North Granville Art Plan

NORTH GRANVILLE ART PLAN

1

Co n te s 03.

Welcome to Country

05.

Introduction Overview of art plan and objectives

09.

Site Anaylsis Site history, arts and culture snapshot, Granville demographics & artwork typologies

22.

Community Feedback Community consultation outcomes, Indigenous consultation & protocols

33.

Curatorial Direction Art narrative suggestions

41.

Potential Art Sites Benchmark budget for artwork typologies, possible art sites & artwork options with budget allocations

58.

Methodolgy for Commissioning Public Art Recommended method for commissioning of public art

69.

References Image and source references

Contents

2

e Wl co m e t o C o u n t r y B a y d i n g u b u d ya r i We speak well (we respect) D h ar u g u yura g u Of the Dharug people B u r a m d a u Yr a b i r a n g N g u r a g u The Burramadagal who belong to this Country B a y w u g u l b a n g g a n u i g a n y u r a g u r g a l ya g u b a r b u g D h a r u g yura .

I pay respect to Elders past, present and emerging of the Dharug people e n Y a m B u d ya r i G u m a d Walk with Good Spirit IN DHARU G DHAL N G B a y d i n g u b u d ya r i D h a r u g u y u r a g u B u r a m d a u Yr a b i r a n g N g u r a g u B a y w u g u l b a n g g a n u i g a n y u r a g u r g a l ya g u b a r b u g D h a r u g yura Wr i t e n i n c o l a b o r a t i o n w i t h R h i a n o n Wr i g h t , J a s m i n e S e y m o u r a n d L e a n e o bT i n .

Welcome to Country 3

I n tr o d u c tio n

4

e W l c o m e t o t h e N o r t h G r a nv i l e A r t P l a n W h a t t o ex p c t f r o m t h i s d o c u m e n t B a s e d o n e x t n s i ve c o m u n i t y c o n s u l ta i o n a n d s i te a n l y s i , t h i s N o r t h G r a nv i l e a r t p l a n s h o u l d s e r v a s a g u i d e fo r b e s t p r a c ti e p ro c u r e m n t of p u b l i c a r t i n t h e a r e by p r o v i d n g c l e a r o u tli n e s o n:

T h i s a r t p l a n , p r e a r e d i n co l a b o r a ti o n w i t h t h e C i t y o f P a r m a t , p r ov i d e s a n ove r a l v i s o n a n d m e t h o d l o g y f o r t h e i m p l e m n ta i o n o f p u b l i c a r t i n N o r t h G r a nv i l e .

T h e p l a n c o n s i d e r s N o r t h G r a nv i l e h o l i s t c a l ,y a n d wa s p u t to g e t h r w i t h i n p u t f r o m c o m u n i t y c o n s u l ta i o n t h a w a s u n d e r t a k e n , i n c l u d i n g s u r vey r e s u l t s a n d wo r k s h o p r e s p o n s e . A l o n g w i t h co m u n i t y m e b r s ’ i n p u t , i t co n s i d e r s t h e h i s to r i c a l f r a m ewo r k o f t h e a r e a s we l a s t h e C i t y o f Pa r m a t ’s c u r e n t o b j e c t i ve s . A d i t o n a l , y t h e a r t p l a n h a s a l s o b e n r e v i w d by l o c a l c o n s u l ta n , A u n t i e J u l i e J o n e s .

• • • • Dharug •

T h e h i s to r y a n d c u r e n t c o n t ex u a l ove r i e w o f G r a nv i l e . eKy o p r t u n i t e s f o r a r t w o r k s i n t h e are .

T h e co m u n i t y p r ef n ce s fo r a r t wo r k t y p o l g i e s , t y p e s o f a r t i s a n d l o ca tio n s .

Po s i b l e a r t wo r k o p t i n s b a s e d o n va r i o u s b u d g e t s .

B e s t p ra c ti e i n th e p ro c u re m n t p r o ce s of co m i s o n i g a r ti s ( i n c l u d i n g a p r o t c l s f o r wo r k i n g with F i r s t N a tio n s a r ti s ).

Mural by Thomas Jackson in Windsor (NSW) 2019 Curated by Art Pharmacy.

Introduction 5

O ve r i e w o f p l a n i g c o n t e x Ke y c o n s i d e r a t i o n s f o r p u b l i c a r t p r o c u r e m n t

This art plan considers the City of Parramatta’s current place, culture and art strategies/ policies and their influence on public art procurement.

Listed below is an overview of the council’s current goals, strategies and plans that should be considered in the artistic and curatorial strategy.

City of Parramatta Cultural Plan This art plan aligns with the the 4 overarching cultural strategy goals for the city outlined in the City of Parramatta Cultural Plan (2017 - 2022).

These objectives helped inform the Granville Place Plan (2021) which guides all cultural initiatives to reflect these major pillars:

North Granville Planned Infrastructure Upgrades This art plan is aligned with planned infrastructure development in North Granville according to the Granville Place Plan (2021) and sees these areas as key opportunities for public art locations. The Granville North Community Facilities Master Plan includes upgrades to: • • • •

The Alfred street cycleway F.S Garside park Revitalisation of streetscape and public domain along Good and Bridge street Development of a Granville town square

PRUAIP Public Art Framework Always was, always will be a gathering space

Ideas & imagination are the heartbeat of our city

Diversity is our strength and everyone is welcome

Our strategy also considers the public art framework prepared by ‘Parramatta Road Urban Amenity Improvement Program’ (PRUAIP) (2020). We govern our suggestions using the guiding themes by PRUAIP including that public art be:

Artist led By design, our city incubates creativity, industry & new knowledge

Integration Quality & originality Place creation for a diverse community

Introduction 6

O ve r i e w o f p l a n i g c o n t e x c o n t .

Ke y c o n s i d e r a t i o n s f o r p u b l i c a r t p r o c u r e m n t

City of Parramatta’s Public Art Policy This art plan draws upon the City of Parramatta’s Public Art Policy 2017 which outlines a list of criteria for public art.

The guidelines articulate the importance of creating “public artworks that celebrate; honour; engage with our past, present and future; and share our history, our story, our culture, and our peoples.”

Also key to the guidelines is the theme of locality and art becoming a “voice to local communities… bringing together diverse social threads and creating a sense of pride in place.” The councils policy also outlines that a public art jury will examine new public art projects in light of the selection criteria.

This policy suggests a methodology for engaging artists, preferring public art to engage “local artists and locally produced artworks through ...a number of formal programs and encourages participation of local artists in the competitive process”.

The assessment of public art projects will also include the following technical considerations: • •

Is the artwork safe, durable, practical, robust and vandal resistant?

Is there a detailed plan for maintenance including annualised costs?

City of Parramatta selection criteria for public art: Art should...

Enhance the location in which the artwork is to be sited, adding interest and enriching context Be specific to its site drawing from & adding to the history, heritage & environment of its location; tells a local story Present innovative, fresh, creative & original ideas; that inspire, provoke reflection, arouse curiosity; enrich & stimulate Be appropriate and suitable to its site in scale and impact on amenity and other uses.

Using high quality in design, materials and finishes Engage, inform & be comprehensible and encourage engagement, provide interactivity

Introduction 7

O ve r i e w o f p l a n i g c o n t e x c o n t .

Ke y c o n s i d e r a t i o n s f o r p u b l i c a r t p r o c u r e m n t City of Parramatta’s Public Art Policy With the City of Parramatta’s Public Art Policy in mind, this art plan builds into its methodology the importance of acquiring local artists and listening to community insights. The plan also considers the connection to the context and history of the site, the manner in which to put together an art committee to assess the proposed public art, as well as the commissioning of high quality, durable artwork that is well maintained.

GOALS & PLACE VISION

(City

of Parramatta Cultural Plan)

PUBLIC ART BEST PRACTICE

ART NARRATIVE

(City

of Parramatta Public Art Policy)

SITE ANAYLSIS

(North

Granville planned infrastructure upgrades & historical anaylsis)

NORTH GRANVILLE PUBLIC ART PLAN

COMMUNITY INSIGHTS (Community

consultation results)

FIRST NATIONS CONSULTATION

ART PLACEMENTS

ART METHODOLOGY

Introduction 8

S i te A n a y l s i

9

Fi r s t N a t io n s h i s to r y B efor 1788 th e D h a r u g of th e Pa r m a t a n d y S d n /e B l u e M o u n t a i s r e g i o n , l i v e d i n a f a m i l y o r cla n g ro ups , con si t n g of a ro un d 40 to 60 p e o le.

T h e y l i ve d i n h a r m o ny w i t h t h e l a n d - w i t h l a n d a n d s p i r t u a l i t y i n te r w i n e d . T h i s t h e c o n t i u m o f p a s t a n d p r e s n t i s w h a t i s n ow k n ow a s t h e ‘ D r e a m i n g. ’ T h e o l d s to r i e s te l o f A n c e s to r s p i r t s w h o s e a c tio n s d u r i n g th e ‘ D re a m i n g ’ s h a p e d th e l a n d .

O n e s t o r y t e l s o f t h e ‘ G u r a n g t c .h ’ T h i s A n c e s t r a l c r e a to r b e i n g wa s a r e p t i l a n e / l - i ke c r e a t u r e w h o c a r ve d o u t t h e r i ve s a n d c r e k s , c r e a t i n g t h e m o u n t a i s a n d p l a i n s , a s i t m ove d t h r o u g h o u t t h e land.

T h e D h a r u g h a ve b e n o n g i n g c u s t o d i a n s o f t h e l a n d a n d w a t e r w a y s h e r . T h e i r l i ve s , s a c r e d r i t u a l s a n d c u s t o m s e vo l d a r o u n d a r e s p c t f o r C o u n t r y a n d th e i r p l a ce wi th n i t , u n til th e d i s r u p ti o n th a c a m e w i t h t h e a r i va l o f t h e B r i t s h c o l n i s e r .

T h i s p l a c e , B u r a m d a ( Pa r m a t ) i s w h e r t h e r i v e m e t s t h e s a l t w a e. r A t i d a l p l a c e , w h e r t h e a d u l t e l s f o l w i n g t h e i r a g e - o l d c y l e , l i e d ow n i n wa i t f o r t h e f u l m o n a n d k i n g t i d e s ; f a t a n d r e a d y f o r t h e i r e p i c j o u r n ey u p to t h e C o r a l S e a to s p a w n .

T h e i r y o u n g , t r a n s p a r e n t ’g l a s ’ e l s , t h e n r e t u r n ; b a c k t o t h e r i ve s o f t h e i r f o r e b a r s t o c o n t i u e t h e cir l e of life.

F o r t h e B u r a m d a g l c l a n w h o l i ve d a r o u n d t h e b a n k s o f t h e r i ve , i t w a s a t i m e o f g r e a t f e a s t i n g a n d o t h e r c l a n s t r a ve l d f r o m f a r a w y t o s h a r e t h e e l s a n d c e r m o . ny O n e l o c a l p l a c e w a s a t t h e C r e s c n t o n t h e P a r m a t R i ve , r a l s o k n o w a s Lit le C o g e .

Detail from A View in Parramatta c1828 Augustus Earle Mitchell Library, Sydney

S o n g s a n d s t o r i e s f r o m t h e v i s t n g c l a n s t r a ve l i n g u p f r o m t h e S o u t h C o a s t a n d d ow n f r o m t h e N o r t h a n d eW s t , j o i n e d w i t h t h e s o n g s f r o m B u r a m d a t o b e t h e n w ove n i n t o t h e s t o r i e s o f C o u n t r y t h a t h e l o c a l p e o l e ke p t a n d t h e v i s to r s t h e n to k b a c k h o m e to t h e i r c o u n t r i e s .

Site Anaylsis 10

Fi r s t N a t io n s h i s to r y Re l a t i o n s h i p s b e t w e n t h e l o ca l B u r a m d a g l a n d t h e B r i t s h c o l n i s e r i n t a l , y w e r f r i e n d .l y B e f o r t h e c o n f l i c t s , t h e r w e r m a ny a c o u n t s o f a m i c a b l e i n te r a c t i o n s b e t w e n t h e D h a r u g a n d t h e s e t l e r s a t Pa r m a t .

In J un e 1791, B al o d er y a lo cal m a n , b a r te d f i s h w i t h t h e o f i c e r s a n d s e t l e r s a n d wa s a l s o a g u i d e o n a n e x p d i t o n w i t h G ove r n o P h i l p , t r a c i n g t h e c o u r s e o f t h e H a w k e s b u r y R i v e. r N o t l o n g a f t e , r h i s c a n o e w a s d e s t r oy e d by c o nv i c t s a n d i n r e t a l i t o n h e s p e a r d o n e o f t h e c u l p r i t s n e a r K i s n g Po i n t . H e t h e n b e c a m e a ‘ wa n te d m a n ’ o n t h e r u n a n d d i e a f ew m o n t h s l a t e. r H e w a s b u r i e d i n t h e g r o u n d s o f G o v e r n m e t H o u s e , yS d n . e T h i s w a s j u s t o n e o f m a ny r u n - i s t h a s t a r e d to o c u r t h a s o n d ev l o p e d i n to m o r e s e r i o u s s k i r m s h e a n d c o n f r o n ta i o n s a s l o c a l D h a r u g f o u g h t to r e m a i n o n t h e i r l a n d .

Pe m u l w ,y a B e d i a g l ( B i d j g a l ) m a n f r o m t h e h e a d w t e r s o f t h e G e o r g e ’ s R i ve , r a l s o f i g u r e d i n Pa r m a t ’s h i s to r y a n d l e d g u e r i l a s t y l e wa r f e w i t h o t h e r c l a n g r o u p s o n t h e s e t l e m n t s t h r o u g h o u t t h e r e g i o n . H e wa s ev n t u a l y d e c a p i t e d a t P r o s p e c t H i l ( M a r o n g) , w i t h h i s h e a d p r e s r ve d i n s p i r t s a n d s e n t b a c k t o E n g l a n d , i t s l o c a t i o n r e m a i n s u n k o w n t o t h i s d a. y Pa r m a t h a s a we a l t h o f A b o r i g n a l s to r i e s , m a n y s t i l w i d e l y u n k o w n by t h e g e n r a l p u b l i c .

Jason Wing, Pemulwuy mural, The Rocks NSW (2021) Curated by Art Pharmacy.

Public artworks here help to highlight and promote the Indigenous presence of place and the local Burramadagal’s connection to the river.

Site Anaylsis 11

C o l n i a l t o co n t e m p o r a y G ove r n o A r t h u r P h i l p w a s o n e o f t h e f i r s t to ex p l o r e t h e a r e o f Pa r m a t t r a ve l i n g v i a b o a t t h r o u g h t h e D u c k R i v e. r O ve r t i m e G r a nv i l e b e c a m e c o l n i s e d

by E u r o p e a n e l i t f a m i l e s w h o w e r g i ve n g r a n t s t o e s t a b l i s h t h e m s l ve s i n t h e a r e . T h i s s ta r e d t h e b e g i n g o f f a r m i n g a n d wo l i n d u s t r y i n t h e a r e , w h i c g r ew f r o m t h e c o m p l e t i o n o f t h e Pa r m a t r a i l w y s a n d d e f o r s ta i o n in th e a re .

G ra nvil e wa s n a m e d in 1880 af ter th e S e c r t a y f o r S t a e , E a r l G r a nv i l e a n d o r i g n a l y s p a n e d p a r t s o f H a r i s Pa r k , M e r y l a n d a n d Ro s e h i l .

A f t e r t h e w a r G r a nv i l e ex p r i e n c d a h u g e r i s e i n p o u l a tio n a n d h o u s i n g a s a r e s u l t o f n ew S ta e P l a n i g Po l i c e s a n d i m g ra tio n p ro g a m s . Stil h o m e t o m a ny i n d u s t r y f a c t o r i e s , G r a n v i l e b e c a m e a n e w h o m e t o m a ny m i g r a n t fa m il e s .

In 1977 G ra nvil e exp rien c d th e d e va s t i n g r a i l o a d d i s a t e r t h a k i l e d over 80 p e o le a n d lef t m a ny in j ure d .

T h i s w a s a d e va s t i n g e v n t f o r t h e s u b r , w i t h m a ny r e s i d e n t s d e p l y a f e c t d b y t h e t r a g e d. y T h e r i s a m e o r i a l t h a n ow ex i s t i n t h e tow n to p a y t r i b u t e t o t h o s e w h o l o s t t h e i r l i ve s d u r i n g t h e d i s a t e. r

Images Top to Bottom: 1 & 2. Early images of Parramatta, sourced from the City of Parramatta Reasearch and Collections 3. Granville train disaster (1977) sourced from BBC

Site Anaylsis 12

G r a nv i l e n ow The sub r of Granvil e is div de into two local council are s, w i t h N o r th G r a n v i l e l y i n g w i t h n t h e C i t y o f P a r m a t c o u n c i l .

The southern side of Granvil e fal s under the Cumberland Council and is wher the majority of the com unity infrastruct re (libra y, town centre, scho ls, etc) is located.

T h e G r e a t r yS d n e C o m i s o n h a s i d e n t i f e d G r a n v i l e a s a m a j o r p r i o t y s u b r f o r f u t r e g r ow t h a c r o s G r e a t r M e t r o p l i t a n yS d n . e T h i s h a s b e g u n t o s e a r i s e i n t h e b u i l t e n v i r o n m e t , i n c l u d i n g h i g e r d e n s i t y r e s i d e n t i a l a n d m i xe d u s e d ev l o p m e n t s a r o u n d G r a nv i l e , p a r t i c u l a r y n o r t h o f t h e s t a i o n ( i n t h e C i t y o f P a r m a t GL A ) .

W i t h t h e Pa r m a t Ro a d C o r i d o r U r b a n r a Tn s f o r m a t i o n Stra e gy (2016) o u tlin g G ra nvil e a s a key lo ca tion for g row th , p a r t i c u l a r y d u e to i t s a c e s i b l t y a n d a m e n i t e s , a r i s e i n u r b a n d ev l o p m e n t a n d d we l i n g s a r e ex p c t e d i n t h e a r e .

N o r t h G r a nv i l e i s a l s o s o n t o b e c o m e t h e h o m e o f t h e P a r m a t A r t i s S t u d i o s A( P S ) . A s a c u l t r a l h u b A P S h a s t h e p o t e n i a l t o e l va t e t h e c u l t r a l c a p i t l o f t h e a r e a n d c r e a t m o re o p r t u n it y fo r m o re p u b li c a r t .

Greater Western Sydney

Parramatta CBD

Parramatta Council

Cumberland Council

Sydney CBD

Image sourced from Google Maps

Site Anaylsis 13

N o r t h G r a n v i l e k ey l o c a t i o n s

1. Alfred cleyC ayW

2. Parramatta Road

3. .S F Garside aPrk / Duck Crek

Located on Alfred Street, the cycle path was recently created by the council and passes through Parramatta into the city via the M4 Path Links.

Currently the concrete columns on the cycleway are painted with murals that also act as a wayfinding for cyclists.

Parramatta Road is highly trafficked by cars passing through Parramatta into the Sydney CBD. This area is filled with mostly industrial warehouses and workshop spaces.

F.S Garside Park is one of the few parks on the City of Parramatta side of Granville and is currently being upgraded. It leads onto Duck Creek, which has an important Indigenous history as a gathering place. Both locations are currently fenced off.

1.

1

5.

2.

2 5.

4.

3

4 6

5

Image sourced from Google Maps 4. God Stre Good Street is the main shopping strip in Granville North, with local grocers and eateries (as well as the iconic heritage style, Granville Hotel) along the street. There is a high vacancy among shops, and vandalism is high.

5. Grvlaien Urban e l o D v p m n t / G r vl a i e n l P a e c

6. Grvlaien Staion/ Bridge Str e

Along with other recent urban development, Granville Place (located along Cowper Street) is a recent development which has created more amenities and shopping alternatives in the area. The increased apartment and affordable living opportunities has seen a rise in Granville’s population significantly over the past years.

Granville Station is located on Bridge Street, which runs along the most northern area of the City of Parramatta side of Granville. Bridge Road is highly trafficked by cars and walkers, but is presently mostly used for parking.

Site Anaylsis 14

G r a nv i l e i s a m u l t i c u l t r a l s u b r G r a nv i l e h a s a h i g c u l t r a l d i ve r s i t y p r o f i l e . C i t y o f Pa r m a t c o n d u c te d a n I m a g i n e G r a nv i l e C a m p i g n w i t h t h e f in d g s p ublish e d in April 2021. With n it th e t o p d e s c r i p t o n s o f G r a n v i l e by p a r t i c p a n t s i n c l u d e G r a nv i l e a s a m u l t i c u l t r a l a n d d i ve r s p l a c e . T h e m u l t i c u l t r a l m a k e u p o f t h e c o m u n i t y r e s i d n g w i t h n G r a nv i l e i s ev i d n c e d i n t h e d e m o g r a p h i c s t a i s t c s b e l .o w

Median Age:

Ancestry:

32 e aYr s O ld (5 8% wo rk fu l tim e)

13. 8 % L e b a n e s e 10. 5 % A u s t r a l i a n 9. 3 % E n g l i s h 8. 4% I n d i a n 7. 5 % C h i n e s e

Population:

91,053 Languages: 17.6% S pea k A r a bic 4. 5% S pe a k M a n d rin 1.9 % S pea k Ca nto es

Demographics of Granville’s population sourced Australian Bureau of Statistics (ABS) 2016.

Site Anaylsis 15

Pa r m a t A t h riv n g h u b fo r a r t s & cu l t r e P a r m a t c i t y h a s a n a c t i ve a r t a n d c u l t r e s ce n . rF o m b e a u t i f u l p u b l i c a r t a n d c u l t r a l c o l a b o r a t i o n h u b s a n d g a l e r i s to a r t i n s p i r e d ev n t s , t h e r i s p l e n t y o f a r t a n d c u l t r e f o r r e s i d e n t s a n d v i s to r s o f P a r m a t t o e n j . oy Pa r m a t i s t h e h o m e o f Pa r m a t A r t i s ’ S t u d i o s A( P S ) , a c r e a t i v e p r o d u c t i o n c e n t f o r e W s t r n yS d n . e A P S p r o v i d e s a s u p o r t i v e s t u d i o e nv i r o n m e t f o r a r t i s t o d ev l o p t h e i r p r a c t i e , w h il s t a l s o co n e c ti n g th e m wi th co m u n i t y p e r s a n d a r t s p rofe s io n a l s .

T h e r a r e m u l t i p e g r e a t a r t g a l e r i s i n Pa r m a t s u c h a s , T h e H u n te r S t r e t G a l e r y o f F i n e A r t s , G u e r i l a G a l e r y a n d G a r d e n a n d Pa r i , a n ew a r t i sr u n g a l e r y a n d co l a b o r a ti o n s p a ce , a m o n g o th e r s .

T h e N S W G ove r n m e t h a s a l s o s e c u r e d t h e s i t e f o r t h e r e l o c a t e d Powe r h o u s e M u s e m o n Pa r m a t ’s r i ve f r o n t a n d i s p a r t n e r i n g w i t h t h e c o u n c i l t o r e d v l o p t h e R i ve r s i d e T h e a t r e .

T h i s a r t p l a n c o n s i d e r s Pa r m a t ’s g r ow i n g a r t a n d c u l t r e s c e n by t a k i n g i n s p i r a t o n f r o m ex i s t n g p u b l i c a r t a n d s u g e s t i n g l o c a l c o l a b o r a t i o n s w i t h t h r i v n g a r t i n t a i ve s w i t h n t h e n eig h b o u rin g s u b r .

Images top to bottom: 1. 22 Hunter St, Parramatta, Welcome Wall. 2. Artwork

by Georgina Humphiries for Parramatta Lanes Festival. 3. Emily Floyd, Allegory of a Cave.

Site Anaylsis 16

G r a nv i l e A r ts a n d cu l t r a l s n a ps hot G r a nv i l e h a s a n u m b e r o f p u b l i c a r t wo r k s t h r o u g h o u t t h e s u b r .

T h e s wo r k s h e l p to b e t r u n d e r s ta n d t h e c u l t r a l n a r t i ve o f t h e c o m u n i t y a n d g i ve i n s p i r a t o n t o p o s i b l e c u r a to i a l d i r e c t i o n s .

Community designed hoarding at F.S Garside park

Mural located along South street

Spoonville outside Alfred Early Learning Centre

Mural artworks painted onto the concrete columns at the Alfred street cycleway

Granville public art sculpture on South street

Site Anaylsis 17

Po s i b l e p u b l i c a r t l o ca t i o n s B e l ow i s a s e r i s o f p o s i b l e a r t wo r k l o c a t i o n s i n G r a nv i l e N o r t h . P l e a s n o t e m o r e i n d e p t h a r t w o r k o p r t u n i t e s r e l a t i n g t o va r i o u s b u d g e t s c a n b e f o u n d i n t h e p o s i b l e a r t s i te s e c t i o n o f this do cum ent fo un d on p a g e 41.

1

3 2 4 5

1. Alfred Street Cycleway

2. F.S Gar side Park

3. Good Street

4. Granville Public Square

5. Bridge Street

Images sourced from Google Maps, The Granville Place Plan (2022) and the Art Pharmacy team Site Anaylsis 18

y p o Tl g i e s

19

Mural Art

Thomas Jackson Mural

Fu n c t i o n a l A r t Paul Cocksedge seating sculpture

A mural is any piece of artwork painted or applied directly on a wall, ceiling or other permanent or temporary substrate.

S cu lptu r a l A r t Luke David Sculpture

This could include playground integration, seating, timberbox, totem poles, cycling stands, water stations.

Lig h ti n g A r t Michael Awad and David Rokeby Installation

Utilizing multiple objects, often from various mediums. It can be generic or site specific and can address aesthetic and narrative ideas on a larger scale.

A n a r t fo r m i n w h i c e ith e r a s c u l p t u r e p r o d u ce s li g h t , o r li g h t i s u s e d to c r e a t a “ s c u l p t u r e ” th ro u g h th e m a n i p u l a tio n of l i g h t , c o l u r s , a n d s h a d ow s .

Typologies

20

Co m u n i t y Enga em nt

21

C o m u n i t y fe d b a c k B et w en M on d ay 22 N ovem b r a n d M on d ay 13th of D e c m b er 2021 com unit y c o n s u l ta i o n wa s u n d e r ta ke n to u n d e r s ta n d t h e c o m u n i t e s ex p r i e n c s , i n t e r s t a n d p r e f n c e s t o i n f o r m t h e s u g e s t d a r t n a r t i ve s , p o s i b l e l o c a t i o n s a n d a r t w o r k t y p o l g i e s f o r p r o s e d p u b l i c a r t i n N o r t h G r a nv i l e . T h i s i n c l u d e : a v i l a b e o n l i e v i a t h e Pa r t i c p a te Pa r m a t p a g e o n t h e C i t y o f A survey Pa r m a t ’s we b s i te virtual community work s hops wo T a n d eWdn sd ay 8th of D e c m b er

• •

fa cil ta e d on M on d ay 29th of N ovem b r

A f lyer o u tlin g th e involem nt op r tunit es wa s sent to 14 com unit y g ro ups in th e l o ca l a r e i n cl u d i n g : • • • •

L o c a l e d u c a t i o n a l i n s t i u o n s (A F T E N S , W G r a n v i l e E a s t & S o u t h P u b l i c S c h o l , G r a n v i l e B oy s H i g h S c h o l , A l f r e d S t r e t L e a r n i g C e n t r e) A r t i s s t u d i o s ( Pa r m a t A r t i s S t u d i o s , Pa r i A r t i s G r o u p , Pa r m a t A r t s S o c i e t , y G r a n v i l e A r t C e n t r e) C o m u n t i y g r o u p s (C i t y o f P a r m a t L i b a r i e s P r o g a m , G r a nv i l e M e n s S h e d , G r a n v i l e H i s t o r i c a l S o c i e t , y N a b i k r a m I s l a m C e n t r e) L o c a l b u s i n e s ( T h e G r a nv i l e H o t e l ) A total of 5 people completed the survey.

T h e m a i n t h e m s a n d p e f r n c e s f r o m t h e w o r k s h o p s , a s w e l a s t h e s u r vey f i n d g s h a ve b e n c o l a t e d a c r o s t h e f o l w i n g p a g e s .

Participate Parramatta Page on City of Parramatta website

Consultation Flyer distributed to community groups

Community Consultation

22

W h o f i l e d o u t t h e s u r ? vey

AGE

61% of people who took the survey were female, 31% male, while 5% identified as non binary.

50.9% of the respondents were between 25 - 39 years old and resided either in Granville or within 10km of Parramatta

GENDER

People from 12 different ethnic backgrounds filled out the survey

Ethnic backgrounds included: Australian, Lebanese, South East Asian, Eastern European, Irish descent, Fijian, Chinese, South African, Sri Lankan, Indian, and Scottish

Out of 55 respondents, 40% speak a language other than English

Community Consultation

23

C o m u n i t y s u r vey r e s u l t s W h e n a s ke d a b o u t w h a t t h ey wanted to see more of in Granville m os t p e o l e i d e n t i f e d t h a t h ey w a n t e d more parks and greenery in Granville f o l w e d by more public open space.

Pe o p l e wo u l d p r e f to s e a r t wo r k a t The New Granville Public Square , f o l w e d by a n d th e c y le u n d e r p a s .

Community Consultation

24

C o m u n i t y s u r vey r e s u l t s

O ve r w h e l m i n g l y t h e m o s t p o u l a r c h o i ce fo r artist preference is one local to Granville while an Indigenous artist wa s also a po ula r ch oice.

Re s p o n d e t s p r e f r e d t y p e o f a r t wo r k wa s

mural art fol wed by

an d sculpt re.

Community Consultation

25

G r a nv i l e s t o r i e s B e l o w a r e r e s p o n s e t h a t e m r g e d f r o m t h e e x t e n d e r e s p o n s e s e c t i o n o f t h e s u r v e ,y w h e r r e s p o n d e n t s we r a b l e t o a d a ny a d i t o n a l c o m e n t s o r i n f o r m a t i o n t h ey wo u l d l i k e t o inclu de:

“Would like to see more work on Aborigoinal history & of the Ironbarks” “Have been going to eat chicken there for over 15 years. The north side of the station could be activated more” “Granville Boys High did a performance a couple of years ago in Riverside Theatres about how amazing the chicken shops are. As part of a school drama showcase. It was so hilarious. And they are still awesome!”

“I moved from North Sydney to Granville 11 years ago and I was struck by the genuine friendliness of people, their broad interests and backgrounds, their passion and most importantly the potential of the area and talent available to contribute.”

“The seagulls are quite serene”

“I think a lot about the people who were alive at the time of the Granville Train Disaster, Australia wide. It is kind of the thing that put this town on the map so to speak.

Stories about where were when the disaster occurred and what it meant to your life or how it changed things.”

“I spent most of my youth at Granville pools walking up to the tech milk bar for hot chips for lunch then back to the pools. Shopping at Granville when we could buy clothes from the many stores at Granville P&S Michael’s, Boulos brothers, Coco Pere’s.”

“Would like to see the 1901 First-Station (facade +3m depth) Protected / reconstructed 4m back from the existing site within ‘new development’ instead of demolition.”

Community Consultation

26

Fi r s t N a tio n s Co n s u l ta i o n

27

F i r s t N a t i o n s co n s u l t a i o n This art plan has been developed in consultation with two First Nations advisors: Artist Adam Hill (Blak Douglas), and Parramatta based Dharug Consultant, Auntie Julie Jones.

Ad a m H il :

A u n tie J u l ie J o n e s :

Adam Hill is a practicing artist born in Blacktown to a Dhungatti Aboriginal Father/ Caucasian Mother. Adam is well versed in creating artworks for the Public Realm, producing complex art projects for architectural firms, local governments and statutory authorities. He also is an advocate public speaker and runs a school program that delivers an A – Z of modern Aboriginal art.

Auntie Julie Jones is a Dharug Custodian and Knowledge Holder which means her personal, professional and community life all co-exist, like a oneness. Autine Julie explains that this is influenced by the needs of her mudyin (family), people and Communities, always under the eyes of her Ancestors and driven by the causes and issues important to First Nation survival and self-determination.

Recent commissions include Black Theatre Site Redfern (Tonkin Zulaikha Greer Architects), Hawthorne Reserve ‘Cadi” sculpture installation, Australia Post Strawberry Hills, Hawthorne Reserve (Inner West Council) Redfern, West Ryde and Campbelltown Railway Stations and Russell Lea Public School (Conrad Gargett Architects). Adam has won the 2019 Kilgour Prize and has been a finalst in the Archibald Prize on four occassions, including 2020, the Wynne Prize, the Parliment of NSW Aboriginal Art Prize and Telstra Aboriginal Art Award.

Auntie Julie Jones says “ I’m honoured to continue a tradition of strong matriarchal Dharug women; using my voice to care for my nura/Country and progress the issues and acknowledgement of my people.”

First Nations Consultation 28

Fir s t N a t io n s Pr ot c l s fo r E n g a e m n t

29

F i r s t N a t i o n s co n s u l t a i o n In order to ensure best practice is maintained when engaging First Nations consultants and artists these ‘Protocols for Engagement’ provide a checklist to guide all consultative and collaborative initiatives. These protocols are also in line with City of Parramatta Indigenous Guidelines, Safe Work NSW and Australia Council for the Arts First Nations Protocol.

In Aboriginal and Torres Strait Islander culture, Country is more than a place; it is the core of identity that guides the culture physically, emotionally, spiritually, and socially. Country is embedded in art. Public art projects are fortunate to be working with artists to help preserve Country, while also recognizing the role we all play in understanding, protecting, and maintaining all aspects of culture. All public art projects should consider: R I G H T S O T I N D G E N O U S C UT L R A A N D I N T E L C T AU L P R O E T Y ( I C P )

R I G H T S O T B E C O N S U T L E D O N A N D A P V RO E P RJO E C T S A F E C T I N G I N D G E N O U S L A N D S

Under Article 31 of the United Nations Declaration on the Rights of Indigenous People, which Australia has endorsed, affirms that:

Under Article 32 of the United Nations Declaration on the Rights of Indigenous People, which Australia has endorsed, affirms that:

“Indigenous peoples have the right to maintain, control, protect and develop their cultural heritage, traditional knowledge and traditional cultural expressions, as well as the manifestations of their sciences, technologies and cultures, including human and genetic resources, seeds, medicines, knowledge of the properties of fauna and flora, oral traditions, literatures, designs, sports and traditional games and visual and performing arts. They also have the right to maintain, control, protect and develop their intellectual property over such cultural heritage, traditional knowledge, and traditional cultural expressions.”

“Indigenous peoples have the right to determine and develop priorities and strategies for the development or use of their lands or territories and other resources. States shall consult and cooperate in good faith with Indigenous peoples concerned through their own representative institutions in order to obtain their free and informed consent prior to the approval of any project affecting their lands or territories and other resources… S tates shall provide effective mechanisms for just and fair redress for any such activities, and appropriate measures shall be taken to mitigate adverse environmental, economic, social, cultural or spiritual impact.”

Indigenous Cultural and Intellectual Property (ICIP) rights refer to all aspects of Indigenous peoples’ cultural heritage, including the tangible and intangible. This cultural heritage includes all traditional and cultural knowledge (sciences, plant and animal knowledge, stories, designs and symbols, ritual knowledge), cultural objects (arts, crafts, ceramics, jewellery, weapons, tools, visual arts, photographs, text) performances (ceremonies, dance and song), human remains, the secret and sacred (including sites) and documentation of Indigenous heritage.

Projects will respect the central role of Indigenous traditional custodianship and ownership of lands across Australia. For Indigenous Australians, land is the basis of all Indigenous relationships, families, economies, spirituality, history, identities and cultural practices. All project work will engage and relevant Indigenous communities and work under the guidance of Indigenous community elders, traditional owners and representatives in creating and developing projects on these lands to ensure that Indigenous communities where it works positively and meaningfully benefit.

First Nations Consultation 30

Fir s t N a tio n s e n g a e m n t ch e k lis t: This checklist is to be used as a guide if a First Nations artist is engaged on a public art project with the City of Parramatta. It is to be used to guide the process of public art commissioning to ensure proper protocols and consultation occurs.

STAGE 1: PLANNING THE PROJECT

YES

NO

RESPECT Have you considered why the project is being undertaken, why you are using Indigenous subject matter, the perspectives you bring to it, and how it affects Indigenous people and communities?

Have you sought advice on the cultural issues that need to be addressed through consultation?

INTERPRETATION, INTEGRITY AND AUTHENTICITY Have you conducted research on the project, including the Indigenous subject matter or material proposed to be used?

Is the project appropriate for the location or site?

Does your project reflect the cultural value of the subject matter?

Does your project empower Indigenous people?

INDIGENOUS CONSENT, COMMUNICATION AND CONSULTATION Does your project deal with communally owned material (eg ritual knowledge, creation stories, songs or traditional or tribal communal designs)?

If so, how will you consult with and seek consent from the traditional owners or other relevant Indigenous people/groups?

Have you identified the relevant Indigenous stakeholders?

Did you make sure that consent comes from the right persons or faction(s) within a community (including from both genders)?

Where more than one Indigenous group is involved, did you seek consent from every group?

Did you ask the relevant Indigenous stakeholders whether he/she requires an interpreter? If so, did you ask them to identify a suitable person to translate?

Did you engage the services of an interpreter? If so, did you pay them for their services?

Are you prepared for the possibility that approval will be denied or conditional on substantial changes to your project?

Have the suggestions of and feedback from relevant Indigenous stakeholders been considered and incorporated?

First Nations Consultation 31

Fir s t N a tio n s e n g a e m n t ch e k lis t: STAGE 1: PLANNING THE PROJECT

YES

NO

SECRECY AND CONFIDENTIALITY Is the subject matter or material culturally sensitive? Is it sacred or secret?

Have you discussed any restrictions on use of subject matter or material with the relevant Indigenous stakeholders who might be affected by the disclosure?

Does your project contain any reference to personal or confidential information about individual Indigenous people? If so, did you seek consent from anyone who might be affected by the disclosure (the individual themselves, their community/relatives) before using the information?

Does your project feature any deceased Indigenous person? If so, did you obtain clearance from their family/community prior to use?

Is the project appropriate for the location or site?

Does your project reflect the cultural value of the subject matter?

Does your project empower Indigenous people?

STAGE 2: THE PROJECT CONTRACT

Is there a contract?

Is the contract fair?

First Nations Consultation 32

A r t N a r t i ev s

33

Cu r a to ria l d i r e c t io n : An art narrative forms the grounding of the curatorial direction or theme for the public artwork. It is site specific and is used to inform the decision making around art and aids a consistent place identity while addressing and incorporating the relevant community and context appropriately. When selecting and forming the art narrative it is important the narrative remains somewhat broad and not overly prescriptive as it is important for artists to interpret the narrative in their own way.

Taking into account all the contextual factors of Granville North, including the council objectives, the findings from the site analysis and feedback from the community, three curatorial art themes are proposed. These themes have been reviewed by First Nations consultants (Auntie Julie Jones and Adam Hill) who gave feedback on each proposed art narrative. It is recommended to specify when a commission is expressly First Nations and when it is open to all artists.

These narratives have also considered some key feedback from the community workshop:

A narrative provides cues to the audience about their sense of belonging in the space, providing an overlay to • a place that is rich in meaning and provides opportunities for community • engagement and participation.

• It is what the artist will use as the basis to develop their concepts and be a motif • that flows through the procurement of the art, from the beginning phase, • to fabrication and installation. It will be what is first discussed when the art committee meets and should be consistently referred to throughout the project.

“Art that enhances a space for future generations” “Needs to have meaning and be relatable... adding pride to their community” “‘Railway Town’ - Idea and imagery of this type of area” “Would like to see art that reflects the flora and fauna of the area” “Theme for artworks do not need to be necessarily environmentally focused, but art should be sustainable and not environmentally damaging ”

Art Narrative 34

A r t n a r tive 1: G a t h e ri n g a n d e n g a e m n t This narrative seeks to promote a vibrant and activated community culture through creative innovation. Artist/s will respond to the theme of gathering - collecting ideas, gathering thoughts and historical factors to create an artwork that engages community and culture.

This narrative encourages the creation of a multipurpose gathering space that can be incorporated within the business and community-led landscape, enriching both the community and visitor experience through space engagement.

The chosen artist/s will develop concepts that consider how their art will create a sense of gathering and belonging.

This narrative could see artists creating works that see art-integrated fixtures and seating where live-events can take place, or where art and play for families are welcomed with installation pieces in park-land open spaces promoting social integration.

Images top to bottom: Fiona Foley, Bibles and Bullets (Redfern, Sydney), Nuha Saad, FunField (Green Square, Sydney) Anjali Deshmukh, Vision of the Future Above

Art Narrative 35

A r t n a r tive 2: S u rp ise a n d delig ht This narrative focuses on creating an element of surprise through art.

Residents are rewarded for investigating their environment through the delight of stumbling upon the unexpected, seeing something from a fresh point of view, a new edge, a sense of play. Familiarity and expectation is constantly challenged through renewal and unusual perspectives. Fresh emerging talent is sought, humour and subversion is celebrated.

Artworks could be hidden in laneways or emerge in surprising locations like parklands or street roundabouts. This narrative offers exciting exploration for artist/s to create interesting interpretations of Granville’s history or community values in an innovative and contemporary way.

Images top to bottom: Planter and Seating by Kinska (Belgravia) Signal Box artwork vinyl commission by Art Pharmacy (Inner West Sydney CBD) Okuda San Miguel Sculpture (Boston), Graham Coreil-Allen, Pedestrian Safety Art (Baltimore)

Art Narrative 36

A r t n a r tive 3: C o l e c t i v t y a n d co m u n i t y This narrative aims to celebrate the diverse variety of cultures that the community has to offer. Focusing on intergenerational exchange, shared knowledge and experiences between community groups.

With place and storytelling at the heart of the community, key sites of Aboriginal historical importance and local heritage spaces filled with rich history; guided by this narrative the artist/s will develop works that offer a moment of reflection and celebration of diversity.

The chosen artist/s will emphasise a sense of togetherness and exchange drawing on the richness of the local sites and developing concepts that highlight place and identity being inherently ingrained within the community.

Artworks could be centred around the history or current cultural landscape of North Granville. This could be realised through facilitating community led activations and/ or other creative collaborations so a sense of unity is achieved in the artwork.

Images top to bottom: 1. Reko Rennie Installation at Latrobe University (Melbourne) 2. Interactive artwork at Marrickville Metro (Sydney) 3. Thomas Jackson mural (Windsor, NSW)

37

B u dget G u idel n

38

P u b lic a r t b u d g e t g u id e:

T h e b e l o w d e t a i l s g i ve a n ove r i e w of w h a t p u b li c a r t p ro j e c t s ca n b e a c h i ev d w i t h n t h r e d i f e r n t p r i c e p o i n t s o n a n u m b e r of th e i d e n tif e d a r t l o ca tio n o p r t u n it e s . T h e r i s a l s o a n i n d c a t i ve c o s t b r e a k d o w n f o r t h e p u b l i c a r t p r o j e c t b a s e d o n va r i o u s f e s i n cl u d i n g : a r ti s p a y m e n t s , fa b r i ca t o n , e n g i e r i n g , a d m i n s t r a i o n , i n s ta l t i o n a n d m a r ke t i n g .

I t i s s u g e s t d to r ev i w a n d b e n c h m a r k w h a t i s a c h i e va b l e b a s e d o n t h i s b r e a kd ow n to e n s u r e t h e p r o j e c t i s a c h i ev d w i t h n t h e b u d g e t . N o t e t h i s is a b e n ch m a r k . I n cl u d e a re th e d ra f t a r ti s fe s fo r p u b li c a r t a s p e r N a tio n a l A s o c i a t o n f o r t h e V i s u a l A r t s A ( )VN g u id e lin e s .

35% of b u d g et fo r $ 5 ,0 00+ 25% of b u d g et fo r $ 20,0 00+ 20% of b u d g et fo r $ 1 00,0 00+ 15% of b u d g et fo r $ 1 ,0 00,0 00+

•

•

•

F e s c a n a l s o va r y d e p n d i g o n w h e t r t h e a r t i s p r ov i d e s a l o f t h e fo l wi n g s e r v i ce s o r n o t , th e m o r e s e r v i c e s p r ov i d e t h e h i g e r t h e r a t e .

D e s i g n – f o r d e s i g n o n l, y r a t e m a y b e lowe r th a n th e a b ove , 10-1 5% of proj e c t b u d g et M a n u fa c t u re Proj e c t m a n g e m nt

39

Po s i b l e A r t S i te s

40

eK y s i t e s - N a r t i v e m a p

Site 1: The new Granville public square

Site 2: Bridge and Good street

This site would be most suited to the narrative: Gathering and Engagement, as it has the potential to become a meeting place for residents and be a hub for community gatherings.

This site would be most suited to the narrative: Collectivity and Community, as the artworks could offer chance for collaboration with local businesses and community groups who are tenants or work on either streets.

1.

3

5.

4.

5.

2.

4

2 1

Site 4: F.S Garside park

Site 3: Cycleway underpass

This site would be most suited to the narrative: Collectivity and Community as the artworks could speak to the history of the local area, particularly the First Nations heritage of Duck Creek.

This site would be most suited to the narrative: Surprise and Delight, as it offers an exciting chance for activation through community involvement.

Art Sites 41

S ite 1: Th e n ew G r a nvil e p u blic sq u a r e The new Granville public square was voted the most popular place for artworks by the community (22.5% said this was their preference). The Public square has the possibility to use art as a means of placemaking, to become a highly valued communal, community space for residents of North Granville. In this case using local artists or bringing in local groups to participate in the creative process would be benefical to consider. More on procuring artists can be found in the following stages of the art plan.

In 2021 the City of Parramatta ran a campaign to facilitate ideation for a proposed town square with community and stakeholders to help inform the Granville Place Plan. The campaign called Imagine Granville was live from Wednesday 24 April - Wednesday 21 May 2021.

Noted in the recommendations at the close of the campaign the suggestions for Granville Square Master Plan were: • • • • • • • •

Greenspace Ample seating and shade Facilities to host outdoor cinema events Light displays to create interest and discourage anti-social activity Toilet facilities Parking alternatives (free and long term) must be provided Accessibility is key Keep it simple

These findings were considered in the suggestions for artwork typologies identified in the following pages.

Art Sites 42

S i te 1 A r t y p To g r a p h i e s &

Op or tunit es U n d e r $ 5 0,0 00

Maddie Gibbs, Spirits Make Noise, The Rocks.

Curated by Art Pharmacy (2021)

For $50,000 or less, the recommended option for public artwork in the Granville square would be a large mural artwork or series of small mural artworks. Not only was mural artwork voted the top choice of public art in the consultation run during the development of this art plan, it is also often more affordable and can be easier to procure.

A number of walls could be identified as opportunities for art, including murals within laneways/ areas leading into the square. Following the best practice artist procurement process, chosen artists would centre their art around a brief that reflects the chosen art narrative, site analysis and descriptions. This could see the mural speaking to the First Nations history (such as important totem animals), the local identity/ character of the suburb (such as the Granville hotel or a community group) or the environmental terrain (such as local fauna and flora). The theme of the mural will ultimately be influenced by the chosen narrative.

There is also the possibility to collaborate with a community group and artist to work together to design the mural artwork.

To engage visitors a plaque next to the artwork, with information about the artist and artwork as well as a QR code that leads to a website with further details, is highly encouraged.

Art Sites 43

S i te 1 A r t y p To g r a p h i e s &

Op or tunit es U n d e r $ 1 50,0 00

Jonathan Borofsky, Human Structures at Plaza 33.

For $150,000 or less, the recommendation for a public artwork in the Granville public square would be a feature sculpture, functional or lighting artwork. This has the potential to become the centre and feature piece of the site, that could be used as a meeting point, place for community gatherings and centre for local events. It has the possibility to become a well known landmark in the suburb.

Art placements within the Granville public square could be considered based on traffic flow through the site. It is recommended to review the architectural designs and identify possible locations for public art, focusing on entry points or locations that are facing into open spaces or in the centre of open spaces. The chosen location should be based on what will create the most impact by being highly visible, accessible and suited to the architectural design.

Following the best practice artist procurement process, chosen artists would centre their art around a brief that reflects the chosen art narrative, site analysis and descriptions. It would be important to engage the community and receive their feedback on the proposed design in order to foster a strong sense of connection to the artwork among the community. It is recommended that a local artist or a collaboration with a local artist is used for this work so the community feels a sense of pride and ownership over the work. To engage visitors a plaque next to the artwork, with information about the artist and artwork as well as a QR code that leads to a website with further details, is highly encouraged.

Art Sites 44

S i te 1 A r t y p To g r a p h i e s &

Op or tunit es U n d e r $ 3 00,0 00

Claudia Wieser, Rehearsal (New York)

For $300,000 or less, the recommended option for public artwork in Granville’s new public square would be a commissioned sculptural, functional or lighting artwork.

Note that the number of public artworks possible in this budget will depend on the type and scale of the proposed artwork concepts.

This offers an exciting opportunity for the public square to be the arts and cultural hub of the suburb. Art in this space would help to foster the function of the space as a cultural hub. It’s close proximity to Parramatta Artist Studio’s and other key cultural groups means it could act as a place for events, cultural activities (e.g festivals, markets, etc) and school tours in the local area. The art in this space should be interactive, educational and have appropriate information and engagment activities available to the public, for example an artwork information/ activity pack for kids.

The artworks could also consider objectives for the new square such as wayfinding or shading. For example public artworks could also correspond to signage or could provide coolness such as artistically designed shade cloths or an interactive water feature.

A strong curatorial narrative is important in this space in order to ensure that different artworks work together and are cohesive. Extended engagement activities (such as events, a launch, etc.) are highly encouraged in this location.

Art Sites 45

S ite 2: G o d s tr e t & B rid g e s tr e t Public art along main street scapes can transform a road and encourage more foot traffic, local business and pride in the community. Main shopping strip, Good street was voted in as the second most desired place for art (20.4%) by the community, while Bridge Street (that runs adjacent to the train station) came in 3rd, with 18.2% of votes.

Opportunities for art could be focused on each street independently or in tandem. As many businesses run along these streets, it would be a good first step to contact the local businesses and vendors to collaborate or seek approval on art locations, for example the Granville hotel is very open to discussions.

Art Sites 46

Key locations to consider for mural art

S i te 2 A r t y p To g r a p h i e s &

Op or tunit es U n d e r $ 5 0,0 00

With a budget of $50,000 or less it is suggested that mural artwork is the best option for activating Bridge street and/ or Good street. A number of walls can be identified as opportunities for art, including murals within laneways/ areas on, or leading into these streets. Following the best practice artist procurement process, chosen artists would centre their art around a brief that reflects the chosen art narrative, site analysis and descriptions.

Granville Hotel wall Bridge street This will be seen from the train passing through and for foot/ vehicle traffic passing down this street.

Laneway activation along Good street (Granville Hotel Corner) The Granville Hotel wall on the left hand side of the laneway could be activated with a mural. This has high pedestrian and vehicle visibility.

Corner of Good street and Cowper street mural The wall along Cowper street on the corner of two highly trafficked streets (Good street and Cowper street) is a key location for a mural work due to its high visibility.

Bridge street fence opposite train station A new fence/ wall could be built in this location, designed for a mural. Across from the station and leading into Good street, this location offers an exciting opportunity to engage people walking to the station, driving to get to Granville square or shopping along Good street.

Art Sites 47

S i te 2 A r t y p To g r a p h i e s &

Op or tunit es U n d e r $ 1 50,0 00

Graham Projects, Reverberations Crosswalks #2 , Rush (Baltimore)

With a budget of $150,000 or less an achievable option for public artwork along Good or Bridge street would be a series of functional and interative artwork that is intergrated within the design of the street.

Functional art has the potential to have multiple uses, for example a sculpture that is also a sign, seat, water feature or wayfinding mechanism. It could also see pavement artworks such as vibrant pedestrian crossings.

In consultation with the shop tenants, functional artworks could be featured along the street scape. These works could offer an opportunity for people to sit, eat, read, be educated or for children to play. The works will all be linked by a narrative and achieve a sense of cohesion along the two streets and encourage community and local business collaboration. It also would offer a chance for the whole street to be transformed and become an interesting, exciting space for residents and visitors.

These works could support a longer term strategy such as a ‘street art’ festival or annual activation event that sees temporary installations alongside the permanent artworks.

Art Sites 48

S i te 2 A r t y p To g r a p h i e s &

Op or tunit es U n d e r $ 3 00,0 00

Seven Magic Mountains, Ugo Rondinone (Nevada)

For $300,000 or less it is recommended a major sculpture work could be commissioned in a central and impactful location along Bridge or Good street. A large sculpture work has the potential to be a striking, eye catching piece that will attract people into the street.

Potential locations for a major sculpture could be considered on the Good street/ Cowper street roundabout. This location is visible from Parramatta road and located centrally along Bridge street to achieve the most visibility for pedestrians and car traffic. The corner of Good street and Parramatta road is another location that would catch the attention of passing traffic.

Following the best practice artist procurement process, chosen artists would centre their art around a brief that reflects the chosen art narrative, site analysis and descriptions.

Locations for a featured sculpture work

The Good Street/ Cowper street roundabout

Corner of Good street and Parramatta road

Art Sites 49

S ite 3: Cycle u n derp a s The cycle underpass at Alfred street is part of the M4 cycleway that links Wentworthville to Sydney Olympic Park and Wentworth Point via Auburn, Granville and Parramatta. The pathway is also used by local residents going on a walk or casual bike ride.

The cyclepass currently features a selection of painted poles along the cycleway, including in Granville Alfred street.

There is opportunity to revive what is already there and to activate the space in an entirely new way. It should also be noted that the State Government and Council are working on a trial underpass project and this location could align or consider this.

Art Sites 50

S i te 3 A r t y p To g r a p h i e s &

Op or tunit es U n d e r $ 5 0,0 00

Prospect Village Community Mural

For $50,000 or less you could ask an artist or group of artists from the area to paint and design a new mural for each pole based around the art narrative curatorial direction. Following the best practice artist procurement process, chosen artists would centre their art around a brief that reflects the chosen art narrative, site analysis and descriptions.

This could be a collaborative event which involves members of the local community by encouraging them to come down and paint on the day.

By having local residents involved with the creation of the work, they will feel a sense of ownership over the mural and want to show it off. It is recommended to first speak to the artists about collaborating with the community (Please note a list of recomended community collaborations are suggested on page 63). This initiative could also involve speaking to local schools, learning centres, artist groups, disability services, etc.

To engage visitors a plaque next to the artwork, with information about the artist and artwork as well as a QR code that leads to a website with further details, is highly encouraged.

Art Sites 51

S i te 3 A r t y p To g r a p h i e s &

Op or tunit es U n d e r $ 1 50,0 00

Meagan Streader, Echoes (Melbourne)

With a budget of $150,000 or less there is the opportunity to create a lighting installation on the roof of the M4 freeway. Lighting artwork could also make the space safer and offer a functional purpose for people travelling along the cycle path. Lighting would also make the space more usable for the community to hold events or become a meeting spot.

The work would have a ‘day to night’ activation to look visually appealing during all times of the day. Extended engagement and activation outside of project scope (such as an outdoor cinema or bar at this site) in line with this installation would be highly encouraged.

Following the best practice artist procurement process, chosen artists would centre their art around a brief that reflects the chosen art narrative, site analysis and descriptions.

To engage visitors a plaque next to the artwork, with information about the artist and artwork as well as a QR code that leads to a website with further details, is recommended.

Art Sites 52

S i te 3 A r t y p To g r a p h i e s &

Op or tunit es U n d e r $ 3 00,0 00

Warren Langley, Aspire (NSW)

With a budget of $300,000 or less there is the opportunity to have a lighting installation alongside functional artworks to create an engaging and multipurpose space embedded with art. This area would inspire people passing through from other suburbs/ areas and encourage people to visit and spend time in Granville.

Artworks could look like interesting sculptural seating or interactive art pieces that encourage audience participation. In combination with a lighting activation (such as a series of lighting sculptures attached to the poles or roof of the underpass) the space would really encourage the community to interact with and utilise this location. Lighting artwork is particularly recommended in this location as it promotes useability and pedestrian saftey.

It would also create a space for other cultural and place activations such as a food truck event in the evening, or a temporary series of art installations. Feedback from the community could drive the events and activations and could be led by local groups or artist initiatives.

Following the best practice artist procurement process, chosen artists would centre their art around a brief that reflects the chosen art narrative, site analysis and descriptions. To engage visitors a plaque next to the artwork, with information about the artist and artwork as well as a QR code that leads to a website with further details, is recommended.

Art Sites 53

S ite 4: . FS G a r side Pa rk F.S Garside Park is the largest public park in the north of Granville. While currently under repair, the surrounding parkland has the potential to become a meeting place for residents of Granville. Artwork can also be a way to make residents, who may be disgruntled by the fact the park is closed, feel like the park is still a place they can spend time and enjoy. Artwork in this location can activate the park both while it is closed and on reopening.

It is also of note that Create NSW has a project to revitalize FS Garside Park, with a public art commission to be delivered as part of the revitalisation of the park. This document should be considered and used to inspire this commissioned work.

Art Sites 54

S i te 4 A r t y p To g r a p h i e s &

Op or tunit es U n d e r $ 5 0,0 00 Christy Caravaglio, fence artwork

For $50,000 or less you could ask an artist or group of artists from the area to design artwork to cover the external fencing of the park. This could be a collaborative design by different community groups submitting ideas and designs and an extension on the current hoarding design along Alfred street (designed by the Alfred Street Early Learning Centre). Artworks could also appear along the permanent fencing that borders the oval at the park. This could be created using interesting tactile materials or sustainable objects.

It would also be of interest to speak to the artists about collaborating with the community and reach out to local community groups/ businesses to see if they would be interested in becoming involved (see suggestions on page 63). This could also involve speaking to local schools, learning centres, artist groups, disability services, etc.

The design could be colourful and eye-catching along the street and help mitigate the disruption for the community caused by the park’s closure. Following the best practice artist procurement process, chosen artists would centre their art around a brief that reflects the chosen art narrative, site analysis and descriptions. To engage visitors a plaque next to the artwork, with information about the artist and artwork as well as a QR code that leads to a website with further details, is highly encouraged.

Art Sites 55

S i te 4 A r t y p To g r a p h i e s &

Op or tunit es U n d e r $ 1 50,0 00

Sharon Engelstein, Dillididae, painted concrete, 2014

With a budget of $150,000 or less there is the opportunity to commission an exciting sculpture or functional art play equipment in the playground along Gray street. The functional sculptural artwork(s) could include more seating opportunities for visitors of the park and create an eye-catching feature, attracting more residents to the playground.

It would be important to engage the community and receive their feedback on the proposed design in order to avoid vandalism. It is recommended that a local artist or a collaboration with a local artist is used for this work so the community feels a sense of pride and ownership over the piece.

Following the best practice artist procurement process, chosen artists would centre their art around a brief that reflects the chosen art narrative, site analysis and descriptions. To engage visitors a plaque next to the artwork, with information about the artist and artwork as well as a QR code that leads to a website with further details, is highly encouraged.

Art Sites 56

S i te 4 A r t y p To g r a p h i e s &

Op or tunit es U n d e r $ 3 00,0 00

Jeppe Hein, Semicircular Mirror Labyrinth II

With a budget of $300,000 or less there is the opportunity to integrate areas of the entire park with art (this could be through functional or interactive sculpture or creative fencing). This could look like an ‘art park’ activation where different areas of the park are activated with art.

This could see artist/s collaborating with a placemaker, playground designer and landscape architect to create an activated playground and intergrated parkland space.

Following the best practice artist procurement process, chosen artists would centre their art around a brief that reflects the chosen art narrative, site analysis and descriptions.

To engage visitors a plaque next to the artwork, with information about the artist and artwork as well as a QR code that leads to a website with further details, is highly encouraged.

Art Sites 57

M e t h o d l g y oF r Co m i s o n i g Pu b lic A r t

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Procurement process overview The procurement and engagement of artists needs to align with council’s procurement guidelines, legislative requirements and best practice process, as well as involve key SME’s and representatives from council on any panel.

The procurement process for engaging artists is yet to be determined and is unique to the project parameters but must follow council’s best practice guidelines, and is dependent on the value of the commissions and tender thresholds. a

01.

04.

05.

08.

Develop selection committee

02.

Contextual analysis

Artist longlist

03.

Art narrative

Artist engagement

06.

Installation

07.

Maintenance

Extended engagement

Methodology 59

01.

Develop a selection committee To begin the art project you will need to • define the key decision-makers. In order to get the best outcome, it is recommended to form an art working group or selection committee of approx. 5 - 8 people.

The committee will include the person/ team leading the procurement process, who will lead the steering committee meetings and be the one presenting back to the group. It is recommended that other members in the committee include: •

•

Council representation, as the asset owners, Council must be represented by more than one member dependent on their subject matter expertise.

Suggested council roles for inclusion in the committee are Public Art Officer, Direct Paramatta Artist Studios (PAS) Representative, member of the PAS curatorial team and Cultural Services, and/or the Place Services Manager relevant to the artwork project.

Indigenous artist or Indigenous consultant, this person may be inhouse from the council or external but should be local to the area and have appropriate art and cultural experience.

•

•

Community representative, it is recommended that there be someone from the community present. Perhaps a business owner or someone from a local artist group. It is suggested the community member be someone related to visual arts practice or management.

Project architect, in larger projects, it is important to include the project architect as a contributing (nonvoting member) to ensure a cohesive and holistic design approach.

An arts professional, this person or SME will have appropriate experience in curatorial practice and public art delivery. They may be hired through an EOI process or via an RFQ. As experts in their field, the consultant will assist with the strategy for artwork, procurement process and delivery of the artwork.

Methodology 60

02.

Contextual Analysis Begin by outlining the goals of the project, the objectives and reviewing the First Nations Protocols for Engagement.

It is important all members of the committee read this Granville art plan document to understand: • • • •

The council’s overall long term art objectives in Granville.

The key findings from the community consultation and preferred art sites.

Possible art placements and artwork options depending on budget.

Curatorial themes for the site.

Nurses Walk by Rochelle Hayley, 2021 Located in The Rocks, NSW Curated by Art Pharmacy

Methodology 61

03.

Art narrative In this stage review the art narratives and art placements listed on page 34 of this Granville art plan.

These include: • Gathering and Engagement • Collectivity and Community • Diverse Perspectives and Storytelling In line with the budget and available resources, discuss and choose as a committee which site/ sites you would like to procure art for, and which curatorial narrative is preferred or perform a narrative workshop to construct your own.

At this stage, it is also recommended that the type of art is decided on by the committee. Reviewing this document, suggested art placements, typology and budget will act as guides for these decisions.

Saltwater Country by Goldberg Aberline Studio and Graham Toomey, 2021 Located in The Rocks, NSW Curated by Art Pharmacy

Methodology 62

04.

Artist longlist The next step is to put together a longlist of artists who are working in the chosen medium you have decided on for the site. Possible ways to find artists is through a public EOI artist call out through council platforms and/ or in collaboration with local community or artist groups. Alternatively, you can reach out to artists on your own using an arts professional as the curator.

The longlist should include at least 6 artists. It should always include artists from different backgrounds (including at least one Indigenous Artist and one CALD artist). The committee will then consider the longlist and decide on a shortlist. It is important you contact each artist prior to pitching them to the committee to ensure they can work in the timelines and budget you have allocated.

When pitching each artist to the committee make sure you show any relevant past works and biographical details of interest. You may also consider collaborating with a local community group to create art in a collaborative manner. In this case, think about the technicalities required for a collaborative art piece and how you see their involvement.

We suggest putting together a long list of artists working in the desired medium for the art placements, in the area by contacting local artist groups, networks and galleries.

We suggest these stakeholders would be open to creative collaborations: • • • • • • • • • • • • • • •

Pari Artist Group Granville Art Centre Granville Historical Society Parramatta Arts Society Parramatta Artist Studio Little Orange Tafensw Prince Alfred Early Learning Centre Blak Douglas, school program City of Parramatta Libaries Program Granville Hotel Nabiakram Islam Centre Granville Boys High School Granville Mens Shed Granville East Public School

Methodology 63

05.

Artist shortlist & concept development The next stage of the procurement process is to commission high-level concepts for the site by providing selected artist/s with a brief that considers local culture and heritage, local identity, distinctive neighbourhood features, sense of place and the other objectives/ goals of the art.

One revision/amendment round and reissue of concepts is always included in this stage to allow for feedback. Always pay artists a generous fee for their time and effort in submitting concepts. This should be communicated to artist/s in the brief and before you begin the commissioning process.

Ask the committee to select an artist/s to design a series of concepts for the proposed site.

Present the concepts back to the committee ensuring to include details on what the concept will look like, the materials, and the artist’s timeframe for completion as these are all factors that will impact the decision making.

Have a clear and collaborative discussion with the selection committee and come to a consensus on which artist/s and which concept/s you would like to proceed with for the site.

We always suggest commissioning concepts from at least 2 artist/s depending on the budget in order to allow for a choice in the concept stage and ensure there is a backup artist/ concept in the event of an artist having to leave the project. Write a brief for your preferred artist/s to produce at least 2 concept directions for the committee to review and provide feedback on.

Once the final artwork is chosen, issue the artist with a contract that outlines the details of the concept.

The brief should include: • • • •

The curatorial direction or narrative.

Some images of the site, a map and any key information about the site (i.e foot traffic, main roads).

Project program and the timeline for the artwork delivery.

Ask the artist to provide 2 high-level concepts that include the following details: the size of the artwork, an artist statement that explains the inspiration of the work and response to narrative, materials used, maintenance considerations (Ensure you mention the budget of the work so the artwork is feasible).

It is often useful to ask them to mock up how the artwork would look in space.

Provide site measurements and photos to overlay the artwork in the location.

Methodology 64

06.

Artist engagment Once the artist and concept is selected it is time to deliver the chosen artist/s a comprehensive contract. In order to ensure best practice use the council’s legally endorsed public art contract template. This contract must include annexures which reference location, access, endorsed concept design, the scope of works, budget, program and payment plan (as per Council’s payment terms) and coordinates with on-site facilities management.

The artist contract sets out all stages of conceiving, designing, fabricating, installing and approving artworks. It is redrafted by commissioning entities to fit each new project detail. It is important to protect artists from issues related to licensing, copyright and moral rights disputes that might arise from the removal, relocation or repurposing of artwork through a clear artist contract.

The artist contract usually includes a requirement on the part of the artist to provide a maintenance manual.

A maintenance and handover package is always provided with handover to best protect the work for future reference and uses. Maintenance is best undertaken by suitable personnel who have been briefed on the artwork and its requirements, materials and details. This for example is trained specialists accustomed to handling, caring for and working with artworks.

You will then issue a contract to the artist that outlines: • • • • • • •

The project name, details, key personnel The delivery date The payment terms The deliverables (i.e the details of the artwork concept they are producing), consider who is paying for fabrication and installation.

Artist warranties, moral rights and copyright Decommissioning clause (maintenance manual) Cultural appropriation clause 65

07.

Installation Depending on the artwork, installation may involve a number of people. Prior to the day ensure you have considered: • • • • • • •

Statutory approvals and Insurances from stakeholders Production requirements (such as hiring installers or a van to transport art) Engineering certificates (if required) SWMS compliances Photographers and videographers to capture the installation Traffic management Preparation of walls/ areas to be ready for art

It is also beneficial to write a production schedule for installation including times, people involved and what equipment is required.

Installation photo of Enlightened Reflections by Vincent Buret, The Rocks, NSW (2021) Curated by Art Pharmacy.

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08.

Maintenance Putting together a maintenance manual: It is important that the artwork has longevity and is not vandalised. It is recommended to prepare a maintenance manual that outlines a plan for condition reports and key suppliers to contact in case of damage.

The maintenance manual must coordinate and consider the council and site’s existing operations and cleaning teams, it must also provide notice and adequate lead time to cleaning teams and council to establish forward multi-year budgets and resourcing.

Preventative maintenance: For murals and sculptural works it is suggested that two coats of anti-graffiti coating be applied via spray method post installation of the artwork. Test an area before beginning any cleaning project.

Some things to consider for the maintenance manual include: • • • •

Allocating someone responsible for checking the artwork reguarly. This should be well documented in a maintenance report with pictures and any changes to the artwork noted and then signed off.

Including the contact details of the artist in case of the need for repair (this is best done by the artist).

Storing the manual provided by the artist somewhere accessible.

Maintenance activities may include removing or trimming vegetation, removing surface dirt (especially along the base of the artwork), and reapplying coating.

Test an area of the artwork before beginning any cleaning project.

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09.

Extended engagement Now you have commissioned and installed a public artwork there is opportunity to plan and deliver a community engagement strategy.

Best practice public art is art that is supported and activated beyond its installation date. At its most basic, it is professional photography and a launch event or an artist talk. At its most involved, it might be a series of tours, integration with local events or festivals, a catalogue, a Wikipedia page and overall the art becoming a part of the cultural makeup of that place.

Possible extended engagement activities may include: Documentation of the artwork Ensure the project is well documented through photography, videography, and essays, online presence, plaques or QR codes. This helps to facilitate artistic contextualisation, generate interest and an emotional connection to the artwork, increase audience participation and create an ongoing legacy for the project.

Artist programming and activation For example artist talks, workshops, tours etc. This creates community engagement and art-inspired activation that is, making the connection with the artwork a memorable experience for the consumer, customers or public.

Possible activation activities could involve: • • • • •

A kick off event, featuring a talk by the artist, food truck and music A festival featuring live events, workshops and further arts and cultural activities.

Live music and concerts Creative art workshops for school children or other key groups Open air theatre

PR and marketing strategy beyond installation Increasing the longevity and reach of a project, PR and marketing ensures that the art and the project is being seen by the highest amount of people possible and develops new audiences.

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Reference List: Culture and our city - A Cultural Plan for Paramatta’s CBD 2017-2022 Developed by Alicia Talbot for the City of Parramatta, 2017 <https://www.cityofparramatta.nsw.gov.au/sites/council/files/2017-06/Parramatta%20Cultural%20Plan_3b.pdf> Granville Place City of Parramatta, 2020 <https://granvilleplace.com.au/?gclid=CjwKCAjwoduRBhA4EiwACL5RP22nT39ALVRj78f1xmOFw56KIu6rupnub7xUT7INgc8tLyIPAkLfZBoCsXwQAvD_BwE&gclsrc=aw.ds> Imagine Granville, City of Parramarra, 2021 < https://hdp-au-prod-app-pcc-participate-files.s3.ap-southeast-2.amazonaws. com/5616/2157/4079/Imagine_Granville_Evaluation_PP_Public_FINAL.pdf> Public Art Framework PRUAIP <https://creativeroad.com.au/project/parramatta-rd-urban-amenity-improvement-project/> Public Art Policy City of Parramatta, 2017 <https://www.cityofparramatta.nsw.gov.au/sites/council/files/inline-files/Public%20 Art%20Policy.PDF> Parramatta History and Heritage, Granville - A Brief History Caroline Finlay, Regional Studies Facilitator, City of Parramatta, Parramatta Heritage Centre, 2020 <https://historyandheritage.cityofparramatta.nsw.gov.au/research-topics/suburbs/ granville-brief-history> The Dictionary of Sydney, Granville By the dictionary of Sydney staff writer, 2008 <https://dictionaryofsydney.org/entry/granville> Parramatta, History and Heritage City of Parramatta Research and Collections <http://historyandheritage.cityofparramatta.nsw.gov.au/>

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