Strategic plan: The Lock-Up 2017–2021

THE LOCK-UP

NEWCASTLE HISTORIC RESERVE TRUST

STRATEGIC PLAN 2017–2021

STRATEGIC PLAN 2017 − 2021

CONTENTS OUR VISION

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APPENDIX 1: PROGRAMMING STRATEGY

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OUR OBJECTIVES

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APPENDIX 2: AUDIENCE DEVELOPMENT & MARKETING STRATEGY

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OUR VALUES

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APPENDIX 3: MANAGEMENT & STAFFING

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ABOUT US

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KEY ACHIEVEMENTS 2014–2017

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GOVERNANCE & FUNDING

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MANAGEMENT & STAFFING STRUCTURE

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BOARD 53

SUSTAINABILITY 25 SUCCESSION PLANNING

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CONTEXT 29 OBJECTIVES, STRATEGIES & HOW TO’S

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COVER Damien Frost, Night Flowers, 2016, installation.

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he Lock-Up is a contemporary arts space and hub for creative thinking and doing.

Through high-quality, innovative curated programming, The Lock-Up will promotes current, diverse experimental practice from local, national and international creatives through its Artistic, Residency and Public Programs.

As a place for exchange, ideas, exploration, information and cultural endeavour, The Lock-Upworks with partners and the immediate community to provide outstanding events, activities and access to audiences, while supporting professional and emerging creative practice.

IMAGE Andrew Styan, Life Support System,

2016, installation.

OUR VISION 03

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COMPELLING PROGRAMMING

COLLABORATION & PARTNERSHIPS

Present a high-quality curated program of exhibitions, events, public programs and residencies that promote diverse experimental and cross-disciplinary practice from local, national and international artists.

Through collaboration and partnerships engage broadly with the community, build diverse audiences and consolidate The Lock-Up’s capacity to present an outstanding multi-disciplinary program.

Over the next five years we aim to reach national media, attract new participants from outside the region and make our mark on Australia’s cultural landscape.

AUDIENCE DEVELOPMENT Engage, challenge and inspire audiences with programming that stimulates participation and discourse, creating multiple access points while developing and deepening appreciation for contemporary creative practice.

By 2021 we aim to grow our annual audience attendance by 14,000.

We aim to attract three new major funding partners by 2021.

SUSTAINABILITY & SOUND GOVERNANCE Build organisational sustainability and capacity through sound governance and transparency, strong business, and management, processes and planning.

Over the next five years, we aim to build core staffing and increase capacity to meet demand while developing a new model of governance that places The Lock-Up as an independent but connected entity to the Newcastle Historic Reserve Trust.

IMAGE Doug Heslop, Apathy Bores Me, 2015.

Performance at The Lock-Up. Photo by Jessi England.

OUR OBJECTIVES 05

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CULTURAL LEADERSHIP

OUR VALUES

Provide cultural leadership and creative programming that builds and sustains the reputation of the Hunter Region as a centre for artistic excellence and innovation, and The Lock-Up as a leading independent contemporary arts organisation.

STRONG COMMUNITY ENGAGEMENT

COMMITMENT TO HERITAGE Through programming, management and governance, ensure the preservation and maintenance of the unique NSW heritage site that The Lock-Up occupies, ensuring the building in its care remains relevant and accessible to contemporary audiences and that the history of the site continues to be acknowledged.

Through its programming strategy, partnerships and authentic multi-levelled community engagement, deliver diverse cultural programming that is accessible to the community as artists, creative professionals, participants and audiences.

IMAGE Jamie North, Rock Suspension, 2017, installation.

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“Since its restructuring only two years ago, The Lock-Up has firmly established itself as the centre of contemporary art practice in Newcastle.

It continues to offer exhibitions that are often divorced from traditionally accepted art-making methods and challenge preconceived, restrictive notions of what art should or should not be.“ John Barnes, Newcastle Herald, 2015.

IMAGE Nell, Where Newcastle meets Maitland, 2015, installation.

ABOUT US 09

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ABOUT US isted in the NSW Heritage Register, The Lock-Up was the Newcastle Police Station and lock-up from 1861 until its closure in 1982.

From 1985 the site hosted a diversity of historic, cultural and artistic initiatives with various complimentary building works undertaken to support these activities. The building now includes gallery spaces, rare heritage-listed cells, an event and installation space in what was the former exercise yard, and an onsite apartment for creative residencies.

“The Lock-Up represents an endangered and essential beast: a vibrant proactive contemporary art space that engages with local, national and international artists, curators and other creators. The integrity of the space and its historical significance, coupled with the professionalism and ambition of the staff makes it unique in Newcastle. From my recent involvement collaborating with the team and my decadelong critical interest in The Lock-Up’s program, I hope to see it operating as a nexus for conversation, creative excellence and stimulating art well into the future.“ Dr Una Rey, Art critic, Writer, Artist & Curator.

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Building on The Lock-Up’s past successes, the unique spaces that it occupies, and informed by an extensive process of community consultation and strategic planning, The Lock-Up was relaunched in September 2014 with a new vision as a curated multi-disciplinary contemporary arts space and inner-city creative hub. This vision has successfully drawn on The Lock-Up’s past successes and capitalised on the unique space it occupies.

Through curated artistic and public programming, The Lock-Up aims to stimulate and challenge audiences and to promote current, cross platform, experimental and diverse practice from local, national and international artists.

The program includes contemporary art exhibitions, events, site-specific installations, performances, residencies, creative talks, workshops and a variety of activities designed to engage the arts community and the broader public and encourage the sharing of ideas and creative visions.

The Lock-Up’s nationally renowned Artist in Residence (AIR) Program provides onsite accommodation, a work environment and community engagement opportunities for contemporary artists working across a broad range of disciplines and feeds directly into The Lock-Up’s Public and Artistic Programs.

Partnerships with organisations such as Octapod through This Is Not Art Festival, Hunter Writers Centre, Newcastle Writers Festival and Catapult Dance, have helped build and strengthen the cultural industries in Newcastle and establish The Lock-Up as a cultural leader and creative hub. These collaborations have developed audiences across organisations, and have increased organisational capacity in both The Lock-Up and its partners, thereby contributing to a stronger, more sustainable community.

IMAGE ABOVE Crowd shot at the opening of Night

Flowers by artist Damien Frost, 2015.

IMAGE RIGHT Damien Frost working on site as part of

his Artist in Residence in 2015.

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ABOUT US

IMAGE MAPDA Award-Winning posters produced by Headjam.

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ABOUT US

IMAGES Selection of images from The Lock-Up’s

Artistic and Public Programs 2014–2017.

Images courtesy The Lock-Up and © the artists.

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“As an artist, working with spaces like The LockUp and the people that drive them is a dream.

Rich in heritage and legacy, The Lock-Up abounds with complex and dark historical undercurrents. In 2015 I was invited to respond to the site with a performance installation which I regard as a key moment in my practice to date.“ Daniel Mudie Cunningham, Artist & Curator.

KEY ACHIEVEMENTS 2014 − 2017

he Lock-Up has firmly established itself as the pre-eminent contemporary art space in the Hunter Region.

Demonstrated by increased visitation, artist participation and cultural commentary, The Lock-Up’s success has contributed to building the reputation of the region as a centre of contemporary creative endeavour.

Through high-quality, dynamic and experimental programming, The LockUp is building a strong reputation, locally, nationally and internationally, as an independent contemporary arts centre, attracting interest and participation from national and international visitors, artists and arts organisations.

Over the past three years, The LockUp has presented over 29 major exhibitions, welcomed 30,000 people through its doors and won several major national awards.

IMAGE LEFT Anthrosite, Fish and Chips, 2015, installation.

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KEY ACHIEVEMENTS 2014 − 2017 PRESENTED

29 MAJOR EXHIBITIONS 39 MULTI-DISCIPLINARY EVENTS 39 RESIDENCIES 203 WORKS PRESENTED BY ARTISTS 50+ PUBLIC PROGRAMS WELCOMED

30,000+ VISITORS THROUGH THE

DOOR

offering the majority of its program free of charge

INCREASED ENGAGEMENT

WON in partnership with creative agency Headjam

2017 MAPDA MULTIMEDIA AWARD for 2017 Exhibition Program promotional video

2016 MAPDA EXHIBITION CATALOGUE AWARD

INCREASED GRANT FUNDING

$144,780 ARTS NSW

ANNUAL PROGRAM FUNDING 2017

$98,300 ARTS NSW

for Brett McMahon: Hidden Nature – Highly Commended

ANNUAL PROGRAM FUNDING 2016

2015 MAPDA POSTER AWARD

$70,000 ARTS NSW

for promotional poster series – Highly Commended

2015 MAPDA INSTITUTION WEBSITE AWARD for rebranded website

“My exhibition Hidden Nature, which took place at The Lock-Up art space in 2015, was a unique opportunity to showcase the range of my artmaking to local and interstate audiences. The character of this exhibition environment provides the stimulus for an artist to explore, experiment and present in ways that don’t sit comfortably in the commercial gallery environment. The challenge of a show at The Lock-Up helped me to renew my practice mid-career and the outcomes achieved are still the conceptual drivers for my current work.”

Brett McMahon, Artist.

ANNUAL PROGRAM FUNDING 2015

$26,750 ARTS NSW

PROJECT FUNDING 2014

$11,250 M&G NSW CURATOR

RESIDENCY GRANT 2017

$110,869 CROWN LANDS

ANNUAL THROUGH-THE-DOOR VISITATION BY CLOSE TO 100%

PRMF FUNDING FOR CAPITAL INFRASTRUCTURE 2015

SOCIAL MEDIA ENGAGEMENT BY 300%

$10,000 CITY OF NEWCASTLE

ECONOMIC DEVELOPMENT SPONSORSHIP 2017

$15,000 CITY OF NEWCASTLE

ECONOMIC DEVELOPMENT SPONSORSHIP 2016

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KEY ACHIEVEMENTS 2014 − 2017 ATTRACTED SIGNIFICANT SPONSORSHIPS

PARTNERED WITH GENEROUS SUPPLIERS

$35,000 HEADJAM CREATIVE

GOOD BROTHER CAFÉ

Design, web & marketing services (in-kind)

STONEHURST CREEK WINES

PARTNER

$45,000 NEWCASTLE HERALD

MEDIA PARTNER

Advertising & editorial support (in-kind)

$13,000 NEWCASTLE ART SCHOOL,

HUNTER TAFE

Studio facilities & access (in-kind)

MURRAY CRAFT BREWERY A1 AUDIO VISUAL CRAB APPLE VINTAGE GOOGLE 360 SPROUT CATERING

$12,000 SCHOOL OF CREATIVE ARTS,

THE WILD RABBIT

AIR & Public Programming funding

LITTLE WREN FLOWERS

UNIVERSITY OF NEWCASTLE

PARTNERED WITH LOCAL & NATIONAL CULTURAL ORGANISATIONS OCTAPOD/THIS IS NOT ART FESTIVAL NEWCASTLE WRITERS FESTIVAL CATAPULT DANCE HUNTER WRITERS CENTRE

“The Lock-Up is an essential, egalitarian cultural space that fosters creative talent, collaboration and the exchange of ideas across diverse art forms.

By championing local artists and attracting outstanding practitioners from throughout Australia, The Lock-Up elevates Newcastle’s cultural standing and challenges audiences to reflect on the city’s role in national – and international – conversations about identity. The Newcastle Writers Festival greatly appreciates the ongoing support of The Lock-Up.” Rosemarie Milsom, Director, Newcastle Writers Festival.

CRITICAL ANIMALS EXPERIMENTA MEDIA ARTS BLACKTOWN ARTS CENTRE ARTSPACE

“The Lock-Up is a great resource for students at the Newcastle Art School, they have direct access to the artists in residence and the exhibiting artists through the partnership established with Hunter TAFE. The program of experimental art, contemporary practice and social critique informs students as creative practitioners.

Through the volunteer program, students bear witness to current curatorial practice.”

Matthew Tome, Head Teacher, Newcastle Arts School, Hunter TAFE.

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GOVERNANCE & FUNDING

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ewcastle Historic Reserve Trust (NHRT) is The Lock-Up’s board of management.

The Lock-Up currently operates as the cultural arm of the Trust. NHRT is a community trust under the Crown Lands Act of 1989, for the preservation of the historic buildings of Hunter Street Newcastle. NHRT was gazetted in 1991 with new Trustees more recently announced in 2013.

The Trust is comprised of a voluntary Board of Trustees appointed by the NSW State Government for a term of five years with the option for Trustees to reapply. NHRT, on behalf of NSW State Government Department of Crown Lands, is responsible for the

conservation, management and use of three heritage-listed government buildings.

NHRT is registered as a not-for-profit organisation and endorsed as an income tax-exempt charitable entity. As a nonprofit organisation the overall purpose of the Trust is to conserve its heritage assets and promote cultural programs for the benefit of the community.

Revenue from the corporate leasing of 74 and 88 Hunter Street. and some areas of 90 Hunter Street (The LockUp building), ensures the ongoing maintenance of the buildings. It also assists in providing baseline funding of The Lock-Up for core staff administration, office overheads and building maintenance and upkeep.

With the assistance of baseline funding and through a range of support measures from NHRT, The Lock-Up seeks additional funding through grants and sponsorships, and raises revenue through commercial venue hire, event sales and fundraising activities.

IMAGE Brett McMahon, Settlement, 2015, installation.

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he Lock-Up understands cultural institutions are operating in an increasingly competitive environment for government funding, corporate partnerships, sponsorships and visitor numbers.

SUSTAINABILITY

A commitment to delivering an outstanding multi-disciplinary program with national and international reach will build The Lock-Up’s brand reputation and increase participation of artists, creative practitioners and audiences. This focus on far-reaching, quality programming will guarantee The Lock-Up as a viable partner for funding bodies, sponsors and individual supporters.

The Lock-Up will build sustainability and capacity by increasing independent income sources and through increased and diversified government funding, corporate sponsorships, private philanthropy.

“Nearly every important work that I have created has had at its foundations a relevant research and development residency. I found that The Lock-Up is one of those important cultural spaces that support exactly this with an absolute interest and investment in its artists and their practice. Art is not just made in isolated environments, it benefits from the community and the space that support it to grow and mature. SQUIDSILO’s work Rima had its formative development in 2013 and presentation in 2015 at The Lock-Up. This crucial support enabled the work to keep evolving and be taken up for later presentations at the International Electronic Literature Conference in Bergen 2015 and Arts House Melbourne 2016.”

JulieVulcan, SQUIDSILO co-collaborator with Ashley Scott, Artist.

IMAGE Jacobus Capone, Silent Elegy.

Performed at The Lock-Up in 2014.

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he ability of Trustees to re-apply for their positions has resulted in continuity and organisational history being retained while evolving approaches to management and vision being enabled. Professional skills and interest areas of the Trustees are diverse and cover history and heritage, art and culture, law and financial management.

With changes to NSW Crown Lands being implemented in coming years, NHRT has identified the need to establish The Lock-Up as independent from but connected to the Newcastle Historic Reserve Trust, to safeguard its existence in the event the property is divested from NSW Crown Lands.

SUCCESSION PLANNING 27

As part of this succession planning, as outlined in its core objectives, The LockUp will look to appoint an Advisory

Panel of champions and advisors to inform and support The Lock-Up from across the business community, cultural community and government.

Strong planning and clearly developed and articulated strategies and systems across all levels of the organisation, combined with a compelling and dynamic creative vision will help ensure The Lock-Up’s long term viability and impact on the cultural landscape.

IMAGE Shan Turner-Carroll, Hattie and Nellie #1, 2014.

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“Newcastle has an international profile as a major port city, gateway to the world for the Hunter’s rich resources. A four-time winner of the World Festival and Events City award, it is increasingly being acknowledged by international travel brands Lonely Planet and National Geographic as a must-visit destination, a ‘hidden gem’ and a smart city, creatively rising to the challenges of 21st-century urban life.”

Newcastle City Council Smart City Strategy 2017–2021.

CONTEXT 29

IMAGE Nigel Milsom, Judo House pt 6 (the white bird),

2015, installation.

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CONTEXT he landscape of Newcastle, and the Hunter Region more broadly, has continued to shift in the past five years. Nationally and internationally, Newcastle has been recognised as a unique and desirable city to live in and visit. The region has continued to grow a vibrant culture of cafés, restaurants, bars, boutique retail outlets and an array of high-quality markets. Businesses focused on design, production and tech markets have increased and education and health care continue to be major employers within the region.

Increasing numbers of professionals and families are relocating to the region looking for work and new business opportunities.

The focus on Newcastle City Revitalisation by the NSW Government and Newcastle City Council has continued to grow momentum. The vision for the City of Newcastle has been outlined in the

Council’s Newcastle 2030 Vision & Strategic Plan and a Cultural Strategy has been developed, driven by the City’s new Cultural Director, who now oversees cultural operations including Newcastle Art Gallery, Newcastle Museum and Civic Theatre.

In addition to the long-term cultural strategy released in 2016, the past three years has seen the City of Newcastle re-establish sponsorship programs to support cultural projects, events and initiatives through its Economic Development office.

Over the next five years, the revitalisation agenda has and will continue to have a range of impacts on the inner city landscape and how it function on a range of levels.

At the end of 2015, the rail line into the inner city was closed to make way for increased inner city development and the building of a light rail system, with trains from Sydney now terminating at Hamilton. Buses have temporarily replaced trains and construction on the light rail has begun.

The construction of new law courts in the Civic Precinct has seen the centre of legal activity shift from the East End Precinct. The old law court site has been purchased by a private Japanese university, indicating that coming years will see an increase in international teachers and students in The Lock-Up’s immediate vicinity.

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“The Lock-Up offers exceptional support to emerging arts practitioners and their ideas with many examples across multiple disciplines. In my own case, fresh from university, the mentoring and support they provided across all aspects of curating and staging a large group exhibition was invaluable in my transition from the academic world to the arts world. Nowhere else in the Hunter Region matches that experience.”

Andrew Styan, Artist.

IMAGE Sophia Emmett, Gasping, 2016, installation.

The opening of the NeW Space Campus of University of Newcastle in the Civic Precinct in mid-2017 brings a substantial influx of students and teachers to the inner city, increasing demand for a range of essential and leisure services and activities alongside educational needs.

The roll out of a new round of restructuring at the University of Newcastle has also had direct impact on The Lock-Up. The School of Creative Arts has merged with the School of IT & Communications to form the School of Creative Industries in 2017. The School of Creative Industries is based at the NeW Space in the inner city, bringing it into closer proximity with The Lock-Up. Expanding on the Newcastle 2030 strategy is the yet to be finalised Smart City Strategy 2017-2021, which builds on the innovation agenda being set forth for Council alongside key partners the University of Newcastle and Newcastle NOW business association, with its core strategy being to develop Newcastle as a “smart and innovative city”. With these three key partners driving this significant strategy, and with further

investments from state and federal government and the collaboration of a growing number of business and industry groups, the innovation agenda will be an increasingly significant driver in the region.

The decision by NSW Government and City of Newcastle for the East End of Newcastle to host the Supercars500 from 2017–2021, will have diverse ramifications for the city precinct and The Lock-Up over the coming five years and up to 10 years. The track will pass along Watt Street. within 25 metres of The Lock-Up. Permanent capital works carried out over six months in 2017 and the annual installation and deinstallation of temporary infrastructure over a 12-week period will have potentially serious impacts on physical access and perceived access and, subsequently visitor numbers.

Opportunities to benefit from the influx of people during the event are being developed and approaches to programming reconsidered.

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“In 2016 I was lucky enough to stay in residence at The Lock-Up in the lead up to my exhibition with Jacobus Capone, Gesture and Presence.

Working with The Lock-Up was an incredible experience: I felt welcomed into the local community, and supported in the development of the exhibition. I had been following their program before the exhibition and have continued to do so after, and am continually impressed by the calibre of work they present, the rigour with which they conduct themselves, and the engagement within their local environment.”

Madison Bycroft, Artist

IMAGE Ben Kenning Drawing in Space 2015.

Performance as part of Art Bender in 2015 at The Lock-Up.

OBJECTIVES, STRATEGIES & HOW TO’S 33

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OBJECTIVES, STRATEGIES & HOW TO’S OBJECTIVE 1: COMPELLING PROGRAMMING Present an artistic program that consists of exhibitions, events, public programs and residencies that are cross platform, high-quality, thought-provoking and diverse and firmly place The Lock-Up on the national stage.

STRATEGY • Bring the best in contemporary creative practice to the Hunter Region and show the work of locally based creatives within a national context, commissioning new works and presenting projects that reflect on current social, cultural and political issues.

• Provide established and emerging artists and arts professionals with a diversity of employment and professional development opportunities.

• Build The Lock-Up’s national standing as an independent contemporary arts organisation through programming, partnerships, funding, media and marketing.

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HOW WILL WE DO THIS? • We will present seven high-quality major exhibitions within TLU’s Artistic Program annually between 2017 and 2021.

• We will provide 350 artists with professional opportunities to exhibit, perform, curate and participate between 2017 and 2021.

• We will provide 8–12 artists with the opportunity to take part in our residency program each year.

• We will provide collaborative opportunities for diverse platforms of creative practitioners through 2–4 multidisciplinary events per year between 2017 and 2021.

• We will build and maintain relationships with key local Aboriginal and Torres Strait Islander, CaLD (Culturally and Linguistically Diverse) and Disability Access organisations and community groups, creating opportunities for direct engagement, participation and collaboration.

OBJECTIVE 2: DEVELOP AUDIENCES Engage, challenge and inspire audiences with programming that stimulates participation and discourse, creating multiple access points, while developing and deepening appreciation for contemporary creative practice.

HOW WILL WE DO THIS? • We will increase the number of performance focused projects within our program by up to three per year between 2017 and 2021.

STRATEGY

• We will present 7–10 public programs per year linked to artistic programming including artist talks, panel discussions, symposiums and workshops.

• Increase multi-disciplinary nature of the program, bringing performance practices including dance, theatre and music into the Artistic Program.

• We will increase access to public programs through professional sound and video documentation made available online for up to four public programs annually.

• Provide a range of public programs and events connected to the Artistic Program that give audiences direct access to the creators and the ideas that inform their work.

• We will launch and maintain an upgraded website that enables a range of resource material associated with the program, including exhibition documentation, sound and video recordings, critical writing and essays.

• Increase online content, resources and social media engagement in line with The Lock-Up’s Audience Development & Marketing Strategy.

• We will grow our audience by 14,000 visitors per year by 2021, effectively doubling current visitation.

IMAGE PROPELLED performed at The Lock-Up in 2016 with choreographer and dancer Joshua Thomson, composer and musician Zackari Watt with guest artists Craig Bary, Angelyn Diaz and Omer Astrachan, presented in partnership with Catapult Dance.

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OBJECTIVES, STRATEGIES & HOW TO’S OBJECTIVE 3: COLLABORATION & PARTNERSHIPS Through collaboration and partnerships engage broadly with the community, build diverse audiences and ensure The Lock-Up’s capacity to present an outstanding multidisciplinary program.

STRATEGY • Maintain strong relationships with existing programming partners and develop new cross-institutional partnerships with NSW and nationally based cultural organisations.

• Build and maintain relationships with key local Aboriginal and Torres Strait Islander, CaLD (Culturally and Linguistically Diverse) and Disability Access organisations and community groups, creating opportunities for direct engagement, participation and collaboration.

HOW WILL WE DO THIS? • We will attract three new major funding partners by 2021.

• We will include up to three projects annually that include one or more community partners.

• We will include up to three projects annually that engage and work directly with Aboriginal and Torres Strait Islander, CaLD and Disability Access organisations and community groups.

OBJECTIVE 4: SUSTAINABILITY & SOUND GOVERNANCE Build organisational sustainability and capacity through strong business and financial management, processes and planning, and sound governance and transparency.

STRATEGY • Undertake research and planning for The Lock-Up to become an autonomous entity, supported by but independent of Newcastle Historic Reserve Trust.

• Increase and diversify income streams through new grant funding opportunities, corporate sponsorships, and independent income generation activities such as venue hire, retail and event ticketing.

HOW WILL WE DO THIS? • In 2018 we will appoint a Lock-Up Advisory Committee – a small group of champions and advisors to inform and support The Lock-Up from across the business community, cultural community and government.

• We will establish Terms of Reference for this group and begin the process towards the establishment of The Lock-Up as an independent entity.

• We will hire one new staff member in 2018 to ensure operational functions are maintained efficiently to meet demand.

• Build organisational capacity through increasing core staffing and strengthening organisational infrastructure.

• In 2018 we will secure Create NSW MultiYear funding for 2019–2021.

• Develop multi-layered approach to philanthropic giving that includes fundraising activities, private donations and increased support through networks of individuals aligned with business, industry and institutions.

• We will establish a small retail outlet as part of The Lock-Up by 2019.

• We will hold one major fundraising event per year.

• Increase corporate partnerships and business sponsorships that are both project and annually based.

IMAGE Jacobus Capone, Dark Learning, 2015, installation.

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“As an arts professional of more than 20 years, collaborating with Jessi, Courtney and The Lock-Up was one of the absolute highlights of my career. This isn’t simply because of their tireless efforts to support artists and curators to realise their vision. It’s also because The Lock-Up is an institution that is genuinely committed to community engagement and a focus on the regional while never sacrificing the ambition and integrity of the work displayed or the curatorial projects undertaken.

Carrie Miller, Curator, Writer & Cultural Critic.

IMAGE Susan Cohn, All Welcome, 2015, installation.

APPENDIX 1:

PROGRAMMING STRATEGY

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STRATEGIC PLAN 2017 − 2021 IMAGE Blak Douglas & Adam Geczy, Torn Brown Skin, 2016, installation.

“I had the pleasure to work with Jessi England and staff at The Lock-Up during The Most Gaoled Race on Earth project, helping the organisation connect with community and proceed with the project in a respectful and culturally appropriate manner. It was an emotional experience for myself and local Aboriginal community because of both the content and the location of the exhibition. It was an extraordinarily moving experience, and was wonderful to be able to work with The Lock-Up team all of whom were sensitive, and also extremely motivated to make the project and its program an artistic and moral success.”

Donna Biles-Fernando, Artist & LMGAG Aboriginal Reference Group member.

“I’d like to convey my sincere gratitude to The Lock-Up gallery for the opportunity to exhibit my collaborative exhibition The Most Gaoled Race on Earth (2016). Given the sensitivity and content of the exhibit, my colleague (Adam Geczy) and I were typically challenged as to where to exhibit our commentary.

As a saving grace, The Lock-Up accepted us wholeheartedly.

For that I remain indebted. I’d also like to take this opportunity to once again extend my thanks to the ladies and all staff who made our stay comfortable. The professionalism experienced remains second to none.”

Blak Douglas (AKA Adam Hill), Artist.

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APPENDIX 1:

PROGRAMMING STRATEGY ARTISTIC PROGRAM The Lock-Up continues to consolidate its vision, refine its approach to programming and build its capacity to deliver outstanding programs.

Increased funding and income generation have enabled the organisation to increase artist fees in line with NAVA recommendations, to support artists and increase the ambition of the program through increased production budgets, and to invest in infrastructure that supports highquality presentation.

The Lock-Up’s Artistic Program is curated in line with our vision and objectives, from a combination of opportunities, including by invitation, expressions of interest or by application. Furthermore, to this theArtist in Residence Program and key projects such as the annual Art Bender series enable broad participation through call-out and by application opportunities.

Key programming considerations include but are not limited to: • Providing dynamic, thought-provoking contemporary creative experiences and opportunities for participating artists and audiences.

• Engaging locally based professional and emerging practitioners across the program.

• Increasing gender equality, diversity and access.

• Building strong links with Aboriginal and Torres Strait Islander and CaLD (Culturally and Linguistically Diverse) communities and organisations.

• Presenting the work of outstanding contemporary artists to Hunter Region audiences.

• Enabling established practitioners to experiment and develop new approaches to their practice.

With the program becoming more ambitious and higher levels of investment being made in the commissioning of new work and increased production budgets, from 2018, The Lock-Up will look to decrease the number of major exhibitions presented annually while increasing their duration.

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Weekend-only events across the entire space such as the Art Bender series and ‘Propelled’ in partnership with Catapult Dance will continue to be core program features. The multi-disciplinary nature of the program will continue to be developed with music and performance based theatre events programmed in conjunction with or concurrent to major exhibitions.

“I was very fortunate to undertake a month long residency at The Lock-Up in 2014. I found this opportunity to be greatly beneficial to my professional career as it allowed me to develop and produced a new, site specific, endurance performance that started a three year body of work. This work Between Husband and wife was also included in Enduring Parallel’s at The Lock-Up in the same year.”

Jodie Whalen, Artist.

ARTIST IN RESIDENCE (AIR) PROGRAM The AIR Program provides onsite accommodation, a work environment and community engagement opportunities for contemporary artists working across a broad range of disciplines. The program enables artists to research and develop ideas for new work, explore new forms of expression, provides professional development opportunities for artists and audiences, facilitates access to community and cultural networks and feeds directly into The LockUp’s Public and Artistic Programs.

Established in 2007, the AIR Program has become nationally known within the arts community and was a key strength identified during community consultation through 2013–2014.

Two streams feed into the program, by application and by invitation. Key artists and curators participating in The Lock-Up’s Artistic Programs are invited to undertake residencies in the lead up to projects.

This allows practitioners to gain a greater understanding of the complexities of The Lock-Up’s heritage-listed spaces and to develop new works and projects with a sitespecific approach, working directly with staff, community and partners.

An annual national and international callout for applications gives opportunities for four to six residencies per year lasting two to four weeks. These residencies are focused on supporting artists’ research and development. Residents are encouraged to connect directly with the community whether it be through partner organisations such as Newcastle Art School (Hunter TAFE), and the University of Newcastle or with other individuals or community and cultural organisations in line with each resident’s aims.

Additional professional development and community engagement opportunities such as artist talks and workshops maintain AIR’s public presence and give artists the further professional experience.

The program is possible through infrastructure provided by NHRT and an in-kind partnership with Hunter TAFE’s Newcastle Art School, which provides access to equipment and studio facilities a short distance from The Lock-Up.

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APPENDIX 1:

PROGRAMMING STRATEGY

PARTNERSHIPS

PUBLIC PROGRAMS

VOLUNTEER PROGRAM

Public programs such as artist and curator talks, panels, workshops and special events focused on building community, give audiences the opportunity to engage more deeply with The Lock-Up’s Artistic Program, provide learning and cultural development opportunities, and offer additional employment and professional development for artists and creative professionals. These programs encourage open discussion, the sharing of ideas and approaches to creative practice and facilitate partnerships with an increased diversity of stakeholders, community and cultural organisations.

The Lock-Up is resourced with a small core of employees and a team of committed volunteers. Volunteers assist in the staffing and delivery of public programs, events, exhibition installs and openings. Volunteers are supported in their role through training, staff supervision and through a variety of opportunities and benefits which enable deeper access and understanding of the program. Meetings with staff, exhibiting artists and curators, build volunteers’ knowledge, enable feedback and create a sense of community within the Volunteer Program.

The majority of these programs are held free of charge allowing broad community access and participation.

Volunteers come from diverse backgrounds and join for a variety of motives. Tertiary students and graduates are often looking to gain industry experience and be directly engaged with a dynamic art institution.

Internships provide increased and deeper engagement opportunities for volunteers and tertiary students seeking to further their understanding and experience of the creative industries sector.

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Partnership and collaboration are key objectives and values of the organisation, and inform our approach to the delivery of artistic and public programs, the acquisition of corporate sponsorship and the move to philanthropic development initiatives.

Authentic engagement, relationship building and the sharing of ideas and resources for mutual benefit underpins The Lock-Up’s approach to developing and maintaining strong partnerships, both formal and informal.

Developing and maintaining strong partnerships with local, state and interstate arts and creative industries organisations informs the programming vision for The Lock-Up. Partnered programming builds our capacity to deliver the organisation’s artistic vision and develop audience reach and brand awareness, while supporting the cultural activities of aligned organisations.

Programming partnerships with This Is Not Art Cultural Festival and Critical Animals, along with Newcastle Writers Festival and Catapult Dance, have continued to develop and have become keystones within The Lock-Up’s annual program. Partnerships with Newcastle Art School (Hunter TAFE) and the new School of Creative Industries (University of Newcastle) support The LockUp’s Residency and Public Programs offering benefits to artists, students, staff and the broader public.

Partnerships with Experimenta Media Arts and Blacktown Arts Centre have had significant programming impact and have brought the work of nationally and internationally recognised artists to Hunter Region audiences while providing outstanding opportunities for local creatives to introduce their work to curators and arts organisations working with a Western Sydney and national focus. These partnerships have demonstrated how toured programming can have far reaching impacts for artists, curators and audiences, when it is genuinely collaborative.

Public programming especially offers opportunities for collaboration and engagement with community organisations, thereby extending The Lock-Up’s reach diverse community sectors.

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STRATEGIC PLAN 2017 − 2021

APPENDIX 2:

AUDIENCE DEVELOPMENT & MARKETING STRATEGY 2017–2021 47

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STRATEGIC PLAN 2017 − 2021

APPENDIX 2:

AUDIENCE DEVELOPMENT & MARKETING STRATEGY

DEVELOP AUDIENCES & PARTICIPANTS ——Present a quality curatorial program of experimental inter-disciplinary practice ——Bring best practice activities & ideas to regional audiences ——Bring nationally and internationally recognised artists to our audiences

GROW AUDIENCE ——Present a diverse, multidisciplinary curated program ——Maintain high-quality public programming events ——Increase program partnerships ——Promote through current & emerging marketing techniques ——Become a destination for Sydney-based and other interstate audiences; cultural tourism ——Specifically target connections with Aboriginal, migrant and culturally diverse communities ——Present as accessible & welcoming to the general public ——Utilise diverse communication and promotional tools

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BUILD COMMUNITY & STRATEGIC RELATIONSHIPS ——Program in partnership with other cultural organisations ——Build & formalise partnerships & sponsorships ——Include local & culturally diverse creatives in program ——Provide pathways for inclusion in program ——Build volunteer base & opportunities ——Build core group of local supporters ——Utilise social media to engage with audiences ——Build relationships with funding bodies

——Enable discourse, knowledge sharing, professional development & community engagement through programming ——Develop creators through commissioning of new work and participation in AIR & public programs

MARKETING & AUDIENCE DEVELOPMENT KPIS • Increase attendance • Increase in social media following • Increase volunteer participation • Increase and media presence • Increase sponsorship • Increase income streams • Increase volunteer numbers • Reliable audience demographics recorded

——Inform audiences and build deeper engagement through communication around artists and exhibitions ——AIR as a resource for artists & audiences ——Develop website as information hub & engagement tool ——Provide an independent, experimental public space where established artists are enabled to push their practice in new directions

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STRATEGIC PLAN 2017 − 2021

APPENDIX 3:

MANAGEMENT & STAFFING IMAGE Madison Bycroft, Neo-Zoological Drama, 2016.

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Performance as part of the opening of Gesture & Presence at The Lock-Up in 2016.

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STRATEGIC PLAN 2017 − 2021

APPENDIX 3:

MANAGEMENT & STAFFING PROGRAM COORDINATOR

FRONT OF HOUSE & VENUE HIRE OFFICER

Courtney Novak is responsible for coordinating The Lock-Up’s Artistic and Cultural Program, marketing and communications and the implementation of the Volunteer Program. She is the key point of communication for artists, curators and installation staff and works closely with the Director in the delivery of The Lock-Up’s Artistic Program.

This position will be responsible for overseeing public opening hours on weekends and coordinating front of house operations and The Lock-Up’s Volunteer Program. The role will also coordinate commercial venue hire bookings.

COURTNEY NOVAK DIRECTOR

JESSI ENGLAND As Director, Jessi England guides the cultural program and business development in line with the vision and strategic objectives of the organisation. She is responsible for the curation of the program of activities, and the development of business and income generation initiatives including grant funding, sponsorships and partnerships. Since 2013 Jessi has brought in over $500,000 of new funding and cash sponsorships to The Lock-Up. Jessi also manages and administers The Lock-Up, its staff and volunteers.

Jessi has been working in the creative industries sector for over 15 years.

She has an extensive background in arts administration, project and event management, marketing and publicity, and sponsorship and philanthropic development. In the visual arts she has worked for a variety of public, not-for-profit and commercial galleries, as well as project managing independent public art and cultural events. Her experience also includes commercial advertising and production, marketing consultancy and small business management in the retail and hospitality sectors.

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Employers and contracts include the Australian Centre for Contemporary Art, Newcastle Art Gallery, Lake Macquarie City Art Gallery, The Lock-Up Cultural Centre, Hunter Development Corporation, Tantrum Theatre Company, Back To The City, Marquee Business Solutions, Honeybee Goods, Newcastle Art Space and Red Lantern Night Markets.

In 2016 Jessi was featured in Australian Art Collectors’ annual edition of 50 Things Collectors Need to Know as a “tastemaker”: upcoming directors and curators who are “bursting with ideas [and] are shaping up to be influential forces in the art world.”

Courtney has extensive experience in marketing and publicity, curating, and event production. She has had over 14 years’ experience working with various arts organisations in Australia including Assistant Curator at Artbank, Marketing and Communications Officer at the Australia Council for the Arts and Front of House Officer at Newcastle Art Gallery. Courtney has also worked extensively in the Middle East where she was employed as Head of Publicity for commercial contemporary art gallery The Third Line and as Publicity Manager for the international auction house Christie’s Middle East and for Art Dubai, the largest art fair in the Middle East and North Africa region.

APPOINTING ROLE MID-2017

“I have nothing but admiration for the team at The Lock-Up contemporary art space. My exhibition in 2017 was managed professionally from start to finish. I was thrilled to be included in a program that boasts some of Australia’s top contemporary art practitioners.

The Lock-Up has provided a context for my work by providing an audience both locally and nationally. As a direct result, I have been offered great new opportunities.”

Sally Bourke, Artist.

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STRATEGIC PLAN 2017 − 2021

APPENDIX 3:

MANAGEMENT & STAFFING 2013–2018 NEWCASTLE HISTORIC RESERVE TRUST

BOARD OF TRUSTEES CHAIR

GILLEAN SHAW Currently Art Curator for University of Newcastle, its Gallery, Museum and Collection and has curated independent projects for arts and history organisations such as The Lock-Up, Maritime Museum and the Lovett Gallery. She has previously worked in public programs, visitor services and exhibition installation at the Newcastle Art Gallery and was the Curator at The Lovett Gallery. She holds Masters by research in the Presentation of Material Culture, particularly as it relates to historic buildings and collections.

TREASURER

LUKE KELLETT Luke is the Principal Account Director for the creative agency Headjam; Focused Visual Communications. Since 2008 he has worked as an Account Director and Producer for numerous creative projects in photographic and broadcast production, and web and digital project management across multiple platforms.

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SECRETARY

LARAINE NELSON Laraine holds a Master of Letters (Archaeology) and currently works as senior cultural heritage consultant specialising in historic and Aboriginal heritage with Australia-wide experience. As a qualified librarian she previously worked as a senior research officer for NSW Board of Vocational Education and Training.

CATHERINE CROLL Catherine is the founding director of Cultural Partnerships Australia and has held the position of Director Special Projects at Red Gate Gallery, Beijing since 2009. She is an arts patron, collector and practitioner with extensive experience in the management of multi-faceted cultural exchange projects and international touring exhibitions.

JOHN CARR

CHRIS MCBRIARTY

An architect with over 40 years experience with NSW Public Works, John was the Project Architect for the Newcastle Conservatorium of Music Performance Hall for the Australian Bi-Bicentennial in 1988. John has been a Trustee for over 20 years and specialises as a heritage consultant.

Chris is a registered architect and Senior Associate with DPW Suters Architects – a large commercial practice with offices in Newcastle, Sydney, Melbourne Brisbane and Cairns. He has over 30 years’ architectural experience in a wide range of project types and scales, with a particular interest in the adaptive re-use of heritage buildings.

ROSEMARY MELVILLE Director of Hunter History Consultants, Rosemary has worked as a professional historian for over 20 years, focusing on the history of Newcastle and the Hunter Valley with a particular interest in heritage buildings.

She has been involved in the writing and publication of 10 books on various aspects of local history.

RODERICK SMITH Principal of Evescourt Legal, Rod specialises in General Corporate Commercial and Intellectual Property Law. He was member of the Corporate & Commercial Team at Sparke Helmore Lawyers and is a Civil Litigator for the State of NSW. He is also Chairperson of Renew Newcastle and expert consultant to Renew Australia.

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