Senator the Hon Helen Coonan
Minister for Communications, Information Technology and the Arts
Sandstone, sunshine and sculpture by the sea—‘so Sydney!’
Sculpture in Public Space Conference
Art Gallery of NSW
Sydney
4 November 2005
Thank you, Andrea [Stretton MC and Arts Journalist]
Mrs Rosemary Foote [Chair – Sculpture by the Sea]
Mr David Handley [Director – Sculpture by the Sea]
Mr Sam Mostyn [Insurance Australia Group]
Distinguished guests
Ladies and gentlemen
It is a real pleasure to be here with you this morning. I was very interested to hear Andrea’s and Sam’s comments.
I would like to offer a special welcome to all the overseas and interstate speakers and delegates to this conference and to Sculpture by the Sea. This is a daring and imaginative introduction to sculpture and I would like top acknowledge all the sculptures in the audience.
As Michelangelo said over five centuries ago, but still so salient today:
“Sculpture is more divine, and more like nature, and fashions all her works.”
This is a wonderful definition for Sculpture by the Sea exhibition and your attendance here today and the fact that we are going to have a conference about this is testimony to your commitment and enthusiasm to see this program grow.
CASE FOR THE ARTS
I am a firm believer that art touches aspects of our daily lives in a way that no other medium can. Art allows us to tell stories and connect with other people on a special and a very personal level.
The Arts can reveal our cultural heart, peeling away the layers of our society and I think can help us to recognise and appreciate our work, our leisure, our diversity.
It can offer new perspectives, it challenges our beliefs, it can make us think about things bigger than we are. I don’t need to tell you that Arts and culture are all these things that define and shape and interpret who we are – not only as people but as a nation.
An increased status and role of the Arts in contemporary Australian society is essential. The long term economic benefits that flow from enlightened cultural policies are only going to expand.
Sculpture by the Sea is a shining example of the economic benefits derived from the cultural sector with figures showing that the 2003 exhibition generated an estimated 29,000 bed nights for tourism in Sydney.
So there is an economic case for the arts as I constantly argue.
ACCESS
One of the guiding philosophies of the Howard Government has been to encourage access to the Arts.
It is essential that we create and nurture an environment in which art IS accessible.
Australian Government support for the Arts is at record levels. And this support will continue.
The Australian government’s ability to maintain a strong economy can continue to provide a sustainable foundation for the ongoing support that Arts and culture need and deserve.
It is only with a strong economy that any government can make and maintain sound funding decisions.
The Howard Government has a record of economic management that translates into an ability to fund the Arts - to ensure more and more Australians can access the arts and that our youth are educated in the importance of the arts.
EDUCATION
We cannot underestimate the considerable value that visual education has for our young people.
Studies have shown that young people who embrace art early on in life have a greater degree of academic success than those who do not.
This is especially true of the visual arts as it encourages different ways of thinking, innovating, analysing and communicating with the sorts of skills we call upon throughout our lives.
I am very pleased that Sculpture by the Sea has been incorporated into the Primary School Education Program. Last year, the exhibition was attended by 1,200 students from across New South Wales.
This program includes sculpture workshops and tours hosted by exhibiting artists and is about creating access and sparking interest in the importance of art and culture to our future generations.
The exhibition embodies the important role that art can play in building the capacity of our young Australians, particularly those who may not have as many opportunities to access art if they do not live in metropolitan communities.
SYMBIOSIS – LIVING TOGETHER
This exhibition is best described by the word ‘Symbiosis’ – living together.
As Henry Moore, perhaps the most influential sculptor of the last century said;
“In my opinion, everything, every shape, every bit of natural form, animals, people, pebbles, shells, anything you like are all things that can help you to make a sculpture."
This exhibition is conscious of the importance of the environment – and I really endorse that - and many exhibits work or play on this theme and establish a harmonising chord with the wind, the sun and the sea – so very Sydney – so very Australian.
Many of the artists seek to engage the local environment with their works. I know you will agree that a terrific example of this was last year’s ‘two stone pillars with glass panels’ sliced in – this definitely used the landscape to best advantage.
Or Mike Taylor’s ‘long board’ from 2001. A collection of all manner of debris in the outline of a surfboard – a pointed comment about rubbish washed from the streets into the ocean.
THE FARM – SCULPTURE PARK NEW ZEALAND
It is wonderful to have Noel Lane here with us for the exhibition and conference. Noel is a leading New Zealand architect and one of the key drivers behind ‘The Farm’ - arguably the most notable private sculpture park in the world and an example of how nature in the landscape interacts.
Noel creates objects that thrive on oppositions between activity and serenity, roof and walls, earth and sky.
It is this creativity and Noel’s twenty plus year’s commitment to architecture and sculpture which have been so critical in the development and the success of ‘The Farm’.
SUCCESS
The use of one of, if not the most, visually inspiring gallery in the world has lead to the incredible success for Sculpture by the Sea – and we know that it is such a fragile environment.
In 1997 in the exhibitions first year, Sculpture by the Sea was a one day event and was attended by approximately 25,000 people.
Now in its ninth year at Bondi it has grown to be one of the best-loved events on Sydney’s summer calendar.
In fact, it has been called by both the public and the media “the most substantial visual arts exhibition in Australia” and is the largest sculpture exhibition in the world.
And after nine years such critical success has turned into positive access. We can expect this year’s exhibition to be viewed by approximately half a million visitors over the next three weekends.
EXHIBITION
The event has always attracted a strong contingent of International artists. The 2005 exhibition will include work of sculptors from Denmark, Bulgaria, Iceland, Italy, England, Japan, Mongolia, Scotland, New Zealand, the Czech Republic and the USA, as well as the work of Australian sculptors.
This is great testament to David Handley’s original vision.
Each year the exhibits become more imaginative making great use of the dramatic landscape.
It is always the subject of much debate but I think the visitors got it right last year voting for Tom Millner’s and Adam Proctor’s wonderful sculpture ‘Cultivating Crabs’ as the People’s Choice Prize.
JOHN McDONALD
As John McDonald, a former senior curator at the National Gallery – who will be following me – said of last year’s exhibition:
“Sculpture by the Sea has probably done more to raise public awareness of public sculpture than any other exhibition in Australian history, indoors or out.”
This is high praise indeed from a vocal exponent and insightful great commentator on all aspects of art - from the purchase of John Olsens, Jeffrey Smarts and Lucian Freuds; to the history of Warhol and the revolution he created; to the ‘Pollenart’ [pr: pollen art] exhibition at the Art Gallery of New South Wales.
CONCLUSION
The success of the exhibition is not just in the various pieces interacting with the sun and wind, or reflecting light, but in the fact that the exhibition as a whole fits in so well with the environment.
To the organisers of this year’s Sculpture by the Sea exhibition and the Sculpture in Public Space Conference—I congratulate you on putting together a stimulating program and wish you all the best.
So now let me welcome you all to this landmark event.
I have not made up my mind yet, but if no-one is looking I might hug Sarah Joan Harvies’ inflatable octopus. Then again I might just enjoy the sunshine and the sheer joy of being amongst the Sculptures by the Sea.
Thank you.