Connectingpeopleartandenvironmentfinal

Connecting People, Art and Environment Best practice, inspiration and commissioning guidance for working with artists and communities in the natural environment

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Contents 1. Introduction

1.1 What this document is for 1.2 Defining creative works in the natural environment 1.3 What can working with artists achieve?

1.3a Access 1.3b Health and wellbeing 1.3c Economic development through tourism 1.3d Assist community participation 1.3e Promoting the historic environment and cultural heritage

2. Planning your project 2.1 Summary of key stages 2.2 Project strategy 2.3 Project management 2.4 Partnerships 2.5 The steering group 2.6 Commissioning structure 2.7 Timescale 2.8 Allocating a project budget 2.9 Funding

3. Creative considerations 3.1 3.2 3.3 3.4

Temporary or permanent?

Quality Working with artists – benefits and practicalities Working with the community

4. Writing a brief and contract 4.1 Writing an artist’s brief 4.2 The contract

5. Beginning the project

5.1 Finding an artist 5.2 Interviewing process through open submission

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6. Other factors

6.1 Interpretation 6.2 Documentation 6.4 Evaluation 6.5 Marketing 6.5a Types of marketing activity

7. Completion

7.1 Maintenance 7.2 Decommissioning 7.3 Legacy

8. Appendices

Appendix A Case studies 1. Creating permanent art works in a rural environment 2. Creating a temporary project directly involving people with their natural environment Appendix B Useful contacts Appendix C Photo credits and site contacts

1. Introduction “Art is an expression of the creative spirit, of our endless capacity to see the world with wit and imagination, to be innovative with materials and technologies and to provide an engaging commentary on the times and places in which we live.”

M. Guppy in Public Art Guidelines, Landcom Corporation, New South Wales, Australia

1.1

What this document is for

This document is designed to provide a source of inspiration and advice for those commissioning permanent and temporary artworks as part of greenspace schemes and as part of public engagement with the natural environment.

‘Connecting People, Art and Environment’ offers guidelines for anyone involved in commissioning, or hoping to commission artist-led projects in the natural environment. It is designed to highlight the benefits of commissioning artists and to support the commissioner throughout this process.

It should be stressed that there is no singular way in which to develop and manage a project which results in a creative work of excellence, as each project, location, artist and community offers its own unique set of circumstances and opportunities. Therefore, ‘Connecting People, Art and Environment’ proposes a series of guiding principles and best practice to offer a way into this exciting and dynamic process.

Sections 2 – 7 provide practical ‘how to’ advice, combined with examples of best practice to provide inspiration and demonstrate the many opportunities and benefits that working with artists can bring.

For the purposes of this discussion, the main focus will be on the process of commissioning permanent artworks from visual artists or makers, although examples of best practice for temporary and semi-permanent works will also be highlighted.

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS

Example 1 - Inspiration Intriguing animal habitats were commissioned as part of The Gallery in the Trees programme. The Super Kingdom structures are modelled on the imperious palaces of Stalin, Ceauscescu and Mussolini and offer nesting and over-winter sites to native and migrant species. A digital animation was made over the winter hibernation period using these structures as a film set.

Image: ‘Super Kingdom: Mussolini Animal Show Home’, London Fieldworks, Stour Valley Arts, King’s Wood, Challock, Kent.

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1.2

Defining creative works in the natural environment

The term public art is often used to describe work which has been commissioned from creative professionals for a public space. This phrase is redolent of monumental sculpture and the scope of creative work in the public realm is so much broader than this. Therefore, for the purposes of this document, the process will be described simply as working with artists and the outcomes as creative work so that the full spectrum of materials and creative practice can be included.

Creative work entails the commissioning of original new work from skilled creative professionals which can include environmental art, lighting works, film and performance.

Artworks may be of a significant scale and permanent or ephemeral such as a sound recording or work designed to break down and decay over a period of time. Such temporary works are often commissioned as part of the working process towards a permanent piece, as a way of engaging communities with their immediate environment or generating publicity as part of an event, but may also be commissioned in their own right.

Work should always be site specific and explore the environment where it is sited. It may be functional (seating which creatively relates to site) or non-functional (text relating to site which could be projected as part of a performance). It may address local heritage, cultural identity, connecting people to forests and the natural environment or other themes specific to community and place.

Example 2 - Non functional work exploring an immediate environment The sound of the male capercaillie, now extinct from the area, is used to draw attention to sound in the landscape, both natural (wind, birds, insects, water) and man made (planes, cars, machinery). The capercaillie call makes a link with the past history of the area, drawing attention to the impact of people on the landscape. Light is trapped and transformed to power the hidden sound unit. Consequently, the frequency of the bird call is dependent on the amount of sunlight, thus the work constantly responds to natural change in the environment.

Image: ‘Modern Nature’, Mathew Dalziel and Louise Scullion, Tyrebagger Sculpture Trail, Kincardine Forest, near Aberdeen.

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS

Example 3 – Access. An intriguing and simple way for people to engage with the landscape The Hill of Streams Letterbox Walk by artist and poet Alec Finlay at Cairnhead Forest traces a walk, punctuated by eight letterboxes. Inside each letterbox are a rubber stamp and an ink pad. Eight successive impressions taken from these in the course of the walk make up a circular poem.

This offers visitors of all ages an accessible, participatory way to explore and engage with the environment through physical activity and the interest of the hunt for the next box and the next section of the poem. It enables the encountering and observation of the natural world, by encouraging people to listen and to look as they read the poem and walk.

Image: Alec Finlay, the artist testing out the poetry walk, ‘Striding Arches’, Cairnhead Forest, Dumfries & Galloway.

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1.3 What can working with artists achieve?

“Many of the personal and cultural meanings that go with a deeper and more everyday connectedness to trees and woodland have been lost. Some of the most positive potential for addressing these issues lies with the arts.”

Artistic Licence, A review of the Forestry Commission’s Involvements in the Arts and Options for the Future, Dave Pritchard, 2008 In the context of your strategic objectives for potential greenspace opportunities, impacts and outcomes are summarised below:

1.3a

Access

Working with artists can help reconnect people to place and encourage the use of woodlands and green spaces. As well as being of value for its own sake, such artwork create an excuse to visit and explore a place and offers the public an easy way into a landscape which may have seemed alien and inaccessible.

Artworks can act as a visual signpost, signalling that it is permissible to visit. Sculpture walks, signage and creative community activities can all help people to find their way into an area and begin to understand and interact with the environment. Paths and cycle tracks may also be created to encourage access and the commissioning process can highlight the necessity and offer an impetus for this to happen.

1.3b

Health and wellbeing

Creative works can offer people a variety of ways to engage with the natural environment through participation and exploration, peaceful contemplation or strenuous physical exercise.

Designated walks to permanent artworks, sculpture trails or poetry walks are creative ways in which to encourage exercise and exploration.

Commissions can also offer quiet spaces for contemplation or be a one off performance offering the public an uplifting experience, creating physical and mental space away from the stresses of and strains of daily life.

Example 4 – Health and wellbeing. A creative approach to exercise The sculptures which are an integral part of the 7 Staines cycle routes provide additional visual interest and relate to place, as well as offering cyclists physical goals to achieve by riding from staine to staine.

Image: Cyclist passing ‘The Heart Stane’, Gordon Young, 7 Staines, Dalbeattie, Dumfries & Galloway

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS

Example 5 – Health and wellbeing. A space for contemplation A space of otherness, offering peace and quiet contemplation where the chamber, illuminated only by natural light through the roof opening, focuses the visitor’s attention on the sky.

During the changing light conditions at dusk and dawn, the lighting system becomes active and visitors can experience a rich display of tone and colour.

Image: ‘Skyspace’, James Turrell, Kielder Forest, Northumberland

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1.3c

Economic development through tourism

Public art can designate an area and create positive marketing opportunities to encourage tourism. Such projects offer the public opportunities to explore areas of the country which they may never have considered visiting or not have found easily accessible. By providing tourists with a reason to visit, artworks can create additionality in an area where there is already tourist activity. This can extend the season and/or encourage visitors to stay in the area for longer generating more spend and bringing economic benefits to the hospitality sector. This can provide an important income stream for rural communities. Such additional activity can also encourage new business development thus contributing to community sustainability and regeneration.

Example 6 - Economic development The Grizedale Project has a well tried and tested approach for collaborative working with the local business sector. By delivering unique opportunities for visitors to experience, tourist spend with businesses is significant in the local rural economy. This not only helps sustain businesses but increases the ‘buy in’ to Grizedale by local communities.

Image: ‘The Passage’, Keith Rand, Grizedale Forest, Cumbria

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS

1.3d

Assist community participation

Community participation is a vital part of the project process and is most meaningfully undertaken during the research and concept development phase by the artist. This can take the form of close work with the community in the areas of: cultural research (see 1.3e), design consultation, understanding how the surrounding community use and perceive local green spaces or how they would like to use them. Communities could be involved in artist-led workshops where ideas are explored or new skills learnt.

The completed project may continue to inspire the local community and continue to bring the community together, encouraging them to develop their own activities, events or tourism opportunities, thus having a long-lasting, beneficial and ever growing impact on the quality of lives for such communities.

1.3e

Promoting the historic environment and cultural heritage

The very nature of this unique commissioning process requires the exploration of the physical and remembered locality by the artist with the surrounding community. Such research may highlight the history of place and its people, as well as accessing the natural environment.

Through working with an experienced artist, the community will be able to explore and reconnect with their own cultural memories and identity. The final outcome will translate the research into tangible works, offering the visitor and community alike a deeper understanding of place, thus connecting people with the environment which they live in or are visiting.

Example 7 – Connecting with history A temporary non-site specific touring work which enabled participants to explore the link between landscape and aspects of Scottish cultural heritage.

Diane McLean took a poem from Alexander Carmichael’s Carmina Gadelica as her starting point, and developed a temporary, moveable sculpture which encompassed visual art, music and poetry. As the sculpture was experienced, the haunting sounds of a lament and spoken verse surrounded the viewer. Legend toured four rural sites across the Highlands.

Image: ‘Legend’, Diane McLean, touring artwork in the Highlands

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2. Planning Your Project Be aware that commissioning a project can be complex and require as much time in the planning and structuring as during each stage of the actual commission. Instigating and being involved in such work can be a rewarding and fulfilling experience which, through the collaborative working with an artist, may develop new perspectives about people and place.

Guidance To plan your project you will need to consider the following: Where is the project to be located?

Why you are commissioning the work?

What are your expectations? What do you want the project to achieve, such as help with change, access, activity, place making etc? What kind of work will the project result in?

Permanent, temporary, single work, multiple works?

When does the commission need to begin and be completed by?

Who is going to be involved? Staff, partners, funders, artists, communities. Who is it for?

How are you going to make it happen? Project management, advocacy, steering group, stakeholder support, selecting an artist, funding sources.

Example 8 - Inspiration Creative works have been commissioned by East Lancashire Council, to engage the local community in positive cultural activities and placemaking as part of a major physical regeneration project.

The labyrinth was developed, through workshops with schools, for the grounds of Clitheroe Castle, a green space on the edge of the town, to encourage use of the space by the surrounding communities.

Image: ‘Convex Green’, Jim Buchanan, Clitheroe Castle, East Lancashire

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS

2.1

Summary of key stages

This section identifies the key points and steps which are detailed as guidance in the following pages as an overall vision of the whole commissioning process is necessary during the planning stage.

Planning

Define: • Strategy and management structure • Partnerships • Budget • Commission stages • Timescale

Set up: • Steering group

Research: • Artists • Funding sources

Brief & Contract

Agree: • With stakeholders

Project Process

To • • •

Completion

Immediate: • Marketing • Evaluation

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Begin: Interview artists Select Contract

Artist undertakes: • Research & development work • Design • Implementation • Installation

Ongoing: • Legacy • Maintenance • Decommissioning

Project Manager to: • Manage Artist • Maintain contact with stakeholders • Oversee, interpretation, documentation, marketing, launch • Installation

2.2

Project Strategy

As part of the planning process, you may need to write a strategy document, particularly, if the project is large scale and complex and/or you are working with a number of partners.

This will allow for ideas to be clarified, support funding applications and will result in a document that can inform stakeholders. It may also be used as a basis for the artist’s brief.

2.3

Project management

A major part of the commissioning process will be working with artists and ensuring creative quality. This is time consuming and often requires specialist skills and knowledge. It may therefore be useful to contract a project manager, curator, or producer with experience in this specific area of creative commissioning. As well as supporting artists to develop and realise their ideas, such professionals will support the client in making informed decisions throughout the whole process. They will also ensure that there is good communication and understanding between stakeholders.

Guidance The project strategy can include: • • • • • • • • •

Project description including: context, location, motivation, intent, art form, scale Relationship of commission to environment and people Strategies for partner and stakeholder involvement Related research to support approach, your objectives, broader themes and community issues that the project could address Identified stages for implementing the project Specific site issues such as access, community sensitivities etc.

Timescale Who the audience/beneficiaries will be and how the project will therefore be marketed Outline costs and funding strategy.

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS

2.4 Partnerships

In order for projects in public spaces to be accepted by the surrounding community or pertinent user groups, wide consultation and active involvement is required. It is good practice and will enrich the project if you develop links with other relevant organisations both at national and local level. These may be public bodies such as Scottish Natural Heritage, Scottish Enterprise and local Councils. The project may be pertinent to academic research and involve a partnership with a university.

Partnerships will also be developed at a local level with, for example, community groups, schools and local businesses. Partners can sometimes bring additional funding to the table, but their knowledge and contacts are equally valuable.

Example 9 – Creative partnerships Gallery in the Trees was a collaboration between two sites; Birmingham Museum and Art Gallery in the city centre and Lickey Hills Country Park to the south of the city. Works explored the natural environment, conservation and preservation, public use and access.

Temporary works linking the sites were showcased and permanent works commissioned as a result of an education programme and public feedback. This particular piece of work was a result of a professional development programme with recent arts graduates.

Image: ‘Samadhi’, Yoke Kuen Chiew, Gallery in the Trees, Lickey Hills Country Park, Birmingham

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2.5

The steering group

It is good practice to set up a steering group at the beginning of your project. If working with partner organisations, a member from each organisation should be encouraged to join the steering group. Community members should also be included. It is particularly important that the community feel directly involved and valued in the decision-making and this is one of the ways to do so. Involvement at this level also helps disseminate information to the wider community and should guarantee support and buy-in throughout the project process.

Arts representation on the steering group is advisable, as this can help support quality.

2.6

Commissioning structure

It is usual for the commissioning process to be divided into four project stages. Dates for completion of each stage will be agreed with the project manager and are often tied to the artist’s payment schedule and included in the contract. Information is normally presented by the artist to the client and the steering group, at the end of each stage, for comment. If approved and signed off, work will begin on the next stage.

Guidance Stage 1: research and concept development.

The artist will research the site and work with appropriate stakeholders to understand the locality and develop concepts and ideas which will inform the design.

Stage 2: design.

Full design drawings and description including costings, method of manufacture, subcontractors if required and timescales should be provided.

Stage 3: implementation.

Artwork is made and overseen by the artist and project manager and approved by the client.

Stage 4: installation.

Artwork is installed and the site is launched, marketed and evaluated.

Note: marketing and evaluation may take place at identified stages throughout the commissioning process not purely on completion. (See 6.4 – 6.5).

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS

2.7

Timescale

Commissioning a piece of work takes time. It has to be done through a process that allows for creative exploration by the artist. Time is the part of the process that artists need in order to undertake comprehensive research to develop an understanding of people and place and to be able to respond to opportunities as they arise. Ensure that there is flexibility within the project timescale, so that if additional time is required and will be justified by the end result this can happen.

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Example 10 - Timescales Temporary works can require as long a timescale to research and make as permanent works.

Left: ‘Sightlines’, Kate Whitefield, Harewood House Trust, near Leeds.

A temporary piece cut into a hillside in the grounds of Harewood House. This work was inspired by the collection of Thomas Chippendale’s furniture in the house.

Right: ‘The Eye’, Colin Rose, Galloway Forest Park, Dumfries & Galloway. The artist created a 13m high spire from quarry tiles from the indigenous sandstone; the work draws a contemporary reference to the nearby Murray’s Monument. Both Artists worked to a similar timescale.

2.8

Allocating a project budget

A good outcome depends on a realistic budget. If the creative art element is part of a larger project, it should be identified and ring-fenced within the overall project budget. It is important that the budget allows for the full range of activities involved in producing such a project.

2.9

Funding

Funds for commissioning and producing art works can come from a number of sources, which could include National Lottery or other Arts Council funds, local councils, grants from trusts, foundations and companies with specific interests in the geographical area or subject matter. Please see Appendix C for funding sources.

Guidance Costs will include: • project coordination • selection of artist • artist fees and expenses which should be equivalent to that of other creative professionals. (See Appendix B, Artist payment advice) • specialist technical support such as the services of a landscape architect • materials and fabrication • site preparation and installation • documentation • launch and marketing to include signs, publication, website etc.

• evaluation • future maintenance costs Note: When planning a longterm project it is wise to include a contingency of about 10% to allow for rises in costs. Funding bodies often require a contingency as part of your budget.

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS

Example 11 – Funding partners Sculptures were commissioned for the sculpture trails in the woods between 1994 and 2003 and involved a variety of long term funding partners which included: Scottish Arts Council National Lottery Fund, Forest Enterprise, Aberdeen City Council, Scottish Enterprise (Grampian), Aberdeen Countryside Project Ltd. Image: ‘Segmented Sitka’, Keith Rand, Tyrebagger Sculpture Trail, Kincardine Forest, near Aberdeen

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS

3. Creative Considerations 3.1

Temporary or permanent?

The nature of the site, surrounding community, timescale, the project aims and objectives and budget and the expected legacy, will help to define whether you choose to commission a permanent or temporary project. If you are commissioning a temporary work, research the spectrum of art forms and consider how you would like to engage the community and what you are hoping to achieve from the commission.

If you are commissioning a permanent work, you will need to take into account the above considerations plus long term maintenance, which will require expenditure in the future.

You may also choose a combination of approaches. Simple temporary works may be part of the project process leading towards permanent pieces or as with sculpture trails such as those at the Forest of Dean or Stour Valley, be part of the mix.

3.2

Quality

It is imperative to the success of a project that each phase of the commission is of the highest quality. Defining quality can be contentious, but elements to consider are: the identity of the work, its relationship to the site, if it is inspiring, innovative and engaging and if it has been well produced and maintained.

Appreciate that you can’t please everyone. Commissioning a piece of creative work is not about personal taste, but about quality and interaction with site. If it has achieved this, then the project will have succeeded.

3.3

Working with artists – benefits and practicalities

“Every art project is unique and responds to different circumstances and contexts. Working with artists is about embracing the unexpected”.

Inspiring creative approaches for town centres, Art in the Open, 2009 Artists and other creative professionals can bring stimulation, new ideas and new approaches to the communities and organizations that they work with as below: • They will be both removed from your organisation and normally from the community where the work will happen and can therefore bring new perspectives.

• They are normally acute observers which again allows for unique insights and responses

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to place and community.

• They will be skilled in a variety of research and community engagement methods which will uncover information and ideas not otherwise obvious or attainable.

• They often have their own network of contacts with specialist skills which may be brought in to enhance the project or create the finished work.

Each new commission is like a journey. There is always the unexpected: opportunities to grasp, new directions to consider, problems to solve. Working with an artist is an intrinsic and often rewarding part of this journey. There is no blueprint for working with an artist as each artist is unique and each commission will be different. It is therefore important to recognise that project managing an artist requires time, understanding, professionalism, respect, patience and enthusiasm. It is so important to establish a sound working relationship with the artist at the beginning of the project as this generates trust on both sides and facilitates communication.

The brief and the management need to be flexible to allow artists the creative freedom to explore and develop ideas within the project framework. If this is realised, artists can achieve outstanding work and offer life enhancing experiences for people both during the project process and during engagement with the final work and its environment.

Quality artists will be attracted to creative opportunities which recognise the artist and the work for its own sake rather than purely being a vehicle used to deliver your own objectives.

Example 12 - A temporary and a permanent project Situated within an SSSI, this three day temporary project and performance encouraged audiences to explore man’s impact on the landscape. It involved a large scale intervention on the face of a chalk quarry, with an accompanying “interchange” colouring the fleece of 42 local sheep, and provided a designated space for the public to view and discuss the event.

Image: ‘Quarry 2’, Lee Simmons, Betchworth Quarry, Surrey

This permanent installation was inspired by the association of woodlands with myth and folklore. The low relief sculpture, is embedded in the forest floor and encircled by bands of text on surrounding tree trunks, which were composed to trigger the imagination and suggest new and marvelous stories.

Image: ‘Moonpool’, Anne Bevan, (sculpture), Janice Galloway (text), Tyrebagger Sculpture Trail, Kincardine Forest, near Aberdeen

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3.4

Working with the community

Working with local communities is a vital and often fascinating part of the project process.

Ensuring that the community is actively involved and consulted will also help develop a sense of ownership and will contribute to the success and acceptance of a project. Such work may meet some of your inclusion and participation objectives and may reduce maintenance of permanent works.

However, there is often confusion between community-produced art and works created by a commissioned creative professional. Community-produced art can play a part in the research and development stages of the project, where people participate in artist-led workshops to learn new skills and enjoy new experiences. These can result in the making of work, but should usually be seen as part of the project process and not as the final commissioned work. The lead artist should always be responsible for the creation of the finished work to ensure quality. There may be exceptions for temporary projects such as film or sound works, but the artist should always have editorial control, again to ensure quality. Art students can be involved but again working with a skilled lead artist.

Example 13 - Working with artists develops new skills, grows confidence and brings communities together Sculptor Julia Smith was commissioned to work with Fallside Youth Group to engage a sector of a deprived community that had not been adequately consulted or engaged in the creation of Fallside Nature Park.

Using the park as inspiration, the artist ran themed workshops which included art appreciation, film-making and editing, clay work and design. Participation was more important than the outcome and the artist was excellent at adapting the project to fit the needs and aspirations of the group. The project brought the youth group and the community closer together as they decided to interview senior citizens to explore how the community and environment had changed. There is excellent feedback from the youth worker who felt that the project had a positive benefit on behaviour, attitude, confidence, team-working and learning skills.

Image: Fallside Youth Group filming, ‘Fallside’, North Lanarkshire for Central Scotland Forest Trust

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4. Writing a Brief and Contract 4.1

Writing an artist’s brief

Writing a clear and comprehensive brief is paramount to the successful realisation of a project and a good working relationship with the artist. The brief should enable the artist to understand the overall vision and what is required of the artist. It must provide structure for the artist whilst allowing room for exploration of the given theme / context. In this way you allow for the artist’s own creative input which should result in a stronger response to site and a more meaningful piece of work.

Guidance You may require the artist to explore a context, such as response to place, paying particular attention to the history of / current activity within the immediate environment. You may require the artist to work in certain materials such as those in keeping with the immediate surroundings or you may require an innovative temporary intervention which explores the communities’ current relationship with the proposed location. Whilst providing such a framework, this still gives the artist room to develop ideas and bring their own creative interest to the work.

initiatives that are being carried out or planned? For example economic regeneration, changes to the landscape, new roads, wind farms, urban development etc.

• Is the work to encourage certain participation within the area such as exercise, ranger led activities, wildlife observation, contemplation, social engagement?

• Clarification of the roles and responsibilities of all involved in the project, including the commissioner, project manager, artist and steering group. This will include who will sign off each aspect of the work undertaken by the artist and when.

• A project timetable ensuring that deadlines are realistic and allowing time for full research and community engagement by the artist.

• Budget. This should be a complete project budget and include all costs, not just those pertinent to the artist. Certain costs will be outline costs at this stage as they will be dependent on the artist’s research and design, but it is useful to allocate an amount so that the artist understands the scale of the commission. Budgetry responsibilities must be clearly stated. An artist may take full responsibility for paying subcontractors, or it may be the commissioner who undertakes this responsibility.

• Maintenance and durability considerations.

• Health and safety considerations.

The brief should address the following: • Your aims and objectives. What is the project for and why? How is it going to achieve the aims?

• The creative context. See Guidance.

• What is the context of the location? How is the space used? Does it have any specific purpose or function? Site constraints.

• Details of ownership/copyright, for all artwork pertaining to the project from preliminary design drawings to final works. (See 4.2. The contract) • Details of any required skills and attributes from the artist, (particular personal characteristics, levels of experience, skills, qualifications, public liability insurance).

• Artist selection criteria and interview process.

• A sample contract.

• Background to your objectives, relevant to the commission and location.

• People. Who should be involved? Which groups have an interest in the area? Stakeholder roles and the artist’s involvement with them. Who is the intended audience?

• Will the project contribute to the quality of the environment and complement any other

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS

Example 14 – Inspiration This temporary light work was one of the commissioned works for the annual ‘Reveal 2006’ in the Forest of Dean, Gloucestershire. The event attracts thousands of visitors each year over the three nights which evoke new interpretations of the forest.

Image: ‘Mesh’, Tabatha Andrews, Forest of Dean, Gloucestershire

4.2

The contract

Every creative commission must have a clear, comprehensive contract between the artist and the client. You may choose, for larger projects, to issue a first contract for research, concept development and design and a second contract for implementation and installation.

This allows for a more flexible approach by the artist in the research and development stage and enables the allocation of an accurate budget and timescale for the implementation and installation stages.

The main areas the contract should cover are: i. The brief • Attached to the contract with schedule showing dates for completion of each working stage. (See 4.1) ii. The agreement To include: • Names and address of the parties involved • Scope of the work with fees and expenses • Signatures of client with witness and artist with witness. iii. Contract conditions To include: • timing for completion of work • ownership of the work. It is accepted best practice to ensure that copyright for initial designs and final work remains with the artist • intellectual property rights and moral rights, including acknowledgement of the artist as creator of the work • integrity (the artist having some control, for example over the siting or display of the work) • skill, care and diligence (including defects and warranties) • insurance requirements. Including public liability insurance and artist’s insurance for any loss or damage to the work prior to its installation • fees payments and costs. It is advisable to include a payment schedule tied to identified project stages • termination of the agreement • disputes and arbitration • site preparation and installation • removal and sale of the work • maintenance and damage to work • governing law.

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Example 15 – Inspiration. A permanent work which will grow and change The piece is devised by Polish artist Lukasz Skapski for viewing the setting sun framing the sunset on midsummer’s night. Each year on Midsummer Day a picnic is hosted within the avenue of growing yew trees. The avenue was planted by local people and will act as a battery of energy over the next millennium.

Images: ‘Via Lucem Continens (Avenue Containing Light)’, Lukasz Skapski, Stour Valley Arts King’s Wood, Challock, Kent. Images show the site after planting and a computer simulation once the trees have grown.

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS

5. Beginning the Project 5.1

Finding an artist

Selecting the right artist is again a vital component to the success of the project. Therefore, allow time to research artists and to develop your own understanding of creative practice, so that you have knowledge of the kind of artist and/or art form you would like to commission as well as the breadth of possibilities. See Appendix B for sources.

Commissions can be advertised through the local and/or national media as an open submission. Shortlisted applicants would then be invited for interview. The commission should, wherever possible, be widely advertised and planned with sufficient time, so that you can attract the best artist. (See Appendix B.) This approach should be in line with your equal opportunities policy and any tendering processes that funders require.

Under certain circumstances it may be appropriate to invite pre-selected artists for interview.

For example, if you wish to commission an established international artist you would need to invite them to meet with a view to undertaking the commission. Such artists do not normally apply through a competitive interview process.

It is helpful to recognise that artists are looking for inspiring projects which relate to their skills and working interests, but which will allow them to develop and extend their creative practice.

5.2

Interviewing process through open submission

It is good practice to shortlist between 3 and 5 artists for interview and to ask them for an initial response to the site and brief. It may be appropriate to ask the applicants to produce initial designs, for which they are paid a fee. The design fees should not come out of the artist’s budget, but should be budgeted for separately. These design ideas will not fulfil the design aspect of the brief but will offer the panel a good idea of the artist’s quality and originality of thought, their understanding of the brief, initial response to place and how practical issues may be resolved.

It is recommended that your interview panel include project partners and members of the steering group which may, where relevant, include community representatives. It is good practice to invite the interview panel to select the artist, rather than leaving it to the client or project manager to decide. In this way, the Steering Group takes responsibility for their choice which will bring greater ‘buy in’ by the group throughout the project process.

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Example 16 – Commission for which an artist was invited This international artist, shortlisted for the Turner prize, was invited to make temporary interventions in the house and grounds of Mount Stuart. Commissioning an artist of such significance and calibre like Gallaccio, would only have been possible by invitation and the lure of working with such a unique site. Inspired by the 18th and 19th Century planting of European and North American conifers within the gardens, Gallaccio created a huge silver tree on the edge of the Victorian pinetum. This offered a discreet way of making something new within the existing ethos and in the original spirit of how the place came to be.

Image: ‘Silver Seed’, Anya Gallaccio, Mount Stuart, Isle of Bute

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6. Other Factors Involved in the Commission Once appointed, with a contract, the artist will begin to work through the designated commission stages supported by a project manager. There are however additional aspects of the commission that will need to be considered in consultation with the artist, although the artist will not normally take the lead. These are equally important to the success and overall quality of the commission and again should be given careful consideration.

6.1

Interpretation

Interpretation is an integral part of the commission and can be as creative as the artwork. It should be designed in close consultation with the artist.

Interpretation can take many forms. For a permanent work, it may be a simple, well designed and executed information panel or an artwork in itself. It may be a well designed and beautifully produced leaflet for a performance or managed temporary event.

As well as enabling understanding of the artwork, good interpretation should be engaging and encourage new ways of looking and learning about the site. It should include information about the artist and the research which informed the work. It should acknowledge participation of the community and credit funders and partners. Images may be used as well as text and if relevant, other media such as sound could be incorporated into permanent interpretation. Interpretation should be durable and robust and may need maintaining if accompanying permanent works.

6.2

Documentation

Don’t leave your documentation until the end of the project. So much of the project is about process and journey, which can be fascinating to document. Recording the project during all its stages, can often bring a project to life and help convey the experience of all involved when the work is completed. It is good practice to engage a professional photographer who is experienced in working with artists and communities to undertake the documentation.

Visual documentation will be vital for marketing the commission and may be useful for interpretation. It may be required by funders and stakeholders and will be supportive when attracting interest and funding for future projects

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Guidance You may wish to have a visual record of: • • • • • • • •

artist led workshops with community groups, schools etc. steering group / partner involvement the fabrication of the work the site before and after installing the work the work on-site the launch the surrounding environment, flora and fauna.

If community interviews have been undertaken as part of the research, with permission, you may wish to have a recording and transcript which may be lodged with a local history society or library It may be appropriate to film the artist at work or during an in-depth interview.

Example 17 – Dynamic image recording one part of the project process Image: Installation of one of the ‘Striding Arches’ by Andy Goldsworthy, Cairnhead Community Forest, Dumfries & Galloway.

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS

6.3

Evaluation

Evaluation should also be planned during the early stages of the project, so that if required, data can be collected throughout and offer a full and accurate picture of how the whole project has met the aims, objectives and funding criteria as identified in the project strategy and artist’s brief.

Evaluation is usually also undertaken on completion of the project and for a permanent art work, may be followed up again at a later stage. Findings may help with support for future projects and will also be of interest to the artist and stakeholders who will like to see the impact of their involvement.

6.4

Marketing

Marketing is an intrinsic part of a commission and like documentation and evaluation should be considered during the project planning. Depending on the scale and potential reach of the commission, you may wish to consult a marketing professional, as specialist skills and media contacts may be required.

Guidance When planning your marketing campaign, you will need to consider: • Your potential audiences and media messages.

• If you are marketing at a local or national level.

• Timescales. These may vary if the work is temporary or permanent or if you are producing printed material, a website etc.

• Can the project be tied in with a news event? Is it pertinent to regional activities such as an established festival where joint marketing can be undertaken?

• Is the artist newsworthy with a national/international reputation? Is what you have achieved innovative and of national significance?

• Can your partners support the marketing campaign through their own marketing channels?

Don’t forget that not only can the stories around the artwork and the site be marketing gold, but the artist themselves. Most artists will give interviews to the media, but ensure that you have budgeted for their time to do this and have agreed the approach and the types of media with the artist beforehand.

Example 18 – An eye catching image which could support a marketing campaign An image can be the pivot for a marketing campaign. This could be used to market the work itself, Keilder Forest where the work was sited, or even for marketing a region. The colourful image intrigues yet is easily readable, asks to be looked at again and offers visual information about the site beyond the artwork. Due to its tranquility, the image provokes a positive response.

Image: ‘Road to Nowhere’, Elpida Hadzi-Vasileva, Keilder Forest, Northumberland

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6.4a Types of marketing activity Marketing activities may include: • • • • • •

Supporting the fundraising process through local media.

Raising awareness with stakeholders and staff throughout the project process.

Attracting people to community events associated with project research.

A website or addition to a website.

A leaflet and subsequent distribution.

Publicising the launch by generating interest with the media for the opening. This may include magazines, radio and television, websites, associated with special interest groups who would be likely to visit the site; national papers if the artist or project is of national/ international significance.

• Ongoing publicity for further events associated with the artwork and site following the launch if the work is permanent.

Guidance - Spreading the word If you are approaching magazines, they require a longer lead-in time (4-6 months) than a newspaper.

If you are producing a leaflet and/or an invitation for a launch, remember that these again take time to design, print and distribute.

Ensure that you have good quality and interesting images. You will need them to support your story with the media and for use in a leaflet or for a website.

Don’t forget what an effective tool the local community can be. If businesses, health centres, schools and colleges can see the benefit they will support marketing activity such as leaflet distribution. Council officers such as rangers and youth activity workers who may wish to develop activities at the site and thus spread the word.

Example 19 – Inspiration. Dramatic sculpture installed for a season, combining exploration of site with artist’s own creative interests An illuminated sculpture within the landscaped parkland next to the spectacular Victorian gothic house, Mount Stuart is a theatrical work, reached by walking through trees and down a grassy avenue. The piece continues the artist’s exploration of architecture, symbolism, religious and political ideologies, faith, and reason.

Image: ‘There will be no miracles here’, Nathan Coley, Mount Stuart, Isle of Bute

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS

7. Completion 7.1

Maintenance

Permanent artworks should be robust but like other structures in the public realm, there will be wear and tear and they will require maintenance and repair.

On completion of the project, the artist should provide the commissioner with a maintenance schedule. Be sure, from the very outset that you are aware of the maintenance and insurance requirements of owning a piece of artwork.

It is one of the commissioner’s obligations to ensure that the artwork is adequately maintained, as set out in the contract. In the event of damage, whether accidental, or through vandalism it is important that repair is carried out quickly. This is often done in consultation with the artist and if so should be stipulated in the artist’s contract. Neglected artworks may impair the public perception of the location in which the piece is sited, those who manage it and the artist who made it. If the work is designed to attract visitors and is poorly maintained this will cause disappointment and have a negative effect on the whole site.

Example 20 – Impact of public interaction with artwork Black Dome was originally designed to be a mound of charcoal, but charcoal having no structure would not have survived the public’s use, so the charred ends of larch poles, being more robust were used instead. Rather than make work that resisted the elements of nature, it was designed to change with the environment. David Nash admitted that “when I first came it was a quiet forest; I naively imagined my work would be viewed from the path”. What Nash had not envisaged, was visitors’ desire to walk over the dome, and wide pathways had been beaten around the sculpture and the work itself was “pummeled down”. Nash undertook restoration work on Black Dome to counteract and accomdate the physical wear and tear of the work.

Image: ‘Black Dome’, David Nash, charred larch, Forest of Dean, Gloucestershire

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7.2

Decommissioning

Circumstances may arise where an art work will need to be permanently removed. Disposal of the work or relocation to another site should be undertaken with the artist’s consent and involvement.

Where the artwork is temporary, or is designed to degrade naturally, this will be reflected in the brief and contract and decommissioning will not usually be necessary, although maintenance requirements may still apply. (See example 20).

7.3

Legacy

A successful project will have had an impact on the surrounding community and may have enabled people to learn new skills which they will continue to use and develop.

It would be hoped, particularly with permanent works, that the community would develop activities at or inspired by the site, either for their own sense of community or to generate awareness and attract tourists. This can be another rewarding aspect of the project.

Example 21 – Final inspirations, permanent and temporary works Images: ‘Pine’, Rebecca Chesney, Killhope Lead Mining Museum in County Durham. Pine was a 1m cube of pine needles held together with water, packed into a ply box, which was then removed to reveal the pine cube. Duration of piece, six weeks.

‘The Border Stane’, Gordon Young, Newcastleton, Cumbria and Dumfries & Galloway The sculpture sits on the border between two countries. On the north side, representing Scotland, Auld Lang Syne is inscribed and on the south side, representing England, the words of Jerusalem. The hole in the middle allows people standing on either side of the border to shake hands through the stane.

‘Wiggly Wall’, Eve Body, Exmoor Benchmarks, Somerset. This project resulted in a series of new benches made from local materials, which reflected the characteristics of Exmoor along part of the West Country Way section of the Sustrans National Cycle Network.

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS

8. Appendices Appendix A - Case Studies Two projects have been selected to offer inspirations and provide examples of best practice.

They have been chosen to cover a variety of art forms and environmental contexts.

1. Creating permanent art works in a rural environment: Striding Arches, Cairnhead Community Forest, Dumfries & Galloway.

Best practice demonstrated by close collaboration with local and national organizations and by drawing on expert local knowledge and specialist skills, to realize a project of international significance and long term benefit to the region which encourages physical activity and direct engagement with the environment.

Artists: Andy Goldsworthy, Alec Finlay, Pip Hall Principle partners: Cairnhead Community Forest Trust, Andy Goldsworthy, Forestry Commission Scotland, Dumfries & Galloway Arts Association (project management and commissioning), Solway Heritage (design consultant), Scottish Natural Heritage (environmental advice).

Funders: The Scottish Arts Council, Scottish Natural Heritage, Solway Heritage, Leader+, Community Regeneration Fund, Entrust Landfill Tax Credit, The Robertson Trust, Dumfries & Galloway Council and the Yorkshire Sculpture Park.

Project summary

Striding Arches was conceived by international environmental artist Andy Goldsworthy following the Foot and Mouth outbreak in 2001 which had a devastating effect on the local rural economy. The idea was adopted by the Cairnhead Community Forest Trust, who work in partnership with the site owner Forestry Commission Scotland. The Trust has worked closely with the artist, the project manager from a local arts organisation and Forestry Commission Scotland from 2002 – 2008 to achieve Striding Arches. The long timescale has enabled the three artists to thoroughly engage with the forest and people and has resulted in a project which intimately relates to the landscape and is embedded in the consciousness of the surrounding communities.

The commission has generated four iconic sandstone arches, constructed from locally quarried sandstone which create a dialogue with the landscape and act as focal points and goals for walkers. Poet and artist Alec Finlay and letter carver Pip Hall were also

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Image: ‘Striding Arch’ at Bail Hill by Andy Goldsworthy

commissioned, as part of the project, to develop works which celebrate and interpret the area. Works resulted in a participatory poetry walk and text carved into stone, set in a dyke and seating. The carvings record the changing place names and the residents of Cairnhead over the last 500 years, creating a strong sense of place and connection to the past.

Aspirations • • • • •

enhance and develop a sense of place in Cairnhead Forest celebrate and interpret the 1387 hectare site enable community participation contribute to rural regeneration through tourism encourage informed access to the countryside and a heightened understanding of the landscape.

Project management

The project was managed by a local professional, experienced in commissioning and managing art works in the public realm. This person accessed the funding, wrote the briefs and contracts, supported the artists, ensured community engagement and the smooth running of the project. They worked closely with the client (Cairnhead Forest Trust) the artists, project partners and the Steering Group. The Steering Group included representatives from partner organisations and the community. It was chaired by a member of the immediate community.

Community participation

Community involvement was key from the outset. Activities included: • • • • • •

community consultation by the artists community representation on the steering group workshops with schools oral history gathering with agricultural workers teaching dyke building skills as part of an international workshop marketing included brochure distribution to tourists through local outlets and the support by local newspapers.

Legacy

Regeneration: A national marketing campaign has raised awareness of a little known area of Scotland and is attracting increased numbers of visitors to the area which is having a positive impact on small businesses.

Local pride: Residents feel valued and proud of where they live due to having this significant art work in their locality.

New activity: The community are working on new projects to make use of the site such as a schools music festival and a walking festival. Rangers and the youth activity worker for the region are developing activities to encourage physical exercise, exploration and understanding of the natural environment.

Maintenance: Steering Group members check the letter boxes on the poetry walk and ensure that there are rubber stamps and cards for visitors to use.

Image top: Image bottom:

Carved place names by Pip Hall at Cairnhead Forest.

Fell runners on the Striding Arches circuit.

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS

2. A temporary traveling work linking rural and urban environments: ‘Meadow’, waterways from Bath to London Best practice demonstrated by collaborative working between a high profile artist and university students and staff to produce a work which encouraged observation of and reconnection with the natural environment in both urban and rural environments.

Artist: Tania Kovats working with Michael Pennie and students and staff at the School of Art and Design, Bath Spa University.

Principle Partners: Bath Spa University’s School of Art and Design; Bath City Festival; The Drawing Room, Hackney, East London; Reading Waterfest; narrow boat and tug boat owners.

Principle Funders: Henry Moore Foundation; Arts Council England; Bath Spa University’s School of Art and Design; Architects Fielden Clegg Bradley, London.

Project summary

The temporary traveling installation Meadow was a representative microcosm of the natural environment which journeyed through both rural and urban areas over a three week period.

Two ‘meadows’ were seeded with wild indigenous flowers in the early spring at the University. One meadow was dug up and installed on the barge whilst the other remained as a permanent visual reminder of the project at the university campus. The installation of grasses and wild flowers travelled with the artist, tracing a line in the landscape, along the waterways to London, stopping at pre-arranged sites on the way, to make connections with both place and people, finally ending its journey in London’s heavily urban East End

Aspirations

• Offer students the opportunity to work on a ‘live’ public project with an experienced artist of international standing.

• Revive the tradition of contemporary sculpture in Bath.

• Contribute significantly to the visual culture of the city for residents and visitors alike.

• Engage as wide a variety of people with the artwork and their natural environment, across a wide geographic area in a variety of contrasting environments.

• Bring the countryside into the urban environment.

• Offer creative workshops along the route to a wide variety of groups.

Image: ‘Meadow’ at Paddington Basin, London, Tania Kovats.

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Project Management

A deceptively simple project, Meadow required detailed project management by an experienced member of the University staff. As it was vital to the success of the project to ensure that the artist and the work linked up with appropriate sites and festivals on its journey and was accessed by as many people as possible, partnership working with town councils and organisations along the route was key as well as generating good publicity.

Education and Community Engagement

Working with students was an integral part of the project process. Students not only helped to produce the final artwork but tracked the process from conception to installation as well as throughout the barge journey on an interactive website and weblog.

During the journey, Kovats stopped at designated places to deliver workshops and sought out unexpected audiences, using the waterways and canal tow paths, in the shape of walkers, cyclists and river people. Once in London residents, tourists and business people were added to the list and positively engaged.

The Drawing Room, in London’s East End where the barge was moored, hosted a variety of events and activities before the barge made its slow way back to Bath.

Conclusions

As ‘Meadow’ was an ephemeral installation, there is little tangible evidence now of the work, except for the meadow on the university campus. However this project proved to be an effective way of bringing a conceptual piece of landscape art to the public and in engaging them in re-considering their environment and experiencing their own indigenous flora in an accessible way. The installation provided a unique and unforgettable visual experience and offered open and relaxed interaction with an artist for a huge cross section of people.

The Art and Design department have since developed further creative projects in Bath’s green spaces with artists and students.

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Appendix B - Useful Contacts i. Funding

iv. Sourcing artists Axis www.axisartists.org.uk

Arts and Business www.aandb.org.uk

Crafts Council www.craftscouncil

Eventscotland www.eventscotland.org

Craftscoltand www.craftscotland.org

Funderfinder www.funderfinder.org.uk

Scottish Arts Council www.scottisharts.org.uk

National Lottery Funding www.lotteryfunding.org.uk

v. Advertising the commission to artists

Scottish Arts Council www.scottisharts.org.uk

ii. Working with artists, writing contracts and briefs

a-n, The Artists’ Information Company, Web: www.anweb.co.uk Artquest www.artquest.org.uk

a-n, The Artists’ Information Company, www.anweb.co.uk

Craftscotland www.craftscouncil

Cultural Enterprise Office www.culturalenterpriseoffice.co.uk

Hi-Arts (for Highland and Islands projects) www.hi-arts.co.uk

iii. Advice on artist’s fees

Public art south west www.publicartonline.org.uk

a-n, The Artists’ Information Company, Web: www.anweb.co.uk Cultural Enterprise Office www.culturalenterpriseoffice.co.uk

Scottish Arts Council news and opportunities for artists and arts professionals Or email Information to: newsandopportunities@scottisharts.org.uk

vi. Public art advice and examples of best practice

Scottish Artist’s Union www.sau.org.uk

Centre for Contemporary Art and the Natural World www.ccanw.co.uk

Scottish Arts Council www.scottisharts.org.uk

Groundwork www.groundwork.org.uk

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS

ISAN (Independent Street Arts Network) www.streetartsnetwork.org.uk Ixia www.ixia-info.com Public Art Scotland www.publicartscotland.com Public art south west www.publicartonline.org.uk

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Appendix C Photo credits and site contacts Example 1 - inspiration ‘Super Kingdom: Mussolini Animal Show Home’, London Fieldworks, Stour Valley Arts, King’s Wood, Challock, Kent. London Fieldworks, © London Fieldworks. www.londonfieldworks.com www.stourvalleyarts.org.uk Example 2 - non functional work exploring an immediate environment ‘Modern Nature’, Mathew Dalziel and Louise Scullion, Tyrebagger Sculpture Trail, Kincardine Forest, near Aberdeen. Photo, Isobel Cameron, © Crown copywrite. www.tyrebagger.org.uk www.forestry.gov.uk Example 3 – access. An intriguing and simple way for people to engage with the landscape.

Alec Finlay, the artist testing out the poetry walk, ‘Striding Arches’, Cairnhead Forest, Dumfries & Galloway. © Mike Bolam and Dumfries & Galloway Arts Association www.alecfinlay.com www.stridingarches.com Example 4 – health and wellbeing. A creative approach to exercise Cyclist passing ‘The Heart Stane’, Gordon Young, 7 Staines, Dalbeattie, Dumfries & Galloway.

Image: © Crown copywrite www.forestry.gov.uk www.7staines.gov.uk ‘Skyspace’, James Turrell, Kielder Forest, Northumberland. Photo, Isobel Cameron, © Crown copywrite. www.forestry.gov.uk Example 6 - economic development ‘The Passage’, Keith Rand, Grizedale Forest. © Crown copywrite www.forestry.gov.uk/grizedalehome Example 7 – connecting with history Image: ‘Legend’, Diane McLean, touring artwork in the Highlands. Image courtesy of Diane McLean Example 8 - inspiration Image: ‘Convex Green’, Jim Buchanan, Clitheroe Castle, East Lancashire. Photo Jim Buchanan, © Jim Buchanan. www.landartist.co.uk www.ribblevalley.gov.uk

Example 9 – creative partnerships ‘Samadhi’, Yoke Kuen Chiew, Gallery in the Trees, Lickey Hills Country Park, Birmingham.

Photo: Michael Maitland-Taylor. © Birmingham City Council www.birmingham.gov.uk/lickeyhills.bcc www.bmag.org.uk Example 10 - timescales ‘Sightlines’, Kate Whitefield, Harewood House Trust, near Leeds. © Kate Whiteford. www.harewood.org ‘The Eye’, Colin Rose, Galloway Forest Park, Dumfries & Galloway. Photo, Isobel Cameron, © Crown copywrite www.forestry.gov.uk Example 11 – funding partners ‘Segmented Sitka’, Keith Rand, Tyrebagger Sculpture Trail, Kincardine Forest, near Aberdeen.

Photo, Isobel Cameron, © Crown copywrite www.tyrebagger.org.uk www.forestry.gov.uk Example 12 - a temporary and a permanent project ‘Quarry 2’, Lee Simmons, Betchworth Quarry, Surrey. © www.leesimmons.org Anne Bevan (sculpture), Janice Galloway (text) Michael Wolchover (photography) Tyrebagger Sculpture Trail, Kincardine Forest. Photo © Anne Bevan www.annebevan.co.uk www.galloway.1to1.org www.tyrebagger.org.uk www.forestry.gov.uk Example 13 - working with artists develops new skills, grows confidence and brings communities together.

Image: Fallside Youth Group filming, ‘Fallside’, North Lanarkshire for Central Scotland Forest Trust. Photo Julia Smith © Julia Smith www.csft.org.uk www.deepfired.net Example 14 – inspiration Image: ‘Mesh’, Tabatha Andrews, Forest of Dean, Gloucestershire, Photo: Jamie Woodley, © Forest of Dean Sculpture Trust. www.forestofdean-sculpture.org.uk www.forestry.gov.uk Example 15 – inspiration. A permanent work which will grow and change Images: ‘Via Lucem Continens (Avenue Containing Light)’, Lukasz Skapski, Stour Valley Arts King’s Wood, Challock, Kent. Images show the site after planting and a computer simulation once the trees have grown. © Lukasz Skapski www.stourvalleyarts.org.uk/commissions/vialucem

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS

Example 16 – commission for which an artist was invited ‘Silver Seed’, Anya Gallaccio, Mount Stuart, Isle of Bute. Keith Hunter Photography © Keith Hunter Photography and Mount Stuart Trust www.mountstuart.com Example 17 – dynamic image recording one part of the project process © Mike Bolam and Dumfries & Galloway Arts Association www.stridingarches.com Example 18 – an eye catching image which could support a marketing campaign ‘Road to Nowhere’, Elpida Hadzi-Vasileva, Keilder Forest, Northumberland. Photo Peter Sharpe, © Peter Sharpe www.forestry.gov.uk/Website/recreation.nsf/LUWebDocsByKey/ EnglandNorthumberlandKielderKielderKielderCastleForestParkCentre Example 19 – inspiration. Dramatic five-month sculpture combining exploration of site with artist’s own creative interests.

‘There will be no miracles here’, Nathan Coley, Mount Stuart, Isle of Bute. Copyright: the artist, courtesy: Haunch of Venison and doggerfisher, photo: Keith Hunter, photography and Mount Stuart Trust. www.mountstuart.com Example 20 – impact of public interaction with artwork ‘Black Dome’, David Nash, charred larch, Forest of Dean, Gloucestershire © Forest of Dean Sculpture Trust www.forestofdean-sculpture.org.uk www.forestry.gov.uk Example 21 – final inspirations, permanent and temporary works ‘Pine’, Rebecca Chesney, Killhope Lead Mining Museum in County Durham. Photo, Thomas Saible. © Rebecca Chesney ‘Wiggly Wall’, Eve Body, Exmoor Benchmarks, Somerset. © Eve Body www.sustrans.org.uk ‘The Border Stane’, Gordon Young, Newcastleton, Cumbria and Dumfries & Galloway. © Crown Copywrite www.forestry.gov.uk www.7staines.gov.uk

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Appendix A ‘Striding Arch’ at Bail Hill by Andy Goldsworthy, Cairnhead Forest, Dumfries & Galloway.

Photo Mike Bolam © Mike Bolam and Dumfries & Galloway Arts Association Image: Carved place names by Pip Hall at Cairnhead Forest Dumfries & Galloway. Photo Mike Bolam © Mike Bolam and Dumfries & Galloway Arts Association Image: Fell runners on the Striding Arches circuit, Dumfries & Galloway © Mike Bolam and Dumfries & Galloway Arts Association www.stridingarches.com www.dgaa.net ‘Meadow’ at Paddington Basin, London, Tania Kovats. Photo and © Tania Kovats

Best practice, inspiration and commissioning guidance for working with artists and communities in the natural environment.

Commissioned from Ginkgo Projects by Forestry Commission Scotland and Glasgow and Clyde Valley Green Network Partnership. Š Ginkgo Projects 2009

CONNECTING PEOPLE, ART AND ENVIRONMENT: GOOD PRACTICE GUIDELINES FOR WORKING WITH ARTISTS