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The Cycle of Giving
Alcorso Foundation
Designer Pippa Dickson looks at the history and recent activities of the philanthropic group the Alcorso Foundation located in Tasmania. The recent Lesley Alcorso Editions harks back to Claudio Alcorso´s Modernage series (1947) of production printed textiles designed by well-known Australian artists.
The Alcorso Foundation was inspired by the late Claudio Alcorso's passion for art, the environment and social justice. His lasting legacy of innovation in industrial design, enterprise development and the wine industry in Tasmania through Moorilla estate in the northern suburbs of Hobart lives on through the core programs of the Foundation.
The Tasmanian population is small and the Alcorso Foundation operates actively at a 'grass-roots' level which is to some extent limited in its reach, but advantaged in that its focus can be targeted on a small number of grants for social justice scholarships, environment prizes and artist residencies to and from Italy. The Foundation's limitations are obvious, with more money, more community activity could be supported, the profile of certain causes raised and more strategic and consistent advocacy achieved. With less, the challenge is to do things well and with purpose. When this is achieved it is easier to make an impact in a small place.
Financial sustainability and building capacity is an ongoing concern. Unlike many larger and well-established eponymous foundations in Australia and the proliferation of smaller private ancillary funds established by individuals and families, the Alcorso Foundation relies on mixed cash and in-kind means. In essence it is the dedication of a number of highly committed friends of the Foundation, and in-kind assistance from Moorilla, that has seen it grow as well as gifts from individuals, grants on a project-by-project basis, fund-raising art-auctions and the rare generous bequest.
The auctions have become a feature of the Foundation. They are not purely about raising funds they are a promotional and profile raising vehicle. Growth has been achieved each year, ticket prices have increased, more seats are sold and more items auctioned at higher values. These events rely heavily on the generosity of artists and craftspeople many of whom have personal relationships with committee member Pat Cleveland; former Handmark gallery proprietor and close friend of the Alcorso family. Without personal connections to both the artists and the buyers and a strategic approach to the items offered the event would not succeed. To date well over 40 local and national artists, craftspeople and designers have contributed.
Gradually this traditional approach has become fatigued. While there was no shortage of artists to engage, given statistically Tasmania has more artists per head of population than any other state in Australia, the benefits to artists needed to be re-considered. The fund raising approach shifted in 2008 with the introduction of the 'Lesley Alcorso Editions' a dedication to the passing of Lesley Alcorso. The new program focuses on supporting local practitioners through the commissioning of limited edition works. The concept reflects a notion espoused by Claudio, 'innovation through the nexus of art, craft and design for production'.
The first iteration of the 'Editions' strategically focused on print-making, a recognised strength in Tasmania, a medium well suited to the production process and with strong conceptual links to the silk and textiles industry Claudio pioneered in Tasmania. The project harked back to Claudio's Modernage series (1947) of production printed textiles designed by well-known Australian artists.
In 2009 the 'Editions' project was further developed to focus on ceramicists with a collaborative element with furniture designer/maker Linda Fredheim for the design and creation of bespoke timber housing boxes. Designer/ Maker Penny Smith accepted the offer to participate following a few carefully considered questions and answers about the process. On reflection she enthusiastically reports on the process being the most inspiring part of the project...yet interjects to add that while she and a fellow participant considered hiding in the toilets to avoid their fear of embarrassment at the auction, the excitement was exhilarating. For such a revered and established designer/maker her response is disarming and refreshing. There is no doubt that when an auction works well there is magic in the room, not an opportunity to pick something up at a bargain, but a fantastic endorsement of the respect for and value of someone's work.
Fellow ceramicists Ben Richardson and Sara Wright used the project to express their interests in place and materiality. A critical component of Ben's glaze material, feldspathic sandstone, was collected just east of the Moorilla site. Ben's deeply personal and somewhat romantic approach is recorded in what he describes as 'journal poetics' expressing the impact of place and matter.
Sandstone
Derwent Valley
autumn 04
We leave in still morning light
for a valley of misted hills,
yellowed poplars flank the gridded fields
as autumn turns towards winter.
Riffles of white light dance on black river water
as colours blur, caught in reflective liquid blend.
I come for the stone that waits
drilled and pinned, curvaceous in slow erosion.
Crushed, milled and fired it yields,
iron-rich viscous melts.
Mixed with dolerite it flows,
two stones in endothermic coupling.
In a time before time
this dark river valley,
witnessed the slow traverse
of ancient tribes in seasonal migration.
Now ochre bleeds seep as the rocks erode,
marking the red stains of history.
Ben's motivation and intention was to honour the lifelong commitment of Leslie and Claudio Alcorso, he says "their lives encouraged me by example to identify, develop and express a strong sense of place."
Emerging artist and ceramicist and more recent Tasmanian resident Sara Wright on the other hand looked at 'place' without the direct link to Claudio and Lesley Alcorso. Sara found inspiration in the rich and diverse environment around Moorilla and new owner, arts patron, and visionary, David Walsh. Sara titled her editions 'Moorilla Swan Theory' and stated that:
When asked to do a Lesley Alcorso Edition I wanted not only to reflect a sense of place around Moorilla Estate and the values of the Alcorso Foundation, but also celebrate the enigmatic vision of David Walsh and the opening of MONA there in 2011. When the wind is still, the black swans on the glassy Derwent create surprising shapes while foraging with their long, reticulated necks. To me they are eerie, if a little sinister. Coming from a faraway place it seems to me to be a romantically antipodean scene and reminds me of Taleb's Black Swan.
Sara's interpretive approach was expressed through hand thrown and hand engraved southern ice porcelain vessels. The connection and willingness to engage in the project meant that the ceramicists gave more than could be covered in their commission fee. They were giving in support of the project.
This notion of 'giving' was equally reflected in the generosity of Australia's leading ceramicists; Gwyn Hanssen Pigott, Les Blakebrough, Jeff Mincham, and Pippin Drysdale. In an incredible gesture, the gift of one prompted the giving of all. As a result of the combined altruism of all participating artists in 2009 and patrons who supported the commissioning fees more than $50,000 was raised, two and a half times the amount of the previous year. These funds go directly back into the Foundation's programs.
For some, the 'collaborative' process is natural and inspiring. Penny Smith will once again be participating in the fund raising auction. The project this year is dedicated to collaboration. Penny personalises her involvement with the Foundation. Having met Claudio Alcorso, she knows what he achieved as an advocate for the arts. She believes strongly in his early collaborative approach to new design development through the integration of fine arts and industrial design techniques, saying it is the key to originality and innovation.
As a strategy to increase capacity and separate our audiences 'collaboration' has replaced 'production' as a focus in 2010, however one of the intents is that new products may naturally emerge from the process. The 'Editions' project will now be developed further outside of the auction arena and refreshed as the 'Riches' program specifically designed to develop new craft and design products at a lower price point. The project aims to become self-sustaining, building profile and partnerships, generating business and creating financial sustainability for artists, craftspeople and designers as well as the Foundation. This will allow the continual commissioning of new work throughout the year with the view to reach national and international markets via web-based e-commerce and local high profile galleries and retail outlets.
The 2010 collaborations are revealing interesting results. An evolving partnership between jeweller Natalie Holstbaum and Aboriginal artist Lola Greeno allows Holtsbaum's long time interest in Tasmanian history and Indigenous culture to converge with her passion for giving. Early conversations about the use of native and introduced materials have sparked both artist's imaginations leaving no doubt that something truly unique will emerge. An appealing factor is the invitation to artists to create something innovative through a supportive process that encourages inventiveness, exploration and new encounters.
While the object outcomes are important and the process challenging for the participants attention also needs to be given to the buyers. Evaluating the 'why?' behind the buy is critical. One of the Foundation's generous supporters says that the works auctioned are a bonus, but that being a part of something that is supported by the people he respects is essential. Listening to this is important in the increasingly competitive market place of philanthropy. It highlights the need to continue to develop close ties with 'friends' and supporters to ensure sustainability for the Foundation and hence the vibrancy and diversity of the arts sector. In this way the cycle of giving grows.
You might not want to miss the dinner this year - Save the date: Sat Oct 2, Moorilla/MONA, Hobart. www.alcorso.org
Pippa Dickson has a PhD in design, works as a project manager and consultant in the private and public sectors and is an advocate for arts, craft and design nationally. She is currently responsible for developing and implementing the vision for the Glenorchy Art & Sculpture Park (GASP!) in Hobart and is chair of the fund raising committee for the Alcorso Foundation.
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