 2004, NICCY Headquarters, Belfast; Elizabeth O’Kane, Bust of Mary Ann McCracken, 2004, City Hall, Belfast

RIGHT: Brian Callaghan, Ninth Life, 1992, Riddel Hall, Belfast

PAGE 12 PAGE 13 A The Arts Council of Northern Ireland does not directly commission public E N art, rather it enables commissioning, by welcoming applications from

L organisations (not individuals) who wish to do so to its National Lottery D funding schemes. The principal avenue is through its dedicated Public

O Art Programme, with two deadlines per year – details are downloadable F

R from the Arts Council of Northern Ireland website. This dedicated

U programme, with specifically allocated National Lottery funds ring-fenced

S for the purpose, indicates a recognition by the Arts Council of the growth N ’ in commissioning art for the public realm and the importance of it. L D I Applications are assessed against the Arts Council’s set criteria: public I C N benefit; quality of arts activity; financial viability and quality of management; and partnership funding – all Lottery programmes require a N G partnership funding approach. Applicants should note that the Council

U currently splits applications into two separate stages: commissioning and R production, each of which is eligible for funding; also, maximum ‘ceilings’ O

O for funding operate. While the Council obviously welcomes strong and

C innovative applications, funding is always highly competitive and,

U therefore, regrettably not all applications are successful. Applicants should

S also note that where funding is sought from the Arts Council, the selection T of artists will always be through a competitive process and usually be T E through open competition. R S

A Arts Council funds towards smaller projects as well as time-limited projects with a lower financial threshold (up to £10,000) are also potentially

E available through Awards for All – for details on how to apply, contact Awards for All directly (see Further Information pages). H

T In addition, in 2006, the Arts Council announced a Government investment of over £3million to enable local communities to tackle the visible manifestations of sectarianism and racism in our society. This programme, Re-Imaging Communities, is designed to help all communities in urban and rural areas to focus on positive ways to express who they are and what culture means to them. It aims to replace paramilitary and emblems with positive images and to develop mural art and public art which celebrates life and helps people to feel part of the community in which they live. This programme represents a significant development in community-based public art in Northern Ireland and provides a challenge for the community arts process to contribute momentously to the establishment of a normal civic society where there is equality and respect for diversity and where the public realm is free from displays of sectarian aggression. This three year pilot project is a partnership between the Arts Council of Northern Ireland, the Department of Social Development, the International Fund for Ireland, the Office of the First and Deputy First Minister and the Northern Ireland Housing Executive. For further information, contact the Re-Imaging Communities team based at the Arts Council on T. 028 9038 5200.

The Arts Council also supports public art within its Capital programme, where at least one percent for integrated art is built in to a building project. (For a description of the integration of art in building projects and an explanation of the ‘Per Cent for Art’ principle, see page 49).

PAGE 14 Occasionally artists engaged in work in the public realm context have received support for elements of their work (as it relates to their own professional development and sometimes work in the community context) through the Support for the Individual Artist Programme.

For details of these schemes (and the levels of financial support potentially available and minimum partnership funding thresholds where applicable), application forms, guidelines and deadlines, visit the Arts Council website: www.artscouncil-ni.org. The website also includes a virtual tour of selected public art works across Northern Ireland, which is updated on a rolling basis.

The Arts Council can also advise on all aspects of the commissioning process, from planning the commission, developing the brief, selecting artists and up a contract. Where the Arts Council is involved in funding a commission, it is a requirement that a representative of the Council is involved in the selection process. It is advised that when planning a commissioned art work for which you may seek funding, that you contact the Arts Council at the start of the project, before any work is undertaken. There is currently no public art commissioning agency in Northern Ireland (as there is in other parts of the UK); however, Visual Artists Ireland, an organisation with an all-Ireland remit, can provide an excellent service in terms of advice and project development and it may be able to assist with nominating an independent artist to a selection panel – this should be discussed directly with Visual Artists Ireland (for contact details, please see the Further Information pages). The Arts Council of Northern Ireland may also be able to participate occasionally in selection panels for public art projects which it is not funding if desired, depending on capacity – contact the Architecture and Public Art specialist.

PAGE 15 INTRODUCTION S It should be stated at the outset that there is a wealth

S of well researched and detailed information available from specialist bodies such as the Sculptors’ Society E of Ireland; a-n/The Artists Information Company; Public

C Art South West (see www.publicartonline.org.uk); and Ixia (formerly the Public Art Forum), amongst others – O please refer to the Further Information/Contacts pages

R for contact details. It might also be worth obtaining a copy of The Code of Practice for the from P a-n; in summary, the principles of good practice identified in that publication are that those who work G with artists should: contribute confidently, prepare

N thoroughly, collaborate creatively and aim high, and I artists should do likewise. It is also worth remembering

N that where public art is being commissioned as part of a capital or environmental improvement project, the O most effective and innovative creative outcomes occur I when collaborations between artists and design teams S and commissioners take place at the very outset of a

S scheme – for good information on this, see the I guidelines for the Project funding scheme produced by Public Art South West. M

M THE VISION The important first stage of the process is establishing

O the vision. In other words, potential commissioners should articulate what it is they hope to do and why C they want to do it, identifying the desired outcomes of the commission. This is essential for the E commissioner’s own purposes but it will also aid and

H inform potential funding applications. If professional

T advice is required it is best to get it at this stage. The Arts Council recommends that commissioning bodies contact both the Arts Council and the Sculptors’ Society of Ireland as early in the process as possible as they can assist with assessing the costs, identifying the site, selection procedures, community involvement, developing the brief and legal and contractual responsibilities. DEVELOPING A BRIEF A process of detailed planning flows on from establishing the vision. Regardless of scale, a project will need a comprehensive plan, which in turn will be developed into a brief for the project. Inevitably a plan will go through various stages of drafting as it is reviewed and developed. The planning/development of a brief stage will consider: costs; the route for selecting the artist; the potential site(s), considerations regarding legislation including equal opportunities, accessibility

PAGE 16 and child protection; the involvement of the local , Themes (if there are themes) community and specific groups as appropriate; legal , Technical information – maximum or minimum and contractual responsibilities; insurance; project dimensions and weight requirements management, recording/documenting and monitoring; , Site – description of it and its condition, and of future maintenance; and publicity and promotion. The planning permissions (etc.) required (it is good commissioning body should draw together a steering practice to provide visuals of the site in question or management group, which will ultimately form a alongside a brief) selection panel. The group should include members representing the community, the commissioner, SELECTING ARTISTS funders, and a person with arts expertise (this could The selection of the artist should be made against be an independent artist). clear criteria based on the objectives of the commission. As stated above, a representative It may be that commissioners will feel that they need selection panel should be drawn together from the to employ a consultant to help them through this commissioning steering group and an independent development stage, especially on large and particularly artist or representative with arts expertise. complex projects. Applicants to the Arts Council may include reasonable costs to cover such consultancy Artists can be selected by: work connected to specific projects as part of a commissioning stage application; however, applicants , Open submission: opportunities advertised should note that retrospective applications cannot be nationally and/or internationally so any artist fulfilling considered, so any work undertaken prior to a letter the criteria can register interest of offer being received cannot be recouped and , Limited competition: invitation to a small number applicants should be cautious about entering into of recommended artists who are paid to produce any contracts. proposals or invited for interview. , Direct invitation: artists approached directly and THE BRIEF invited to undertake the commission or in response The brief is an essential document. It will be the to artists themselves initiating an idea. document which is supplied to the selected or , Purchase of contemporary work: direct from the applicant artist (depending on selection route) and will studio or gallery or from open or limited submission. form the basis of the written agreement (contract) with the commissioned artist. The brief should as a Where funding is sought from the Arts Council of minimum include information on the following: Northern Ireland, the selection of artists will almost always be through open competition. The rationale for , The vision this is that maximum opportunity should be afforded to , Details of team members and their roles practising and professional artists to engage with , Selection process – how, and against which criteria, creating work in the public context, and that there will an application be assessed? (It is also good should be a ‘level playing field’ – public art practice to state who is to be on the selection panel.) commissions are, relatively speaking, substantial and , Working Context (eg. community participation, high profile commissions, and where public money is local environment) involved, direct commissioning is not generally , Budget – considering all the potential costs: desirable. An exception to this route may be where it advertising and selection costs; artist’s fee; materials has not been possible for a selection panel to and fabrication (production) costs; installation and collectively appoint an artist after an open competition transportation costs; travelling and workshop has been exhausted – in this instance a more limited expenses; professional and legal fees; insurance approach may be considered acceptable, although costs; consultation costs; VAT; contingency; equally the appropriate way forward may be to re-run maintenance costs; publicity, documentation and a competition if funds allow. launch costs , Timescale , Requirements as to durability, maintenance and health and safety

PAGE 17 OPEN COMPETITIONS A WORD ON SHORTLISTING Firstly, an advert will need to be prepared and placed AND SELECTION in the media. In Ireland, North and South, the usual As stated above, commissioners should establish clear routes are through the trade press: Circa Magazine and criteria related to the objectives of the commission the Sculptors’ Society of Ireland’s Visual Artists’ News which will enable them to select the best artist for the Sheet; both also have websites and e-bulletins through commission – these selection criteria should be written which commissions can be advertised. Additionally, into the brief so that applicant artists will also be fully commissioners may – depending on the budget clear on how their submission is being judged. available and the context in which they work – wish to Selection should also be made by a panel which is as place the advert in the local press or daily papers (if so, representative as possible (although be wary of over- commissioners should be mindful of equality of large interview panels as these can be daunting for opportunity when choosing newspapers and their interviewees). Commissioners may find it useful to perceived readerships). If desired, and especially if the ‘score’ against the set criteria as a way of achieving, commission is major, adverts can be placed in British recording and analysing consensus, and indeed trade journals, such as a-n. Targetted mail-shots to weighting the scores for particular elements as they studio groups can also be considered and may be see fit – for example, if a project is to have a strong effective, as may be advertising on local authority or educational component, the score for the ability to and other websites as appropriate. experience of working in education may be marked out of a higher score. Every project is different, but it is Artists who respond to the advertisement should suggested that selection criteria address the following receive a copy of the brief, and preferably be given the matters in most instances: opportunity to visit the site in question. A reasonable period of at least 4 weeks from the date of advert , Artistic quality of submission should be given before the deadline for receipt of , Appropriateness of submission applications. It is normal to ask for artists to submit a , Quality of examples of previous work submitted statement in response to the brief and criteria laid , Previous experience of working in the public realm down; outline proposals and detailing , Consideration of health and safety issues materials to be used etc.; a CV detailing all their work , Durability (assuming it is not a temporary project) to date and relevant qualifications; a good range of , Implications for future maintenance visual examples of their work; and information on their working to the budget involved. It is, of course, good practice for commissioners to keep a clear record of the selection and any scoring Competitions are usually handled in one or two stages. process undertaken by a selection panel – it will be For smaller commissions it may be sufficient for a useful for review purposes and to inform future panel to collectively select an artist from the basis of projects, as well as available for providing feedback to one submission, assessed (and often scored) against unsuccessful artists. It is generally appropriate to offer the established criteria. Frequently, and especially on the opportunity for feedback to unsuccessful artists in more substantial commissions, a two-stage approach a letter of regret. is taken, whereby the panel shortlists submissions down to say 4-6 of the strongest proposals and invites CONTRACTS these artists to develop their proposals to a more Once the artist is selected, the next stage will be for detailed stage for an agreed fee – commissioners the commissioners to agree on the contractual should factor in the costs of such fees in their overall arrangements. It is important to note, however, that if budget. This detailed stage may require artists to the process is being funded through a two-stage Arts produce a maquette (or ) and to attend an Council process (or indeed by other funders operating interview. Again, a reasonable period should be similarly), it may be necessary to await the outcome of allowed to enable artists to carry out this second a funding decision for the second stage before actually stage. The artist whose work is most impressive at this entering into a firm contract with the selected artist – in maquette and/or interview stage will be selected. other words, proceeding to this stage may be subject

PAGE 18 to funding decisions; these time-scale and funding LAUNCHING THE WORK outcome considerations ought to be factored into the It will be important to launch the completed work in a timetable developed at brief development stage. high profile, public way – after all, engagement with the public and integrating the work with the local context Sound advice on contracts and what they should will be and have been of paramount importance to the include, should be sought from the professional project itself. Marking the completion of the project bodies, such as the Sculptors’ Society of Ireland ensures that it becomes publicly known, acknowledged and/or a-n/The Artists Information Company. However, and indeed debated. All those actively involved in the in summary, a legally binding agreement which works project, from artist to participants to funders to local to protect both artist(s) and commissioner, is essential, residents, should be invited to attend an event, to and it should include at least the following: which the media should also be invited and encouraged to cover – drawing up a press release , Names, addresses and definitions of the parties would also be useful. , The brief , The proposal (with a drawing or photograph of A WORD ON MAINTENANCE a maquette) Often public artworks that have a practical as well as , Insurance and professional indemnity requirements an aesthetic function fare best in terms of longevity – , Fees, costs and payments schedule they become cared for, maintained and renewed on an , Key contractual dates ongoing basis. Similarly, public art which is strongly , Ownership of work, copyright and moral rights ‘owned’ by a community or constituency of some sort (NB. Copyright in the work itself will always remain will be kept alive and avoid becoming tired (at best) or with the artist) vandalized or damaged (at worst) for longer than a , Defects warranty terms work which doesn’t. It is sad all round if a water feature , Warranty of originality becomes clogged with debris and no longer functions, , Site preparation, installation and maintenance or a piece requiring illumination never has the bulbs obligations changed, or if a kinetic work becomes seized up and , Permissions, such as planning permission or no longer moves for want of a little oil. Consideration performance licences (if applicable) of how a work can and will be maintained in the future , Formal acceptance (if it is planned for it to have a long-term future) – and , Arbitration routes the potential cost implications – should be undertaken at probably the brief development and certainly the DOCUMENTATION AND selection stage. Certain contractual responsibilities EVALUATION can be negotiated with artists at contract stage Documentation and evaluation are important elements (especially relating to rectifying defects within a of any public art project, for both reference and reasonable time period), but the ultimate responsibility promotional purposes. The documentation can be for ongoing maintenance will and should rest with carried out in written and visual formats – it may be the commissioners. appropriate to film as well as photograph stages of the project, for example. A full evaluation of the process from start to finish is useful in terms of measuring the success of the project for the benefit of all those concerned, and funders will generally require some form of evaluation to be carried out and submitted during and at the end of the process. Evaluation and review will, of course, also help with the planning of any future projects.

PAGE 19 PAGE 20 S Many public art projects are simply one-off, T I

N discrete works created for single, well defined C

G sites. Often they are designed to enhance the E L

J civic realm as spaces of communal conviviality

E and/or to provide a visual or aesthetic O counterpoint to the physical environment; the W R scale of the work will depend on the site and P O funding limitations and other project-specific F R variables. The creation of single works will O K often involve community participation, which

S is important in terms of gaining public S understanding, connection and ownership of E

P the work. Two larger commissions are presented

Y here as case studies, followed by brief

T descriptions of a selection of other examples funded by the Arts Council of Northern Ireland (in roughly chronological order), and an indication of works currently in receipt of funding and in development.

LEFT: Deborah Brown, Sheep on the Road, 1991, Lanyon Place, Belfast

ABOVE: Louise Walsh, Monument to the Unknown Woman Worker, 1993, Great Victoria Street, Belfast (detail) PAGE 21 PAGE 22 CASE STUDY I Big Fish Donegall Quay, Belfast John Kindness, 1999

This 10-metre long salmon, situated in front of Belfast’s elegant Victorian Custom House by Sir , has become an iconic landmark for . Funded by Laganside and the National Lottery through the Arts Council of Northern Ireland, the work was commissioned by Laganside Corporation through open competition to celebrate the regeneration of the .

The outer ‘skin’ of the fish is clad in printed ceramic tiles decorated with texts and images relating to the . Material from Tudor times to contemporary The artist, John Kindness, is known newspaper headlines are included for his humorous and quirky visual along with contributions from commentaries and use of Belfast school children. The Ulster unconventional materials. He is Museum provided the primary one of Northern Ireland’s best source of historic images, while known artists, particularly in relation local schools and day centres to the work he has produced for located along the line of the River public spaces including Waterfall Farset (an ‘unseen’ river also of Souvenirs at the Europa Bus flowing through Belfast) were Station, Belfast (1991) and, in the ABOVE: Big Fish under construction approached to provide drawings , at Ballymun for the fish. Images were provided Civic Centre, where his series of by Glenwood Primary School, St portraits, Sisters (2003), were Comgall’s and Everton Day Centres. painted onto car bonnets. also contains a time capsule storing information/ images/poetry on the city.

PAGE 23 PAGE 24 CASE STUDY II Let the Dance Begin or Millennium Sculpture Strabane, Co. Tyrone Maurice Harron, 2002

This large-scale composition was been known to surreptitiously dress created by the experienced Derry- the figures in football strips, and based artist Maurice Harron, unofficially name the 18-feet-high whose other work has included stylized bronze figures ‘the Tinnies’. Hands Across the Divide in Derry, the Workers dry arched gateway The won a Civic Trust to , and the Flying commendation in 2003, with the Angel at the Mission to Seafarers commenting as follows: ‘It at Laganside, Belfast. The makes for one of the largest and commission was developed as most impressive pieces of public the of open competition by art in Northern Ireland. The theme Strabane District Council, the of music and dance reflects the Strabane- Development area’s social and cultural heritage, Commission and the North West and the site is brought to life when Development Office and was floodlit at night. The sculptures funded by the National Lottery make a very real contribution to through the Arts Council of the area and, in their setting, are Northern Ireland, Strabane District an excellent example of civic art.’ Council, Sustrans, the Ulster Wildlife Trust, the Department for Social Development and the Strabane-Lifford Development Commission.

The work has a landmark quality that defines the space in which it is set – at a busy intersection of roads. The local community appears to have taken it affectionately to heart, having

PAGE 25 OTHER SINGLE WORK PROJECTS Shades of My Father Kerr Street, , Co. Antrim Brian Connolly, 1990

Through a limited competition in he now teaches). He is currently 1990, Brian Connolly was based near , and his commissioned to make a public work has been exhibited nationally sculpture for his home town of and internationally; his public Portrush. This sundial created from commissions include works for St ceramic tiles and cast concrete Anne’s Square, Donegall Street, continues the artist’s interest in the Belfast (now temporarily removed) importance of time and space. The and at Island, Lisburn. shell-shape incorporated into this Throughout his work, the artist has piece had become a recurrent been intrigued by the concept element in Connolly’s work by of time. this stage. The work was funded by Born in , Co. Antrim, Council, the Arts Council Connolly studied sculpture at the of Northern Ireland, ABSA and University of Ulster, Belfast (where Hutchinson Flooring Contractors.

PAGE 26 Sheep on the Road Lanyon Place, Waterfront Hall, Belfast Deborah Brown, 1991

This flock of seven bronze sheep inspired by her childhood visits and was Suzie the Street Cat for and a shepherd on a concrete and enduring interest in the landscape Belfast’s , stone base was originally of . The realistic commissioned by the Forest commissioned by the Arts Council rendition of the piece resulted from of Belfast. for its at Riddel careful observation of people and Hall on the Stranmillis Road in animals within the countryside. Belfast. It was purchased by Renowned in Ireland for her Laganside Corporation in 1999 and pioneering exploration of the relocated to its present position medium of fibre glass in the Sixties, outside the Waterfront Hall at Brown’s work is represented in Lanyon Place, where it resonates many collections in Ireland and with the history of the site as a abroad, including the Ulster cattle and sheep market. Museum, RTE, , the Hugh Lane Municipal Gallery of Deborah Brown, born in Belfast in Modern Art , Irish Museum of 1927, is an acclaimed sculptor with Modern Art Dublin and the Arts a profound love and respect for Council of Northern Ireland. A nature. Sheep on the Road was recent quirky public commission

PAGE 27 Waterfall of Souvenirs Europa Bus Station, Belfast John Kindness, 1991

This 5 metre-high ceramic mosaic As part of his process of community the sculpture and the people who work was the result of a engagement and participation, the used the station’; he also remarked collaboration between Translink artist John Kindness invited on how this was at the time the first and the Arts Council (the joint donations of ceramic souvenirs major sculpture commission to be funders) to mark the opening of from Ulster, some of which were realized in Belfast since the 1950s. the new bus and train station – than selected for inclusion in the (Irish Reporter) the piece takes a central and finished piece. The public response pivotal place on the concourse. was considerable. These often (Biographical details on the artist The Waterfall is an avalanche of kitch items were then, along with are given in the Big Fish case study.) Irish memorabilia with a strong specially fired ceramics, northern accent – images include reassembled by the artist to an Ulster Fry beside the Giant’s achieve the overall design of the Causeway, presents from Bangor, work. Kindness said of the work: Bushmills and . One of ‘I tried to find a format that would the ideas behind the piece was to relate to all the places the buses connect the places reached by travelled to, thereby creating an services. immediate relationship between

PAGE 28 Monument to the Unknown Woman Worker Great Northern Mall, Great Victoria Street, Belfast Louise Walsh, 1992-3

Originally commissioned by the underlying issues of women’s low- conventional depictions of women, Department of the Environment paid jobs and unpaid housework. her use of informal objects and her for Northern Ireland, the This theme is articulated by the considerable technical skills. She commissioning of this piece was use of objects and utensils has exhibited extensively in Ireland taken over by Glenbank Estates symbolic of women’s work, such and the UK and has substantial Limited following a disagreement as household items, telephones, experience in the field of public art regarding the interpretation of the shopping baskets and cash with commissions including theme, and the Arts Council part- registers, which are imbedded in installation work at Heathrow funded the work to the tune of the fabric of the figures. Airport, London; sculpture within 25%. The official brief was to the integrated artworks project at reflect Amelia Street’s history as a Louise Walsh was born in County the Royal Group Hospitals in former ‘red light district’ with ‘two in 1963, graduated from Belfast; and work in Dublin, colourful life-size “cartoon” female Crawford Municipal College of Art and . figures’. Walsh considered it to be in 1985, and gained her MA in offensive to portray women in that Sculpture from the University of way, and instead submitted her Ulster, Belfast in 1986. She is well proposal for two bronze female known for her life-size energetic figures who could address the figures, which challenge

PAGE 29 The City as Shape Orchard Street, Derry John Aiken, 1996

This work, commissioned by the sided stones are intended by Aiken simultaneously point to past, Department of the Environment via as ‘portraits of the old city in terms present and future. an open-submission sculpture of shape and form’ – an abstract competition and funded by the DoE translation of Derry’s walled city. John Aiken studied at the Chelsea and the National Lottery through The multi-textured and multi- School of Art (1968-73) and the the Arts Council of Northern coloured granite is highly polished British School at (1973-75). Ireland, is site-specific to a and was sourced from Europe, In 1986 he was appointed Head of landscaped area on Orchard Street, Africa and South America. The Sculpture at the Slade School of adjacent to New Gate Bastion. Due range of granites used represents in London. His interest in to the dynamics of the sloping site, the diversity of in Derry military architecture and in the work can be seen from both and its role as a port. The archaeology underpins much of his inside and outside the walls, above monolithic forms (weighing up to work. He has exhibited extensively and below. The work consists of twenty tons) reflect Derry’s rich and has been awarded many four granite blocks which reflect the historical, archaeological, commissions including a 40 metre shape of the city’s four quarters – commercial and cultural heritage. frieze in Belfast City Hospital (1986) Ferryquay Street, Shipquay Street, As abstract conceptual sculptures, and a steel sculpture for the Arts Butcher Street and Bishop Street. profiling Derry’s walls, placed at the Council of Northern Ireland’s The geometric, irregular, multi- heart of the city, the works Sculpture Park (Untitled, 1992).

PAGE 30 Fishing Boat Promenade, , Co. Londonderry Niall O’Neill, 1996

This bronze work was erected to The artist, Niall O’Neill, is based commemorate the life and work of in County Wicklow. He is a well- Jimmy Kennedy, a songwriter who established sculptor who has spent much of his life in completed a number of Portstewart. He wrote ‘Red Sails in commissions in Ireland, north and the Sunset’ whilst looking out to south, including The Garden and sea from his parent’s home in Repose in Dun Laoghaire, and Strand Road in the town. It was Ammonite, a public sculpture for commissioned by Coleraine Malahide Marina. He is a regular Borough Council and funded by exhibitor in the Oireactas and Aer the Council, the National Lottery Rianta, and his work is included in through the Arts Council of a number of public collections. Northern Ireland, Dempsey’s of Portstewart and the Association of Business Sponsorship of the Arts.

PAGE 31 Atlantic Drift Civic Offices, Strand Road, Derry Locky Morris, 1998

Derry City Council wished to waves of emigration and trade. The . His work has been commission a public artwork for structure, rising to 10.4m (34 feet), exhibited widely nationally and placement outside its headquarters weighing 34 tones and forming a internationally. Throughout his on the city-side banks of the River kind of totem, exploits the physical career, his engagement with Derry Foyle. Chosen artist Locky Morris power and beauty of the wood. It City and its changing character proposed to salvage huge timber refers directly to processes of has shaped his work. For a number piles from the old American jetty at construction and strongly suggests of years in the late 1990s he Lisahally along the river. With skyscapers or stepping-stones. concentrated solely on making Derry’s rapidly changing landscape, Like modernist architects' music with his band Rare. He has little remained of the old wooden experiments in the 1920s and been the recipient of numerous docks and quays; rich material that 1930s with new urban forms the awards including an Art for give clues into its history. These neat columns of Atlantic Drift Architecture award from the RSA. timber piles, now transformed into belie a complex rhythm of space something new, still show the and form. The work was funded by Derry City marks and effects of a lifetime in Council and the National Lottery the river. The tidal markings could Locky Morris was born in Derry in through the Arts Council of be seen as emblematic of Derry’s 1960, where he continues to live Northern Ireland. history as a port with its many and work. He studied in Belfast and

PAGE 32 Lagan Symphony Riverside Gardens, Lanyon Place, Belfast ‘ matter’ Susan Crowther and Willis Engineering, 1999

Laganside commissioned this work and, representationally, the ‘designs matter’. She has worked in mild and galvanised steel for the musical stave. The lines change on a number of commissions in new riverside walkway running from in character from formal and collaboration with - Mays Meadow to the Waterfront controlled at one end to free-form based Willis Engineering. Her work Hall, and funded it along with funds at another, which is also marked can be seen at the Gasworks from the National Lottery through by the figure of a standing heron. railings in Belfast, railings at Market the Arts Council of Northern This inclusion of bird-life reflects Street in and in the street Ireland. The references are both to the variety of activity along the river furniture at . the natural life of the river and to and pays tribute to the work of the the musical performances which RSPB. In the evening, the work take place in the landmark creates dramatic shadows of birds Waterfront Hall building (by up and across the wall when Robinson McIlwaine Architects). caught by the sunset. Steel bands wave in and out and up and down to create a feeling of Susan Crowther is an architect movement associated with music working for the private practice

PAGE 33 Dividers Clarendon Dock, Belfast Vivien Burnside, 2002

Dividers was commissioned for as a frame or doorway in the space, Vivien Burnside lives and works in Clarendon Dock by Laganside and both entrance and exit, and Northern Ireland. She has an MA funded by it, the National Lottery provides a symmetrical, linear from the University of Ulster and is through the Arts Council of shape among a great many blocks an Associate Lecturer at the Belfast Northern Ireland, and Belfast of buildings, echoing the Harland Institute. She has been exhibiting Harbour Commissioners. To the & Wolff sentinel cranes on the work, in a variety of media, in passer-by today’s buildings around other side of the river. Laganside galleries and public spaces since Clarendon Dock are quiet, but in encouraged community 1981. In Belfast, previous public them the business of international participation with the Dividers artworks include billboard communication is on a line of piece. Interested individuals , participation in continuum of commerce earlier attended design workshops and Horsehead International Sculpture effected by the ships built on the physically made their own bronze Project and a commission for The site, which connected Belfast with plaques to be located near the Royal Belfast Hospital for Sick the rest of the world. Like Dividers, Dividers. Each participant was Children. She also has considerable simple, familiar hand-held tools asked to prepare an image or experience in project-managing were key to the designing, text, which best described what large integrated arts projects at the constructing and planning which Clarendon Dock and the Mater Hospital in Belfast and for allowed circumnavigation from the surrounding area meant to them. South & East Belfast Health Trust in city. The 8.3 metre-high bronze its development of three Community form (with stainless steel core) acts Treatment and Care Centres.

PAGE 34 SOME RECENTLY Commemoration COMPLETED SINGLE Sculpture WORK PROJECTS IN RECEIPT OF ARTS Catherine Street, , COUNCIL FUNDING Co. Londonderry DERRY Philip Flanagan, 2002 Foyle Valley ‘Art in the Travelling Landscape’ Double Bridge by Noah Rose (Commissioned by Sustrans) The work in Portland stone with a wrote down the melody known water feature (measuring: h. 200cm today as the ‘Londonderry Air’. LARNE x w. 150cm x l. 400cm) was funded Migration sculpture by John by and The artist Philip Flanagan, whose O’Connor (Commissioned by the National Lottery through the work alternates between figurative ) Arts Council of Northern Ireland. It and abstract minimalist work, has alludes to a mid-19th century event created a work composed of a associated with the town of series of lines cut within the stone Gateway artwork by Chris Wilson Limavady – a local woman, Jane which refer to the town’s coat of (Commissioned by Toome Ross, on hearing a blind fiddler arms, the lines of the musical stave Industrial Development Amenities outside her window in Main Street, and the River Roe. and Leisure/TIDAL)

PAGE 35 PAGE 36

Blacklion, LoughMacNean (detail) ABOVE: LouiseWalsh, LEFT:Ned Jackson Smyth, Lough

S K R O W E L P I T L U , TYPES OF PROJECTM 1999, Belcoo,Lough MacNean Imagine Homage tothe , 1999, www alongtheNationalCycleNetwork(see www.laganside.com) andSustranssculpture noting Laganside’s ArtTrails in Belfast(see projects currently indevelopment.It isworth Ireland andother Arts CouncilofNorthern of aselectionotherexamplesfundedbythe studies are given,followedbybriefdescriptions linked byaunifyingtheme.Acoupleofcase of mediaandtheyneednotnecessarilybe trails, althoughtheartworksmaybeinavariety connected locations;oftentheyare sculpture than oneworkforalocationorgroup of or These projects maybeconceivedasawhole in stages,butinvolvethecreation ofmore .nationalcyclenetwork.or g.uk). 37 P AGE CASE STUDY I Lough MacNean Sculpture Trail Belcoo, Co. Fermanagh 1998-2000

The Lough MacNean Sculpture David Kinane (Letterbreen Mark); form in the shape of a boat Trail is set in an area of outstanding Niall Walsh (Monument); Betty referring to the early settlers; the natural beauty around Upper and Newman-Maguire (Circle of Hands, lime stone path around this is a Lower Lough MacNean in south- Salmon Leap and Hazel Den), reference to the famine road that west Fermanagh, bordering Louise Walsh (Imagine); Seamus was built in the area. counties Cavan and Leitrim; at one Dunbar (Forum); Martina Galvin end is House and (Inish Ochta & Glen Fearmuighe); Ned Jackson Smyth is a sculptor between the two lakes is the village Anna MacLeod (Reflectress); based in , Co Down. of Belcoo. The lakeland area is Derek Whitticase (Points of He was born and educated in popular with fishermen and walkers, Contact); Anthony Scott (Kissing Belfast, and completed an as well as artists and writers, and Boars); and Gerard Cox (Duet). apprenticeship in light engineering. is rich in historical and cultural He attended University of Ulster, interest. A group with a vision to Works pictured: where he achieved a BA (Hons) in link the communities around the Fine and Applied Art. Since leaving lough shores and unite them in a Homage to the Lough University he has been practising celebration of shared experience by Ned Jackson Smyth as a professional artist, through through physical expressions of exhibitions, commissions both their identity formed in order to Located in , and sited in private and public, workshops realise a sculpture trail at locations the cottage meadow in Belcoo, on and lecturing. He has exhibited all around the area of the Lough. the pathway near to Lough, this throughout Ireland, and abstract sculpture measuring 2.5 internationally with group The Sculpture Trail received a metres high and constructed of exhibitions in the UK, Europe, National Lottery award from the steel, wood and stone, is symbolic and Brazil. His public Arts Council of Northern Ireland in a number of ways. It represents commissions have been a mixture for £44,600, as well as funding from the history and the passage of time of community-based projects and a variety of other funders, such in the area. The corten steel forms public authority commissions; he is as Fermanagh District Council, are based on bronze arrowheads currently working on a large-scale Leitrim and Cavan Councils, An that have been found in the area work for the new Regional Acquired Chomhairle Ealaion, the EU Peace and the material represents the Brain Injury Unit at Musgrave Park and Reconciliation Programme and coming of the railway to the village. Hospital, Belfast. Co-operation Ireland. The three forms have negative shapes cut out to reflect the Artists included: Ned Jackson moods of the Lough – calm to Smyth (Homage to the Lough); rough. The centre-piece is an oak

PAGE 38 Salmon Leap Betty Newman-Maguire was born steel, wood, stone, bronze and by Betty Newman-Maguire in Kells, Co. Meath in 1952. She earth. All her public sculptures are graduated with a first class honours site specific and are made in Located in Claddagh Glen, along degree in Sculpture from the response to the environment – the river beside the weir, this National College of Art and Design, an example is Flight of Geese at Douglas Fir work measuring 4.5ft Dublin, 1988 and was awarded a Alexandra Park in East Belfast, (W) x 12ft (H) was the outcome of a Master of Fine Art from the commissioned by the Forest two month residency working with University of Ulster, Belfast in 1998. of Belfast. local children. It was inspired by the She has mounted many solo weir on the Claddagh River where exhibitions in Ireland and America the salmon leap. Looking through and has also exhibited in group the negative fish shapes on the shows internationally. Since 1988 sculpture one can see the weir. The she has been awarded many major undulating side of the piece echoes public commissions. Her public the flow of the water. sculptures range in material from

ABOVE LEFT: Homage to the Lough

ABOVE RIGHT: Salmon Leap PAGE 39 PAGE 40 CASE STUDY II XPlore Art Public Art & Sculpture Trail Lagan Valley Island, Lisburn 1999-2001

In a sense, the commissioning mixed media works); d3 Art & of artworks at Lagan Valley Island Design/Ngaire Jackson, Clare straddles ‘multiple artworks’ and Lawson and Gerry Woodcock ‘integrated art’ categorization (Concentric Twist steel sculpture); as many works of art were Brian Connolly (Artist’s Easel commissioned alongside the bronze sculpture); Karl Ciesluk (The building of the new civic and Lagan Revival carved stones); Bob on the regenerated Sloan (Tree of Dreams stainless site – several of these are sited steel and bronze ‘tree’). within the building itself. The commissioning was also staged Main work pictured: rather than created as a ‘one off’ – the first public art programme was Artist’s Easel ‘Natural Forces’, a competition by Brian Connolly launched in 1999 inviting artists to submit proposals considering This work is located on the river earth, fire, wind and water; a path adjacent to the entrance to second phase commissioned the Island Arts Centre. It takes the further external commissions to form of a bronze artist’s easel, enhance a public realm art trail, picture frame and stool and works of which two included significant on several levels. It is interactive in local community involvement. that the viewer can sit on the stool and look through the frame to Funding for the commissions came contemplate the view of the river from a variety of sources including and riverbank beyond, or one can the commissioners themselves, place oneself within the frame to ; all but two ‘become’ the work of art, or the received support from the National frame can act as a celebration of Lottery through the Arts Council. the natural scene seen within the frame; it also playfully references Artists include: Ned Jackson Smith the work of the Surrealist artist (New Growth wood sculpture and Rene Magritte. The Island and the Elements bronze and concrete water (Biographical details on the artist TOP: Ned Jackson Smyth, The Island and sculpture); Janet Preston (Dig are given with Shades of my the Elements prints); Larissa Watson-Regan Father on page 26.) ABOVE: Karl Ciesluk, The Lagan Revival – (Salmon Leap, Air and Canal Walk Salmon Ladder

PAGE 41 OTHER MULTIPLE WORKS PROJECTS Forest Park Sculpture Trail 1992

The Sculpture Trail in Castlewellan beautiful features. The Trail is owned Forest Park was opened in and maintained by Down District September 1992, as the first of its Council. kind in Northern Ireland. The trail was the result of a three week Works pictured: Sculpture Symposium involving nine sculptors from Northern Dreams and Stones Ireland, the Republic of Ireland, by Michael Bulfin Holland and Greece. This Symposium was jointly promoted Michael Bulfin has been creating by the Forest Service of the and exhibiting sculpture since the Department of Agriculture, Down early 1960s. He has had a number District Council and the Sculptors’ of solo exhibitions and has shown Society of Ireland, with funding work widely in Ireland, the UK, from the European Europe and the U.S. He is very and the Arts Council of Northern interested in public art and, in Ireland. particular, site specific and ; with a scientific background The eight sculptures along the trail and knowledge, he brings a special were created from natural materials, approach to these areas of most of which were gathered from sculpture. He said of this work, the park. They were designed and ‘This sculpture creates a space, a made specifically for the three mile place to stop and ponder, to sit and lake-side walk, with sites chosen to think, to dream, to dream perhaps emphasise some of the park’s most of stones. Remember these stones may be three hundred million years old but still they can be reshaped.’ sited. In a sense, the sculpture and Piece for a Maple Tree the tree are both part of the piece: by Kathy Herbert they make reference to each other and work together as a unit. Kathy Herbert was born in Dublin The pattern of the leaf motif is in 1955 and studied Fine Art interrupted by the stone with the at the University of image of the hand, inferring man’s Ulster. She has had solo exhibitions interference in the natural order. in the USA and in Northern Ireland. The piece both honours the tree In 1996, she was awarded a major and warns of the danger of its loss.’ prize from the Irish Concrete Society and the Alice Berger Hammerschlag Travel Award. Her work is held in private collections in , U.S.A. and Ireland. She TOP and ABOVE: Piece for a Maple Tree said of this work, ‘It is inspired by the maple tree, under which it is LEFT: Dreams and Stones

PAGE 42 Flight of Geese and Goose Bench The Commons, and Tourist Information Centre Owen Crawford, 1997

Ards Borough Council, with Arts Goose Bench is constructed completed over forty public Council of Northern Ireland from granite boulders (4 x 225mm commissions in Ireland, north and support, commissioned, through diameter) and oak, carved and south, including work for the Royal their ‘Art in the Community sited ‘green’ from the same wood Victoria Hospital, Bangor Heritage Programme’, Kircubbin-based yard in . The Brent Goose Centre and the Forest of Belfast. sculptor Owen Crawford to design has the distinct shapes and patterns He has exhibited in venues robust outdoor public seating for that the artist worked from. In throughout the country. council designated sites. Inspired contrast to its sister piece, the oak by previous work on site at Castle was given a thin varnish coat to Espie with the World Wildlife Trust provide temporary protection that (WWT), Crawford conceived these has now decayed and now appears practical yet visually attractive as sun-weathered grey grain, an seats for two locations. effect that can only be achieved with time. The reclaimed Flight of Geese is constructed granite remains lighter in colour from Turkey and Pendunculate Oak, than the timber. carved and sited ‘green’ from Clarke Cunningham’s wood yard Owen Crawford trained in Fine Art Killyleagh, Co. Down. The work at Ravensbourne College measures 420 x 240 x 45cm. of Art & Design, Kent. He has

ABOVE: Goose Bench

LEFT: Flight of Geese

PAGE 43 Garden of the Senses Palace Demesne, 1998

The Garden of the Senses is a Work pictured: Joanne Risley was born in Knutford sensory experience offering and completed Foundation in elements accessible to both able- Kinetic Blooms London Road College bodied and disabled persons. The by Barry Callaghan of Art. She studied sculpture at garden itself was built in 1996 in and Joanne Risley and undertook an MA the grounds of Armagh City and at the University of Ulster, Belfast District Council’s headquarters – The focal kinetic sculpture by Barry where she met her partner Barry the 18th-century Palace Demesne Callaghan and Joanne Risley is 2 Callaghan also on the MA that was formerly home to the metres high and consists of a plant programme. Barry Callaghan Archbishop of form in bronze (patinated and was born in London in 1960. He Armagh. The Garden’s modern polished elements) with a dragonfly studied at the University of Ulster. design is complemented by two resting on an upper leaf. Water He has had solo exhibitions at the bubbling water sculptures – spurting from the insect’s mouth Octagon and Orpheus Galleries Sensory Form by Ned Jackson fills the uppermost flower head, in Belfast and exhibits regularly Smyth and Kinetic Blooms – causing it to tip. The action is then with the Royal Hibernian Academy, which are each linked to a central repeated with a second flower Dublin and the Royal Ulster pond. The sculptures were form. Designed to be interactive for Academy, Belfast. Major commissioned as a result of a children, there is a pulley and lever commissions include Ninth Life competition funded by the National to move the dragonfly’s wings and 1992 for the Arts Council of Lottery through the Arts Council of the lower flower head can be Northern Ireland Sculpture Garden, Northern Ireland and by Armagh moved by a handle. Riddel Hall. He also created City & District Council. Nest Egg 1994 which is located in the Northern Bank, , Belfast. Both have worked as sculptors for a number of years and have completed a number of public commissions including sculptures for the integrated artworks project at the Mater Hospital, Belfast. Kinetic Blooms was their first collaborative commission.

PAGE 44 Public Art Trail Various artists 1999-2002

Ards Arts () Weston’s Sea Green Belt at ’s historical connections was awarded a three-year Access Ballyhalbert and Pirjo Nykanen’s to the nearby airfield and directs grant from the Arts Council in order Painting on Site at are our gaze far out to sea. to develop a range of public pictured. The second phase saw artworks by various artists across the creation of permanent artworks Gavin Weston is a multi-media the Peninsula which actively in Portavogie (by Colin Telfer), artist, writer and who lives engaged with local communities. (by Laureen Magill), on the and works in The project took the form of two Portaferry (by Raymond Watson), Belfast. He studied Fine Art at Saint phases: the first was an art Kircubbin (by Bronagh Wright) and Martin's School of Art and Design Symposium (1999) which allowed (by Alan Cargo). and Goldsmiths' College, London, eight artists – Betty Newman- and subsequently worked and Maguire, Ann Henderson, Helen Main work pictured: taught in West Africa. In 1995 he Sharkey, Petri Westerlund, Gavin completed an MA at the University Weston, Pirjo Nykanen, Angela Look Out of Ulster, where he has recently George and Graeme Hall – to by Gavin Weston been teaching. He is also an develop temporary pieces which associate lecturer at Belfast would arouse the interest of the Located on the gable wall of the Institute and a regular contributor communities in which they were Community House in Ballyhalbert, to The Sunday Times. He was placed. Some of these works are this slightly larger than life size awarded a major commission – documented in the Sculpture figure is constructed of glass fibre The Spring – by the Upper Symposium Sites document and resin. The artist draws Springfield Development Trust, in produced by Ards Arts – Gavin attention through the work to West Belfast.

TOP: Pirjo Nykanen, Painting on Site, Portavogie

ABOVE: Gavin Weston, Sea Green Belt, Ballyhalbert

PAGE 45 Creggan Poets’ Glen Park Artworks , Co. Armagh 2001-2003

A series of artworks – a mosaic The nature of the project suited poets with extracts from their work on the theme of peace and artists working in environmental inscribed on them, for a reconciliation and three sculptures and/or time-based practice, and landscaped mound which they representing local 18th-century also those interested in working created to echo an ancient stone poets Seamus Mor MacMurchaidh, with children as local school pupils circle across the Creggan River Padraig Mac A Liondain, Peadar participated in allied creative from the Poets’ Glen; and O’Doirnin, Seamus Dall Mac Cuarta workshops, producing time-limited Common Thread – twelve Portland and Art McCumhaigh buried in environmental works. Stone slabs threaded together with Creggan Churchyard – was stainless steel wire rope to commissioned by Creggan Hall Mike Hogg sculpted Ag symbolize division and unity. David Management Committee for the Smaoineamh – a ‘ruminating’ or and Catherine Wilcoxson created and Park in ‘thinking’ stone – for location by the Peace and Reconciliation – a Crossmaglen, Co. Armagh. The river, and the sandstone wedge, Ag circular mosaic of geometric design commissions are, therefore, Titeamh Amach or A Falling Out incorporating bird motifs. examples of work for a rural, as a seat. Patrick Ward and Aine natural landscape setting, engaging Ivers created Clay of Creggan – artists in the interpretation of five etched copper panels cultural and historical themes. celebrating the work of the five

TOP: Mike Hogg, Ag Titeamh Amach TOP: Mike Hogg, Ag Smaoineamh TOP: Patrick Ward and Aine Ivers, Clay of Creggan ABOVE: Patrick Ward and Aine Ivers, ABOVE: David and Catherine Wilcoxson, Clay of Creggan Peace and Reconciliation ABOVE: Patrick Ward and Aine Ivers, Common Thread

PAGE 46 Central Station Artworks Belfast Chris Wilson, 2005

These works were commissioned each of these lines creating pulses Chris Wilson studied at Brighton by Translink/Northern Ireland of movement, of trains, cars and College of Art and since graduating Railways, supported by a New flowing water. from the University of Ulster with a Work National Lottery award from Master of Fine Arts degree in 1985 the Arts Council. As the result of In the work titled Landscape Lines he has maintained a strong an open competition, Chris Wilson the intention was to create a linear commitment to exhibiting in Ireland was selected on the basis of a flowing drawing in metal and neon and internationally. His work has proposal which envisaged a range that would extend from Belfast to been included in many national and of works both above the Dublin with the patterns of the road international exhibitions of Irish and refurbished main station concourse networks highlighting the clusters British art. He is represented in and on the stairwell leading to the of urban development located several public collections, including car park. The works employ the along the connecting rail line. The the Arts Council of England, Arts topography of maps as a way of six panels situated at the car park Council of Northern Ireland and the exploring landscape. The intention entrance are collectively titled Arts Council of Ireland. His work is was to focus on the links that exist Networks and illustrate six multidisciplinary in approach, between different locations. In the locations served by Translink. Each exploring both 3 dimensional and 2 natural landscape the lines created panel employs the geography of dimensional forms in a wide variety by the road network, railways and maps, focused on the roads and of media. Current projects include a rivers can be viewed as large scale pathways as indicators of human major sculpture commission for line drawings that criss-cross the activity, with each section of Toome Bypass. landscape creating connections landscape backlit with neon to between people and places, with create a floating blue field pattern.

OTHER RECENTLY COMPLETED MULTIPLE WORKS PROJECTS IN RECEIPT OF ARTS COUNCIL FUNDING

DERRY Credit Union works for exterior of building by Louise O’Boyle and Marie Barrett

ABOVE LEFT: Landscape Lines

ABOVE RIGHT: Networks

PAGE 47 PAGE 48

and HelenaKaushal) Cromie, Peter Rooney, RhonaHenderson by RitaDuffy, DavidDudgeon,Hilary Belfast Hospitalfor SickChildren (works LEFT: GeneralviewofMainStreet, Royal

S T C E J O R P S T R A D E T A R G E T N TYPES OF PROJECTI Strategies andActions Architecture &theBuiltEnvironment: Policies, policy ismadeclearlyintheArtsCouncil’s commissioning ofartworks.Thecaseforthis million wouldallocate£10,000forthe of 1%,so,forexample,aproject costing£1 specifically reserved usuallyaminimum forart, Art’ iswhenapercentage ofacapitalbudgetis Ireland.developments inNorthern ‘PerCentfor Per CentforArtpoliciesinallpublicsector The ArtsCouncilencouragestheadoptionof Ireland overrecent years. healthcare buildingshasbeenmadeinNorthern considerable pr cur IrelandCouncil ofNorthern andotherprojects selection ofotherexamplesfundedbytheAr are given,followedbybriefdescriptionsofa couple ofcasestudiesintegratedartsprojects of buildingswhichinterfacewiththepublic.A to integratear and large-scale environmental schemes,and collaboratively inthedesignpr a Appendix). Inessence,thedriveistoinstill from theArtsCouncil;asummaryisgivenin culture ofengagingartists meaningfullyand r ently indevelopment.Itshouldbenotedthat twork withinthephysicalfabric ogr ess inintegratingartwithin document (available ocess ofbuildings ts 49 P AGE PAGE 50 CASE STUDY I The Verbal Arts Centre Derry 1995-2000

The transformation of the former also by Michael Bell; a storyteller’s First Derry Presbyterian Primary seat and lockers with textured and School, located next to the City shaped wall panels in American Walls in Derry City, into a Verbal Red Oak by Ben Russell for the Arts Centre took place from the children’s workshop; a hand-carved mid-1990s to 2000. Through the cornice inscription in American work of architects Hall Black red oak for the Library also by Douglas it became a centre Ben Russell; a glass sculpture designed to promote writing, story- containing 212 original hand-written telling, performance and verbal poems for the reception hall by creativity. (For a fuller explanation Killian Schurmann; an oil painting of the building’s construction, see by Martin Mooney commissioned Building for the Arts: celebrating 10 by the Honourable the Irish Society Years of Lottery Funding, available for the Library, entitled The New from the Arts Council of Northern Verbal Arts Centre, 2001; a multi- Ireland). From the start, the project media video projection by Caroline conceived the thorough integration McCarthy, Forms for Space; of permanent artworks by a wide French flashed glass panels for range of artists, funded as part of the top section of the Library the overall capital budget. The windows by Deirdre Rogers, TOP: Gerard Pullman, Steel railings holistic approach was rewarded in with sandblasted text naming 24 the building receiving a number of writers from the North-West; a ABOVE: Michael Bell, Oak chairs significant awards: a Civic Trust bronze work, Figures Passing MAIN IMAGE: Louis Le Brocquy and Studio Award (2001); the RIAI regional by Caroline Mulholland for the Van Der Noll, Chariots floor tiles Award (2001), and the EHS Mezzanine balcony; a bronze and Conservation Award (2001). copper work by John Behan, Word Jugglers, for the first floor; ceramic The integrated artwork included: a floor tiles for the ground floor by series of oil paintings on the Louis Le Brocquy and Studio Van stairway by illustrating Der Noll, entitled Chariots from traditional stories from all over Tain Bo Cuailge (1969); a reception Ireland (in conjunction with the desk in steamed beech with eagle Department of Education’s black granite by Knut Klimmeck & ‘Everlasting Voices’ project); maple Henderson; and steel security grills and walnut lectern, chairs and table and gates on the exterior of the by Michael Bell for the Blue Coat building by Gerald Pullman. A Short Room; oak and white oak chairs Guide for Visitors to the Centre is and a table for the first floor Library available from the Centre.

PAGE 51 PAGE 52 CASE STUDY II The Mater Hospital McAuley Building , Belfast 2000-2002

An holistic approach was taken in sculptural works by Joanne Risley the construction of a substantial and Barry Callaghan and Bill new building programme at the Moutrie and Colin Mortimer. On the Mater, one of Belfast’s major main staircase off the atrium and hospitals, so that an integrated arts throughout the building, Catherine project developed alongside the Harper’s 100 Words for Mother raising of the structure. With a consists of one hundred small substantial grant from the National boxed artworks created in Lottery through the Arts Council of workshops with local people – they Northern Ireland, a creative team can be ‘discovered’, as can prints was formed and the project was and photographs by Lucy Turner, able to get underway, co-ordinated Anushiya Sundaralingham and by artist Vivien Burnside. Thirteen Jim Maginn in corridors and waiting artists worked on eleven major rooms. The works are the products projects in a variety of disciplines. of time spent by the artists The project involved artists working responding to the people, closely with many members of staff, atmosphere and architecture (the patients and individuals from the building was designed by Todd local community in North Belfast. Architects). Smaller commissions by Carmel Cleary, Hilary Cromie, The McAuley Building now houses Sara Cunningham-Bell, Michael an impressive body of artwork, Hogg, Kate Malone, Elaine which is immediately apparent Megahey, Tony O’Malley and D.H. upon entering the building with Smith are also located throughout carved brick panels and seating the building. An illustrated and ceramic floor panels by catalogue of the Integrated Arts Eleanor Wheeler, textile hangings Project is available from the Arts by Clare McCarroll and stained Council of Northern Ireland. glass by Kate Baden-Fuller. In the atrium, the centrepiece of which is TOP: Joanna Kinnersly-Taylor, Series of Four Wall Hangings the original Gothic convent door , atrium (showing original convent door) leading to the old hospital building, the bright, airy space is enhanced MIDDLE: Kate Baden-Fuller, Sky, sun, stones, and arches, café by wall hangings by Joanna Kinnersly-Taylor and an installation ABOVE: Catherine Harper, 100 Words of 30 portraits of patients and staff for Mother by Brian Maguire. Glass doors lead MAIN IMAGE: Eleanor Wheeler, Untitled, off the atrium into a peaceful boundary wall internal courtyard, which features

PAGE 53 OTHER INTEGRATED ARTS PROJECTS Antrim Area Hospital Bush Road, Antrim 1994

Antrim Area Hospital engaged it has reference to migrating birds, collaboratively with artists to their returning each year giving a provide artistic stimulus at the sense of continuity; and it also has entrance to and in the grounds of reference to the story of the the new regional hospital. Funding Children of Lir, in Irish mythology for the work was provided by when four children were turned Artscare, James P Corry Holdings into swans. Ltd, Doran and Partners, Isherwood and Ellis, Murland Partnership, W H Eamonn O’Doherty is best known Stephens and Sons, the Arts for his large scale public sculptures, Council of Northern Ireland, British five of which stand in Dublin, two Enkalon Foundation, in , two in Derry and others Pottery, and Weir and McQuiston. in Navan, New Ross, Ardagh, , Cobh, Dun Laoghaire, Works pictured: , Cahirciveen, Killarney, Belfast, and New York. Swans He is also a painter and printmaker by Eamonn O’Doherty and has won major awards for painting. O’Doherty took a degree The 4.5m (16ft) high sculpture is in architecture in U.C.D. and was The Healing Tree made in stainless steel and the subsequently Visiting Scholar at by Brian Connolly surface reflects the changing light. the Graduate School of Design The imagery of swans was chosen at Harvard University. Connolly’s 1.2 metre high bronze for several reasons: it reflects the cast sculpture, sited in the hospital colonies of swans at ; forecourt, has as its theme ‘mutual support’ and represents a self- supporting unit of two men and two women. The hollowed-out figures are in a sitting position. They are positioned in a circle, facing outwards, with each supporting the other. The rear surface of the figure is textured with elements of bandages and embedded leaves. According to Connolly, the tree, an ornamental Norwegian Maple, is ‘symbolic of life around which we are placed’.

PAGE 54 Causeway Hospital Artwork Project Causeway Health & Social Services Trust, Coleraine 1997-2002

Causeway Hospital was Thompson (Close Encounters and constructed as a busy, modern Yesteryears photographs); Chris acute hospital on the edge of Wilson (DNA stained wood work Coleraine, Co. Londonderry, and Interior Worlds back-lit between 1997 and 2001. An brushed steel piece); Anne-Marie Artworks Group was set up in order Robinson (2000 Things We Love to integrate art across the site, to Love ceramic piece); Claire internally and externally. Nineteen McCarroll (Within I and Within II artists in all were commissioned to textile works); Louise Winward create 29 artworks for 18 locations. (Familiarity and Reference One work, Colours of the paintings); Cheryl Brown (Test Causeway, facilitated by the Flight I, Test Flight II silver and hospital’s artist-in-residence, gold leaf sculptures); Mark Christie Kathryn Nelson, is a rag-rug textile (Mowgli and Friends paintings – worked on collaboratively by pupils separate commission); Graham from 26 schools from across the Rowland (Room with a Blue Trust area. The Trust sought a Space and Vertical Houses by cocktail of funding from a wide Graham Rowland – donations); range of partners – from individuals James O’Kane (Children of Lir to businesses to charitable bodies etched glass); Ned Jackson Smyth – and was successful in receiving (Water Lilies aluminium an award of £78,000 from the sculpture/fountain). National Lottery through the Arts Council of Northern Ireland (1998). Works pictured:

Artists: Cindy Friers (Causeway Synergy Hospital mosaic sign); Stephen by Stephen Todd Within I and Within II Todd (Synergy sculpture); Jo-Anne by Claire McCarroll Hatty (Salmon Leaping bronze Coleraine artist Stephen Todd sculpture/fountain); Roisin Dowd- created a 6.3 metre-high sculpture Omagh artist Claire McCarroll’s Murphy (Homage to Grandparents of galvanized steel wrapped in textile work was commissioned for stained glass); Elizabeth McLaughlin kevlar coating and painted with the Day Room in the Department of (Let There Be Light bronze and translucent paint on a circular base Psychiatry, Ross Thomson Unit. stained glass); Annabel Konig (The plinth of limestone inset with They are colourful and vibrant yet Aquarium back-lit resin work for a granite details, to symbolize the contemplative pieces using ceiling); Diane McCormick (As I working together of the different contrasting colours, forms and went over the Water ceramic wall elements of the body; the form textures. piece); Louise O’Boyle (Some Days itself is inspired by the DNA double it Rains, Some Days it Shines helix and the medical emblem of and A Spiralling Rich Landscape the serpent (here – two serpents ceramic works); Alan Burke intertwined). The sculpture is (Nature’s Remedies wood located on a prominent site at the ); Michael Killen (First Visit entrance to the hospital and is wood ); Lydia De Lange illuminated at night. (A Dream of Africa painting); Alan

PAGE 55 The Royal Group of Hospitals Belfast 1995-2004

An impressive integrated arts approach (supported by the National Lottery through the Arts Council) has been taken in several separate stages over the phased redevelopment of the Royal Group of Hospitals in Belfast, which is indicative of the pioneering approach taken by Health Estates in Northern Ireland. The first phase was the work carried out at the Royal Belfast Hospital for Sick Children, designed to create a welcoming and unintimidating environment for children, their parents and carers and staff; the project was co-ordinated by Rita Duffy. Substantial integration of artworks into the fabric of the new Main Building followed closely on the heels of the work at the Children’s Hospital, co-ordinated this time by Philip Napier. The work of this second phase is documented fully in the publication, New Art at the RVH. The project has engaged many artists, and a few are selected here by way of illustration.

Works pictured: lighting. The artist pursued the of visiting the hospital. commission as a design project to Etask – Extra Terrestrial reflect the location and context. He Peter Rooney was born in Belfast in Ambulance Service incorporated elements of 1954. He received his BA from the for Kids interstellar ambience reflecting the University of Ulster in silversmithing by Peter Rooney night sky and ambulance signs. It is and jewellery and he then pursued a children-driven concept of the postgraduate study in . Located at the entrance to the 21st century. The spaceship gives He has been involved in a number Children’s Hospital, this sculpture is children a chance to use their of public commissions for Laganside constructed of stainless steel with imagination and perhaps distract Corporation including Jigsaw, 2001 reflective graphics and cold cathod them from their painful experience an indoor aluminium sculpture

PAGE 56 located in Royal Avenue. He also Janet Mullarney is a well and represented Ireland in the 1994 was commissioned by Derry City established sculptor based in Sao Paolo Bienal. Maher’s work is Council to create a stained glass Dublin. She has exhibited widely predominated by the themes of window commemorating Bloody throughout Ireland and Europe. Her nature, culture and memory. Her Sunday and this is located in the public commissions include Seated sculptures and drawings show a Guildhall, Derry. Figures for Regional continuous sourcing of these Hospital, and Making Space at the themes through myth, fairytale and Night Ship Historical Centre of Grönigen, oral narrative. by Janet Mullarney Holland. Essentially a figurative sculptor, Mullarney engages with Located in the Endocrinology Unit the human condition and works on on Level 1 of the Royal Victoria universal themes. Hospital, the work was created in 2000 and is made of Pinus Fairytale Wall Cembrus High Altitude Italian Pine, by Alice Maher oil and acrylic painted metal; it measures 135 x 80cm x 50cm. In Created in 2002 for location in the the work, the figure dreams on Special Investigation Unit on Level 2 through the open window, which of the Royal Victoria Hospital, the replace the sails of the boat. These work consists of four sections. It dreams flow out as images set into seeks to create an ambient space the floor, in inlaid linoleum. and activity centre for visiting children and adults where discussion over the tales will pass the time in a pro-active way instead of more passive television watching. The wall consists of eleven alcoves each containing a sculptural object in patinated bronze related to a well-known fairy tale.

Alice Maher was born in Tipperary in 1956. She studied Fine Art at the University of Limerick and Crawford College of Art, Cork, and received an MA in Fine Art from the University of Ulster, followed by a Fulbright Scholarship for further studies at the San Francisco Art Institute in 1987. She has exhibited widely in Europe and the U.S.A.

PAGE 57 South & East Belfast Trust Community Treatment & Care Centres Belfast 2003-

The South & East Belfast Health & and the National Lottery through Social Services Trust took a fully the Arts Council. The first building integrated arts approach to its to be completed will be Holywood development of pioneering ‘one- Arches, where the impressive large stop-shop’ health centres being coloured glass work of Martin developed across the south and Donlin (work pictured) is the east of the city at three separate hallmark of the entrance and front locations: Holywood Arches, façade; other artists in receipt of and . major commissions across the Project-managed by artist Vivien sites are: Tony Stallard; Shirley Burnside, who had overseen the Ross; Michael Disley; Joanne integrated arts project at the Mater Risley and Barry Callaghan; Hospital previously, a wide range of Clare McCarroll; and Diane Gorvin artists have been selected through and Philip Bewes. open competition for the creation of external and internal works across the various sites. The process has been funded primarily by the Trust

PAGE 58 Green Park Trust, Regional Acquired Brain Injury Unit, Belfast 2003-6

The Green Park Healthcare Trust Walters (pictured). The was also successful in 2003 in commissioning process has SOME INTEGRATED ARTS obtaining two Arts Council National involved broad engagement with PROJECTS IN RECEIPT Lottery awards towards the users and staff. Commissioned OF ARTS COUNCIL commissioning and production of artists include: Ned Jackson FUNDING several works to be fully integrated Smyth, John Baucher, Eleanor into its landmark new Regional Wheeler, Diane Bewes and Richard Acquired Brain Injury Unit, currently Gorvin, and Michael Disley. on site. Co-ordinated by artist-in- residence Nora Gaston, the ENNISKILLEN commissions include sculptures for Fermanagh University the entrance to the unit, the Partnership Board – Clinton courtyard and the garden, stained Centre, Higher Bridges, glass work, ceramic floor works, Enniskillen (as integral element photography and multi-media wall of Capital project) pieces, such as those by Lynn BALLYMENA Ballymena Borough Council – Ballymena Museum and Arts Centre (as integral element of Capital project)

OMAGH – Omagh Arts Centre (as integral element of Capital project)

MUCKAMORE North & West Belfast Trust, Muckamore Abbey Hospital, Antrim

BELFAST University of Ulster, ‘Art in Architecture’, Belfast Campus

PAGE 59 PAGE 60 Movement Within an Edge LEFT ,Dundonald (detail) ABOVE: NedJackson Smyth, Sick Childr 1996, RoyalBelfastHospitalfor

: Hilar E R A C H T L A E H N I T R A C I L B U TYPES OF PROJECTP y en Cr omie, Orange Clocks , 2004, , project isgiven. already outlined,acasestudyofpublicart academic r art andhealthisnowemerging asaresult of base proving thedirect beneficiallinksbetween patients, clientsandstaff, andtheevidence Canada andAustralia,toenrichthelives of countries inEurope, aswellinAmerica, and healthcare environments throughout many Creative isbeingusedwidelyinhospitals art in hospitalsandhealthcar Arts Care whichemploys14artists-in-residence their surroundings. well-establishedworkof The young peoplewhomaybemore intimidatedby this r Ireland shouldbeparticularlynotedin Northern be par positively affect mentalwell-being. Thismay which makesaplacefeellessclinicalcan surroundings makepeoplefeelbetter, andart setting. Thesimplenotionisthatmore pleasant important role forcreativity inthehealthcare and medicalstaff tendto agree that there isan and thatofsociety. Artists,patients,relatives more intimatelywithallaspects ofourlives inclusive, more people-orientatedandconnect and thecommunity, theartsare nowmore and through thereconnection betweentheartist accepted thattheartsenrichhumanexperience, Ireland overrecentNorthern years.Itisgenerally into enliveningartinhealthcare contextsin this Handbook,considerableeffort hasbeenput As seenintheIntegratedArtsProjects sectionof integrated ar texts intheBibliography). Inadditiontothe the UniversityofDurham. (Seealsothereference egar ticularly tr d. esear ts pr ue inthecaseofchildren and ch suchasthatcar ojects inhealthcar e venues acr e ried outat settings oss 61 P AGE PAGE 62 CASE STUDY Movement within an Edge Ulster Hospital, Dundonald 2004-5

Through Arts Care, artist-in- from bronze to sound works – residence at the Ulster Hospital were then uniformly framed in box (Ulster Community & Hospitals frames so that they form essentially Trust) Ned Jackson Smyth, one single impressive artwork developed a project that involved communicating an eclectic visual art and creative writing on compilation of views and visual the themes of ‘Our Hospital – Our and verbal perspectives on health Healthcare – Our Health’. Creative and healthcare, from the community writing workshops with school that is the life-force of the hospital. children from the surrounding area The participants varied in age from and clients of the Trust were held pre-school to the elderly and by writer Lynda Nielands. The embraced a wide range of abilities project was supported by an and disabilities. Arts Council National Lottery Access award. The 100 works were showcased and launched in an exhibition on One hundred artworks were the Level 2 Gallery of the Waterfront created by patients, clients of the Hall, Belfast, before being placed Trust and pupils from Movilla High for permanent display throughout School, Newtownards, Our Lady the public areas of the main & St Patrick’s College, Belfast, and hospital site in early 2005. Rudolph Steiner School in Holywood, over the course of a year. The mixed-media works –

PAGE 63 PAGE 64

Nick-names T T LEFT: AislingO’Beirn, ABOVE: Far Belfast ur ur

f f

Lodge, Belfast(detail) Lodge Welcome Stone S T C E J O R P D E S U C O F - Y T I N U M M O TYPES OF PROJECTC had Nar , 2002, UpperSpringfield, gol O’Neill, Street Signs/ , 2003, number ofkeybenefits: The communityar a multiplicity ofimageswhich,whiletheymaybeon up tothear held bythegroup rightfrom apre-design stage.Itis facilitator, drawingouttheexperiencesand images , In acommunityar Arts Initiative’s Summer MuralFestivalinBelfast. such asthatdevelopedbyNewBelfastCommunity consider thevalueofcommunity-ar Ireland, itmightbeespeciallyusefulto Northern should alwaysbestrivenfor).Inthecontextof the outcome(althoughqualityinfinishedwork that theprocess as isatleastequallyasimportant art commissioningwhichissocommunity-focused in mind,there isarguably adistinct‘type’ofpublic arranged. Whilethere are generaltruismstobeborne brief stageofanyproject andfinancialprovision should beexplored andincludedatthedevelopment reasons mentionedbelow, everyopportunitytoengage actively engagewiththeircommunitycontext.Forthe Most publicartcommissionswill–andshould , , , Two CaseStudiesofcommunity-focusedprojects follow. particular theme,willrepresent individualideas. thought pr Ar be expressed inotherdirections. has animportantcommunitybenefit,which can Non-arts spin-offs occurbywhichgroup cohesion comfor becomes usedtoworkingwithanartistand grows A and thusvaluedusuallyprotected. The workiscritically‘owned’bythecommunity development andpractice. can frequently beofvalueintheirpersonal skills exchangetakesplacebywhichagroup tists cangainconsiderableinsightsintothe table withitsowncreative expression. tist tothenbringsomecoher ocesses ofmembers gr ts pr ts approach hasa topublicart oject thear tist actsasa t mural work oups which ence toa 65 P AGE PAGE 66 CASE STUDY I South Lough Neagh Wetlands Arts Initiative South Lough Neagh 2004-

The South Lough Neagh Wetlands An interest in Irish boat building Arts Initiative was conceived by traditions led to the artist holding South Lough Neagh Regeneration a currach building workshop for 18 Association (SLNRA), Craigavon people. A boat theme emerged as Borough Council and Sustrans, a theme holding powerful interest in the sustainable transport charity, the area and led to Lonze’s creation as a phased project based along of a site-specific sculpture based the southern shores of Lough on sailing boats for Derrytrasna Neagh and . It was Pier (pictured). The work relates successful in receiving Arts Council to the heritage of the area with the National Lottery awards, first from stainless steel sails reflecting the Holger Lonze is a sculptor based in the Access programme for Phase light on the Lough and the Co. Cavan, who has been working One and subsequently from New surrounding landscape and sky; as a professional artist since Work for Phase Two; the project is the sculpture is also powered by graduation in 1997. He has been also partner-funded by Craigavon the wind through a 12V wind involved in a range of residency Borough Council. Phase One generator which allows the work to programmes and has worked as a engaged an artist, Holger Lonze, be illuminated at night by a series researcher and curator at the Eden appointed through open of low-voltage halogen lights. Project and Falmouth College of competition, to involve the rural Arts. He has worked collaboratively communities in the South Lough The vision which Lonze produced with architects from , and is Neagh area in the creative arts to inform Phase Two argues for particularly concerned with the and to develop an overarching the crucial role that art can play in crossover of architecture and vision for the creation of a series reanimating cultural traditions, and sculpture in public projects. of permanent public artworks for that sustainable development, while the area in Phase Two (which will rightly emphasizing environmental, involve a lead artist and a range of economic and social sustainability commissioned artists); he was also must also consider cultural tasked with developing a work of sustainability. Phase Two will public art himself. enable artists to record, document and interpret social practices and Holger Lonze established a wide to offer new insights, triggering range of contacts with a broad redefinition and reconsideration ABOVE: Artist’s impression of the proposed work in situ at Derrytrasna section of the community in the to provide fresh interpretations of area, including fishermen, farmers, deeply rooted ways of life. MAIN IMAGE: Maquette of proposed work basket-weavers and boat builders.

PAGE 67 PAGE 68 CASE STUDY II Ealaín Sraide – Project Upper Springfield, Belfast 2001-

The Upper Springfield Development Aisling O’Beirn, working with Trust developed a communities-led schoolchildren from St Aidan’s public art programme for the Upper Primary School and Whiterock After Springfield and Turf Lodge areas of Schools group, and installed on West Belfast, which has been various streets throughout the area; running since 2001. The project Fáilte go Gort na Mona/Turf was supported by an Arts Council Lodge Welcome Stone (pictured National Lottery three-year Access left and detail right), a free-standing award, and the series of works have celtic Ogham stone with bronze been partner-funded by a range of plates by artist Farhad Nargol agencies and organizations, such O’Neill, working with the Turf Lodge as Groundwork NI, the Housing Residents’ Association, Ardmonagh Executive, Belfast City Council, Womens’ Group and Turf Lodge the Creating Common Ground Senior Citizens’ Group; the Bleach Consortium (New Opportunities Green Mural (pictured right) by Fund) and Lloyds TSB. Gerard ‘Mo Chara’ Kelly working with residents of The various works, in a wide range Terrace, Upper Springfield of media, have been developed by Resource Centre and young people several different artists who have all from the Base Project for Bleach worked closely with community Green Court and Terrace at groups, school children, people Whiterock Close; Fionn with disabilities, senior citizens and MacCumhaill and the Seat of residents’ associations. The Trust’s by artist Raymond Watson, engagement of artists to create working with the Turf Lodge works with and for the local Residents’ Association and the residents is underpinned by a Action on Disability Sculpture desire to work towards sustained Group, for the Turf Lodge social, economic and physical Residents’ Association Community regeneration of the area, through Sculpture Garden; Poet-Tree, also a long-term, people-centred by Raymond Watson, working with development strategy; the creation St Gerard’s Educational Resource of public art that is ‘owned’ and Centre and residents from Mount cared for by the people is seen as Alverno, for the Top of the Rock a core element of that work. headquarters of the Upper Springfield Development Trust, and Works already in situ include: Springhill Celtic Cross Mosaic by Street Signs/Nick-names artist Michael Baker working with (pictured on page 64) by artist young people from Springhill Youth.

PAGE 69 PAGE 70 ABOVE: RitaDuffy, Smile LEFT 2001, DivisFlats,Belfast (detail)

: , Damien CoyleandV S T C E J O R P D E T I M I L - E M I T R O Y R A R O P M E 1996, Bedfor TYPES OF PROJECTT Drawing theBlinds d Str eet, Belfast ivien Burnside, , in the cost intensive);certainworksprofiled elsewhere realm (butexpectstheywill generallybeless time-limited artisticinterventionsinthepublic recognises thevalueand appropriateness of 25 years.Thatsaid,theArtsCouncilalso that theworkwillbeownedandmaintainedfor specific conditionsofgrantinaletteroffer) thumb’ hasbeenarequirement (writtenintothe permanent future; tothatend,ageneral‘ruleof conceived ofasworkswithalong-termoreven IrelandCouncil ofNorthern todatehavebeen Most publicartprojects funded by theArts temporar decidedly permanentworks.Acasestudyofa could bethoughtofastime-basedratherthan Sculpture Trails likeCreggan andCastlewellan– is alsogiven. pr good practice.Abriefdescriptionofabillboard follows andmaybethoughtofasamodel (and therefore funded)aspartofaFestival – oject involvingarangeofcollaboratingar Handbook y public r – ealm project –commissioned such assomeoftheworkat tists 71 P AGE PAGE 72 CASE STUDY

Drawing the Blinds Flats, Belfast Rita Duffy, November 2001

As a finale to the Belfast Festival at and later followed this with an Queen’s, the artist Rita Duffy MA in Fine Art at the University of created a temporary artwork Ulster, Belfast. Duffy has exhibited directly involving the residents of widely at venues including the the Divis Flats tower block in West Arts Council Gallery, the Hugh Belfast. Recalling the artist Gerard Lane Municipal Gallery, Ormeau Dillon’s recollections of the place, Baths Gallery and in numerous she engaged with residents to both galleries throughout the U.S.A. inform and permit the placement of Her style originally drew heavily about 200 acrylic on images on the local political situation but of them, or text connected with over the past two decades she them, within the windows of the has established herself as a flats. These were lit at night in order figurative/narrative artist. to create a giant backlit tapestry on the exterior surface of the building. The project was developed during The artist remarked that, ‘the the Autumn of 2001 and the back- switching on and engagement with lit ‘tapestry’ was dramatically an audience showed the power of illuminated during the Festival in art to communicate.’ November of that year. It was funded by the Belfast Festival, the Born in Belfast in 1959, Rita Duffy Arts Council of Northern Ireland, has established herself locally and Imagine Belfast 2000, the Housing internationally since the 1980s. She Executive, and Baird McNutt studied at the Ulster Polytechnic Linen Company.

PAGE 73 PAGE 74 OTHER TEMPORARY PROJECT Artsite Billboards Belfast City Centre 1996

In 1996, the Arts Development Unit Decommission Arms); Lorraine of the Bryson House charity based Burrell (Dandy); Amanda Dunsmore in Bedford Street in central Belfast, (Limbo and Target); Kevin commissioned, with Arts Council Henderson (At a standstill support and sponsorship from the smoking); Daniel Jewesbury More Group (More O’Ferrall) and (Tourists); Niamh O’Malley Ewart plc, a series of innovative (Mapping Space); Gavin Weston billboards by a range of local (Shut Up Shop); Vivien Burnside practising artists from the city for (The Noble Profile); Karen Vaughen display throughout the course of (Untitled); Eilis O’Baoill (Hirstism); the year. These time-limited works Deirdre O’Mahony (Erratic); Zhenia provided unexpected artistic Maudi Nau (Beyond the Looking interventions in the streetscape, Glass); Ciaran Gogarty (Untitled); offering playful and/or provocative and Alice McCartney (Artist). thoughts and imagery, taking the public and visitors to the city by surprise.

Artists included: Ruth Graham (Random Thought – pictured left below); Terry Loane (Compete – pictured left above); Damien Coyle and Vivien Burnside (Smile – pictured previously, and

PAGE 75 C Organizations listed below may be Art & Architecture Journal O N useful in terms of providing advice (Art & Architecture Journal) and information, and in the case 70 Cowcross Street N O of publications avenues for London I

T advertising commissions (the titles EC1M 6EJ T of the publications are given in T: 01462 896688 A

A parenthesis); those marked with W: www.artandarchitecturejournal.com C an asterisk (*) may be potential M A-N The Artists Information

T sources of funding for public art

R in Northern Ireland. Company (a-n Magazine) S First Floor

O Arts Council of Northern Ireland* 7-15 Pink Lane

F MacNeice House Newcastle-upon-Tyne 77 Malone Road England N

I Belfast NE1 5DW BT9 6AQ T: 0191 241 8000

R W: www.artscouncil-ni.org E: [email protected] W: www.a-n.co.uk E Architecture and Public Art Specialist:

H Paul Harron Artworks /Cywaith Cymru E: [email protected] Crichton House T T: 028 9038 5203 11-12 Mount Stuart Square

R Arts Council/An Chomairle Wales U Ealaion CF10 5EE F 70 Merrion Square T: 029 2048 9543 Dublin 2 W: www.cywaithcymru.org Ireland T: +353 1 6180200 CABE Space E: [email protected] The Tower Building W: www.artscouncil.ie 11 York Road London Arts Council England SE1 7NX 14 Great Peter Street T: 020 7960 2400 London SW1P 3NQ F: 020 7960 2444 T: 0845 300 6200 E: [email protected] F: 020 7973 6590 w: www.cabespace.org.uk E: [email protected] W: www.artscouncil.org.uk CIRCA (Circa) 43/44 Temple Bar Arts Council of Wales Dublin 2 9 Museum Place Ireland Cardiff T: + 353 1 679 7388 CF10 3NX E: [email protected] T: 029 2037 6500 W: www.recirca.com F: 029 2022 1447 W: www.artswales.org

PAGE 76 Create – Supporting Arts Laganside Corporation* Public Arts Development & Practice in Clarendon Building The Orangery Ireland (Contexts) 15 Clarendon Road Back Lane 10/11 Earl Street South Belfast Wakefield Dublin 8 BT1 3BG England Ireland T: 028 9032 8507 WF1 2TG T: + 353 1 473 6600 W: www.laganside.com T: 01924 215550 F: + 353 1 473 6599 W: www.public-arts.co.uk E: [email protected] Ixia (formerly Public Art Forum) E: [email protected] W: www.communityartsireland.com 1st Floor 321 Bradford Street Scottish Arts Council Department of Arts, Sport and 12 Manor Place Tourism – RoI England Arts Division B5 6ET South Frederick Street T: 0121 622 4222 EH3 7DD Dublin 2 E: [email protected] T: 0131 226 6051 Ireland W: www.ixia-info.com W: www.scottisharts.org.uk T: +353 1 631 3956 W: www.gov.ie/arts-sport-tourism Project – Engaging Artists in the Sustrans (Northern Ireland) Built Environment* Marquis Building Forest of Belfast* Public Art South West 89-91 Adelaide Street 4-10 Linenhall Street PO Box 189 Belfast Belfast BT2 8FE BT2 8BP England T: 028 9043 4569 T: 028 9027 0350 EX4 3XL W: www.sustrans.org.uk T: 01392 229266 General Public Agency E: [email protected] Visual Artists Ireland 10 Stoney Street W: www.project-awards.org.uk (Printed Project and The Visual London Artists’ News Sheet) SE1 9AD Public Art Commissions Agency Visual Artists Ireland T: 020 7378 8365 Studio 6 37 North Great Georges Street E: [email protected] Victoria Works Dublin 1 W: www.generalpublicagency.com Victoria Street T: + 353 1 8722296 Jewellery Quarter F: + 353 1 8722364 Groundwork NI Birmingham E: [email protected] (Belfast Office) B1 3PE W: www.visualartists.ie 63-75 Duncairn Gardens T: 0121 212 4454 Belfast BT15 2GB Public Art South West T: 028 9074 9494 Arts Council England South West F. 028 9075 2373 PO Box 189 w. www.groundworkni.org.uk Exeter England Henry Moore Foundation EX4 3XL 74 The Headrow T: 01392 229227 W: www.publicartonline.org.uk England LS1 3AH T: 0113 234 3158 W: www.henry-moore-fdn.co.uk W: www.henry-moore.ac.uk

PAGE 77 S There is a wide range of Ballymun Regeneration E

N publications relating to public art, Per Cent for Art Strategy for

L from theoretical discussions to Ballymun 2001 to 2011 O case studies of specific projects to (2001) I E policy statements, reports and T C guidelines. The following is a CABE/OPDM

A selection of works which may act The Value of Arts in T as useful starting reference points, Regeneration Practice M

B particularly (though not exclusively) (2002)

R in the Northern Ireland context. I

B Some publications, however, may Causeway Health and Social

O now be out of print. Services Trust L

F Causeway Hospital Artworks

I Ards Arts Brochure O N

I Sculpture Symposium Sites 1999 (CHSST, 2004)

G (Ards Borough Council, 1999)

R Crookshank, Anne O. R A-N (The Artists Information Irish Sculpture from 1600 E

A Company) (Department of Foreign Affairs,

H The Code of Practice for the 1984) P Visual Arts T

H Department of Arts, Sport and

R Arts Council of England Tourism (RoI) Y Commissioning Art Works Public Art: Per Cent for Art U (ACE, 1996) Scheme General National F Guidelines Arts Council of (2004) An Urban Renaissance: 16 Case Studies Showing the Role of the Department of the Environment Arts in Urban Regeneration Art for Architecture: A Handbook (Arts Council, 1989) on Commissioning (HMSO, 1987) Arts Council of Northern Ireland Architecture and the Built Dickson, Malcolm Environment: Policies, Strategies Art with People and Actions (AN Publications, 1995) (ACNI, 2003) Finkelpearl, Tom Arts Council of Northern Ireland Dialogues in Public Art Building for the Arts: Celebrating (MIT Press, 2001) Ten Years of Lottery Funding (ACNI, 2004) Heritage Lottery Fund, Arts Council of England, Council Art in the Public Interest New Art for the Historic (Da Capo Press, 1993) Environment (HLF; ACE; CC, 2002) Ballymun Regeneration – Per Cent for Hill, Judith Art Commissioning Programme Irish Public Sculpture: A History (2002) (Four Courts Press, 1998)

PAGE 78 Jones, Susan (Ed.) Public Art Commissions Agency Sligo County Council and Sligo Art in Public: What, Why Public: Art: Space – A Decade of Borough Council and How? Public Art Commissions Agency, A report by the Public Art (AN Publications, 1992) 1987-1997 Strategy Group on the future (Merrell Holberton Publishers, 1998) application of the Per Cent for Kelly, Liam/International Art Scheme by the Sligo Local Association of Art Critics Petherbridge, Deanna (Ed.) Authorities (Irish Section) Art for Architecture (SCC, 2002) The City as Art: Interrogating (HMSO, 1987) the Polis TSWA Four Cities Project (IAAC, 1994) Roots, Garrison New Works for Different Places Designing the World’s Best (TSWA, 1991) Kelly, Liam Public Art Thinking Long: Contemporary (The Images Publishing Group, Verbal Arts Centre Art in the North of Ireland 2002) A Short Guide for Visitors to (Gandon Editions, 1996) the Centre The Royal Hospitals Mater Hospital New Art at the RVH Visual Artists Association of Mater Hospital McAuley Building (RVH, 2003) Northern Ireland (VAANI) Integrated Arts Project Public Art in Belfast – A Report (2002) Scottish Homes prepared by Una Walker Public Art and Housing: (1998) Matzner, Florian (Ed.) Physical Quality Public Art – A Reader Wickers, David (2004) Sculptors’ Society of Ireland Millennium Miles: The Story of A City Guide to Sculpture in the National Cycle Network McCartney, Annie (compiler) Dublin (Sustrans, 2000) Arts Care: Art for Health (SSI, 1999) (Blackstaff/ArtsCare, 2003) Sculptors’ Society of Ireland Miles, Malcolm Contemporary Sculpture in Art for Public Places: Critical Dublin – A Walker’s Guide Essays (SSI, 1991) (Winchester School of Art Press, Hampshire) Sligo County Council Placing Art: A Pilot Public Art NHS Estates Programme Improving the Patient (SCC, 2000) Experience: The Arts of Good Health, A Practical Handbook Sligo County Council and Sligo (The Stationery Office, 2002) Borough Council Placing Art: A Colloquium on NHS Estates Public Art in Rural, Coastal and Improving the Patient Small Urban Environments Experience: The Arts of Good (SCC, 2002) Health, Using Visual Arts in Healthcare Sligo County Council and Sligo (The Stationery Office, 2002) Borough Council A Report on the evaluation of Office of Public Works/ the pilot public art programme Government of Ireland Placing Art by the Public Art OPW Art Management Handbook Steering Group (TSO, 1998) (SCC, 2002) PAGE 79 SUMMARY OF THE ARTS COUNCIL OF X

I NORTHERN IRELAND’S ARCHITECTURE AND THE BUILT ENVIRONMENT – POLICIES, D STRATEGIES AND ACTIONS DOCUMENT

N (PUBLISHED JANUARY 2003) E AIM P To develop policy, strategies and actions to define the Arts Council of P Northern Ireland’s role in raising awareness in the quality of architecture

A and the built environment, and to bring issues of national importance to the attention of government.

OBJECTIVES , To advocate and campaign actively for the creation of the highest quality contemporary urban design, architecture, landscaping and infrastructure , To ensure robust and sensitive conservation of the existing built and natural environment , To promote public and political awareness of the social, cultural, environmental and economic benefits of high quality architecture and urban design , To generate informed and critical debate and to promote greater interest and public involvement in the design of the built environment , To encourage higher quality of rural design

KEY ACTIONS FOR THE ARTS COUNCIL OF NORTHERN IRELAND

A Raise awareness , Create an Architecture and Public Art Officer post in the Arts Council (In post since January 2003) , Lobby media to cover architecture and the built environment , Develop education programmes through the Artist in Schools Scheme and in partnership with providers of further and higher education , Support Government’s efforts to place creativity at the heart of the education system , Develop awareness-raising programmes for the public, business, and industry sectors , Ensure that quality of design and universal accessibility are key components of procurement processes in capital building projects , Encourage the integration of high quality public art into buildings and public spaces , Introduce a mandatory Per Cent for Art programme for all Arts Council- supported new-build capital projects , Support the establishment of an Architecture Centre to serve the whole of Northern Ireland

B Promote critical debate and community participation , Provide opportunities for critical debate and discussion through seminars and conferences , Promote excellence in architectural design through individual and civic awards

PAGE 80 , Work with regeneration and community-based agencies to promote the importance of the social, cultural, environmental and economic benefits of high-quality design and planning , Fund programmes of exhibitions, lectures and critical publications

RECOMMENDATIONS TO GOVERNMENT

C Raise quality , A policy on architecture and the built environment should be developed and adopted, one which supports high quality design and raises awareness among clients (public and private) and the wider public and through its own procurement processes. , Such a policy should include strategies to:

– ensure that projects funded by the public purse achieve the highest design quality; – develop skills in urban and rural design; – identify and encourage locally-, nationally- and internationally-based talented designers, to work in Northern Ireland; – review the planning process to develop planning models that are pro- active, flexible and supportive of high quality contemporary design and sensitive conservation; – establish a Built Environment Task Force for Northern Ireland; – establish a ‘Quality Watchdog’ based on existing European models; – put design quality and universal accessibility at the heart of procurement processes; – afford the Arts Council an advisory role in all major planning applications; – encourage District Councils to adopt the government’s policy on architecture and the built environment.

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