Visioning
- 8 Apr 2015
Metro Arts recently revised its vision and business model. David Fenton shares insights on the visioning process…
A vision is a living document. You only know when your vision is ‘right’ through a detailed and realistic strategic plan, which if actioned through a detailed operational and business plan, generates an impact on the sector’s sustainability, the artform(s), artists and audiences. Envisioning is a cyclical process. Results, or lack thereof, should either change the vision and or the strategies enacting that vision.
‘Democratization’ of access, resources, the form(s), and the process of making contemporary art sits at the heart of our vision. It is expressed through our hybrid curatorial structure which has open calls for artist’s work which is then peer assessed for inclusion in our programs. This process is coupled with a ‘Curatorium’, an advisory of nationally recognized practitioners, academics and arts workers who assist us with programing special projects that reflect our commitment to a diversity of artists, forms, processes and audiences. Additionally, the Curatorium helps us maximize our advocacy, our cultural leadership, sector impact and audience development.
This artistic/organisational structure decentralizes the hegemony of Artistic Direction; it is a democratic model that reflects Metro Art’s values concerning artists and their agency. As such, the process to generate a vision must be values aligned. In other words – the values suggest the process – one of extensive and inclusive consultation. So, in my view, within the context of a multi-arts ‘development-led’ organisation dedicated to contemporary art, as many stakeholders as can be consulted should be consulted. Our process involved extensive feedback from artists, industry members, funders, staff and the Metro Arts Board of Directors. It was a process that directly reflected the values of the organsiation and our approach to developing artists and their work.
Our new vision is “Metro Arts – developing the future of Australian contemporary arts practice, now.” This aspirational promise is translated into several purpose statements, to “Create and champion quality contemporary arts”, to “Professionally and artistically develop, challenge and support artists”, to “Nurture existing audience and develop new audiences” and to “Unite artists and their work with these audiences”. These high level statements evolved from examining our organisational and artistic values, while simultaneously engaging in an evidence-based analysis of the sector, competitors and market, through qualitative and quantitative methodologies.
Both of these strategies, one an internal reflection, the other an external audit and analysis generated over 60 000 words of recommendations. Together the values and recommendations meet to articulate our commitments, our goals, our hybrid curatorial structure, our unique approach and explicit value statements about what we offer artists. From here we have endeavored, with a conversational intent, to articulate our aesthetic field, our developmental pathways and the structure of our artistic programming.
Metro Arts is an interesting case study. Our multi-arts vision generates flexible and hybrid business models. Our CBD-located owner-operated venue, has two commercial spaces, multiple hire spaces and multiple tenancies. These income streams have played an important part of our business model. However the market changes, other venues become available and as such Metro Arts must remain open to investigating more innovative business models to maintain its financial stability.
Equally we have a number of challenges; we have the significant upkeep of a heritage building, infrastructure which is constantly in need of upgrading, finite audience capacities and a dedication to contemporary arts which demands significant audience development. In other words the physical realities of the venue, our capacity and resources, directly influence our vision, which is dedicated to the development of specific contemporary cultural expression – a niche market.
This ‘reality’ also presents great opportunities, entrepreneurial opportunities which will assist in diversifying our income streams. Our sector analysis and competitor analysis has identified gaps in the market that we have the physical and intellectual/creative capacity to fill. For example we are developing our events and functions capacity, our educational products and our fundraising and community engagement strategies. This diversification of income steams is also supported by Metro Arts’ explicit commitment to diversity across form, process and representation.
When articulating our vision, particularly for the website, there was much discussion as to who the ‘reader’ was. It was essential to find a voice that balanced out the expectations of our funders (a soft corporate voice), our artists (a more inclusive, reflective voice) and our audiences (a practical, engaging and demystified position). It is challenging to achieve this, particularly within the field of contemporary art which deals with significant openness of form and tolerates a high level of ambiguity. This is why we have drafted diagrams of our curatorial models and created breakdowns of each step on our developmental pathway. Additionally we have attempted to define certain aspects of the aesthetic field of contemporary arts, which is an audacious undertaking but an important part of leading a conversation with our diverse stakeholders.
David Fenton
David Fenton has held significant artistic, managerial and executive positions throughout his twenty-eight years in the industry.
Most recently, Fenton was the Head of Performance Practices at the National Institute of Dramatic Art (NIDA). He completed his practice-led PhD in Performance Innovation at Queensland University of Technology Creative Industries Faculty in 2007, for which he won the Philip Parsons Prize for performance as research from The Australian Association for Theatre, Drama and Performance Studies.
Significant positions include Artistic Director/CEO of Northern Ireland’s Replay Theatre Company, Festival Director for Sydney Gay and Lesbian Mardi Gras Festival, Manager of Events and Entertainment at Sydney Olympic Park Authority, Artistic Director of Riverina Theatre Company and General Manager of Quality and Product Development for Message Train.
Fenton has directed over sixty-five productions throughout his twenty-eight years in the industry for many companies including Bell Shakespeare, La Boite Theatre Company, QUT/QPAC, NIDA, JUTE in North Queensland. He is the producer and founder of The Human Company, a Brisbane based independent theatre company specialising in live and digital performance. His children’s work, The Empty City, made its world premiere at the Brisbane Powerhouse in 2013, followed by a season at the Awesome Festival, in Western Australia.
Image supplied by Metro Arts