Corporate Art

The art world in Melbourne is getting something of a boost from corporate commissions. Last year, Deloitte compiled one of the largest corporate art collections in recent years for their new offices on Collins Street, which was otherwise a lean time for local artists during the recent lock-downs.

Not everyone will get to see this collection, as the works are on selected floors within the building, and access will be limited to staff, business visitors and clients.

But elsewhere, there is a lot of work that is accessible to the public. Here are a few randon examples:

Collage mural, Hero Apartments, Russell Street

Hero Apartments – this former telephone exchange displays unique work on its western-facing wall, usually photographic in nature.

80 Collins Street – the revamped office block has recently undergone a major makeover, including an enormous digital screen in its ground floor lobby, for displaying newly-commissioned works.

Digital mural, 80 Collins Street

330 Collins Street – the lobby to this otherwise anonymous office building now features a striking piece of op art, in the form of a dual light box and mirror construction.

Lobby Op Art, 330 Collins Street

Grand Hyatt Hotel – as part of its major revamp more than a decade ago, the hotel installed some huge Bruce Armstrong bird sculptures to guard the main entrance.

Docklands – facing the waterfront opposite Marvel Stadium is John Kelly’s quirky “Cow Up A Tree” (which says what it is).

Yarra River – from Birrarung Marr to Webb Bridge (itself a great example of functional public art) there are a sequence of sculptures and installations, including further works by Bruce Armstrong.

Southbank Arts Precinct – not surprising given its function, this area houses numerous sculptural works, permanent installations architectural features, such as Ron Robertson-Swann’s “Vault” outside ACCA.

Laneways Street Art – of course, Melbourne is (in)famous for its extensive “collection” of graffiti and spray-paint murals, although works attributed to Banksy have either been vandalised, stolen or simply painted over.

Next week: Cancel or Recalibrate?

The arts for art’s sake…

Last week I wrote about the importance of learning coding skills. This prompted a response from one reader, advocating the teaching of STEM (science, technology, engineering and maths) in schools: “Coding and the STEM subjects are our gateway into the future.” I would agree. But, as other commentators have noted elsewhere, we also need to put the A (for art) into STEM to get STEAM to propel us forward….

Equivalent VIII (1966) Carl Andre (b.1935) Purchased 1972 http://www.tate.org.uk/art/work/T01534

Equivalent VIII (1966) Carl Andre (b.1935) Purchased by Tate Gallery in 1972 http://www.tate.org.uk/art/work/T01534

I recently attended a talk by renowned arts administrator Michael Lynch, as part of the FLAIR art event, where he expressed frustration at the state of the arts in Australia, the lack of a public arts policy, and the associated cuts to government funding. It can’t help that from John Howard onward, we have had a sequence of Prime Ministers who, while not total Philistines, have shown little enthusiasm, appetite or appreciation for the arts. And during Q&A, Mr Lynch referenced the conservative and “safe” nature of so much arts programming as evidenced by the lack of risk-taking and the stale and over-familiar choice of repertoire, although he did acknowledge some arts organisations were doing exciting work.

The debate then shifted to whether we need a new method to evaluate the benefits of a strong arts sector that is not purely dependent on economic terms or financial performance. It was not possible in the time available to come up with a suitable indicator, but I suggest we can derive a range of benefits from putting more emphasis on teaching, supporting and sponsoring the arts. This RoI might be measured in such terms as the following:

  • Enhancing creativity among students will benefit individual problem-solving skills and collective innovation;
  • A healthy arts scene is indicative of a balanced, self-assured and progressive society;
  • Participating in the arts can give people a sense of confidence and well-being;
  • Through art we can learn about culture, philosophy and history – especially of other societies;
  • Giving people the means to express themselves through art is an important outlet for their skills, talent and interests.

We agonize about the amount of investment in our Olympic athletes in pursuit of gold medals, and whether the money can be justified (goodness – Australia only just made the top 10!)  But no-one (yet) has suggested it’s not worth doing, even if we don’t win as many medals as is often predicted. And of course, together with the wider popular entertainment industry, professional sports attract more dollars, airtime and support through sponsorship, advertising, broadcasting rights, gambling revenue, club memberships and merchandise than the arts could ever hope to.

Part of the challenge lies in the popular notion that arts are either elitist, worthy, self-important, or simply frivolous – which makes it harder to build an economic case for the arts, but which can also lead to the worst kind of cultural cringe. Also, if the arts are really doing their job, they hold up a mirror to our society, and we may not like what we see. Populist politicians can’t afford to be associated or identified with such critiques – either as the targets or as de facto protagonists – so would they rather be seen shaking hands with gold medalists (or attending a Bruce Springsteen concert…) than maybe attending a cutting-edge performance by The Necks?

Next week: The latest installment of Startup Victoria pitch night