The URL can be used to link to this page

FAC 01-19-05 CALL FOR A SPECIAL MEETING OF THE CUPERTINO FINE ARTS COMMISSION CUPERJINO NOTICE IS HEREBY GIVEN that a special meeting of the Cupertino Fine Arts Commission is called for Wednesday, January 19,2005, at 7:00 p.m., to discuss the items on the attached agenda. Dated this 10th day of January, 2005 , AGENDA FINE ARTS COMMISSION Special Meeting, Conference Room C 10300 Torre Avenue Cupertino Wednesday, Jan 19,2005 7:00 P.M. CUPEIQ1NO CALL TO ORDER ROLL CALL APPROVAL OF MINUTES I. Minutes of the regular meeting of November 23,2004 PRESENT A TIONS ORAL COMMUNICATIONS WRITTEN COMMUNICATIONS COMMISSIONER REPORTS 2. Arts-related news updates from Commissioners ELECTION OF OFFICERS 3. Election of chairperson and vice chairperson UNFINISHED BUSINESS 4. Status of plans for a public hearing at the Quinlan Community Center regarding a location for the donated statue of Cyrus the Great. NEW BUSINESS 5. Update from subcommittee to identify potential art locations in the Cupertino STAFF REPORTS 6. Preparation for joint meeting with the Cupertino Planning Commission on January 25, 2005,7:00 p.m., to discuss the General Plan, including the Percent for Art component. NEWS ARTICLES 8. Media coverage ADJOURNMENT - next meeting is a joint meeting with Planning Commission on Jan. 25. In compliance with the Americans with Disabilities Act (ADA), the City of Cupertino will make reasonable efforts to accommodate persons with qualified disabilities. If you require special assistance, please contact the city clerk's office at 408-777-3223 at least 48 hours in advance of the meeting. Public Art '--'-~--'----'--'---'--'----'-' Private Development Requirement '-'~'-------'---' , , I I ¡ I Public Development Requirement red Approva .~ ·..··-····_-··~··T-····~_···-·_··_··~·-_··-·_·-··- I ¡ I i Requ City --------" Yes apPlle. s to all projects $1 millioj ¡or greater in construction cost 1yes, appÜës to commercial, office, yes, applies to commercial, office, and land industrial projects greater .___.._1ind"."!!ial projects!;!rea~erJh."~!J.,000~qtan15'000~~:_.__._._~. _____...jY~s.._.----J~~~.~..-.. .-..~._--_. Iyes, applies to capital improvement ! ¡projects 1.5% of project budget goes into I I Public Art Fund I No ·..·T-·-----···· -~,.,.-----._._- -. I I , Yes, applies to all projects $1 million or ___...~__+grea~er in ?~~.t~':l~~~~_co~~__ ~._~- {t..ai1.ninQcommissio."._ Dana Point.(Qr~n!;!~c;olJl:'!\'J in ( I Public Art Commission --.---1......-.-.....-------........ --_.--..._--~_.. ! Public Art Commission Cathedral City (iocated the Coache!~\/~lle~2 Vis~JSa~.¡:¡ieQ? County) (Northern Berkeley Californi.".! .-.-.-. yes, 1% Ber~~~~y.g_~y:'~...?-~~_ C~~.~I_~:>.~~~_..____ for work greater than $350,000 total construction cost must be spent on public art on-site. For wor ivaiued over $2 million, 40% of that [1 % goes directly to Public Art Fund [60% must be sl'ent on site. ¡yes, City & Redevelopmet Agency obligated to install arl of 15% of total Public Art Committee (scope developmeritconslruction cosls for public buildings (not and final selection) !infrastructure (San Emeryville Francisco Bay) Public Art ._-----"-----_._.,._--~_. Private Development Requirement '--ï~---'-'--~--'---'--~-'----~'-----T~' i ¡ ! Public Development ¡ , I I Requirement I ; I i ¡ , ' I I i yes, the City has annual budget and plan I , . ¡for the Publicly Visible Art Program. 1 % o~ Itotal construction valuation tyes ·T····-----······-· i i ¡Required Approva I I ! I I 1 Planning Commission City IHuntington Park (Los Angeles County) Public Art . i: ~ irement valuation -~--'-~- .-----. ·--·-·-··r·······--··-··---·······-·-·--··-··-·-- -....... I. lic Development 'I' ReqUIred Approval R· t equlremen I i IArt Panel (staff from Community IDevelopment Department and Public .jWOrkS and Parks and Recreation) . yes, 1% of valuation of an eligible. project ¡1'10 of building permi ,Art Advisory Board responsibie for Put I IArt Program (approves all projects, yes, ali city departments includes 2% of ! iadvises City Council on policies and construction cost of project valuation ¡yes, Matching funds from Public Art (guidelines and appoints Artist Selectio $50,000 or greater directly transferTed to IFund used as incentive to donate Committee) 'Public Art Fund funds. .____..._...~_. . . . -··-··-·--··-r-··········-·-······-·······-·-·········... j i \ I : j 1 ¡yes (in process of Public Art Master ¡Heritage and Cultured Art Commi: Yes, no percentage on policy but city uses! Plan) currently city uses 1% of ¡recommends project to City Cour 2% of construction cost !construction cost. ¡-_..__.______.__ -~.._- ·_·fyes;-wíiJìformaTagreemenfwlHi ¡City or Redevelopment Agency Yes, applies to capital Improvement lAnd projects with valuation of projects with valuation of $100,000 or 1$100,000 or greater. 1% of Architectural Commission greater. 1% of construction cost [construction cost ..._._____"_.._.____~__________'____.__'_ ___..____n. ----.. --.---t.---.--... , i , San Francisco Art Commissiones, 2% gross construction cost 1 nfa _n___--r-__._____·_______·___·_· , Private Development Requ '--'-"'--'--"'--'---' City (Santa Clara Lodi__L~a.".J."a..'!uin\/aliey) Dublin (Tri·Valiey Region of ~an Franci~~ol Claremont San Francisco Sunnyvale County) Public Art Private Development rement Requ ------------------1"--. ! I I ! I i ¡- I i in/a .J~_~_ I ! I ¡no "r---- , i I Public Development I Requirement í ¡yes, 2% of the 1st $1 million spent on i i project and 1 % of a project valued in IArts Commission ¡excess of $1'million ---r---~·····-r ¡Art in Public Places Committee (develop~ Isite specific arts plan, administrates artist¡ Citrus Heights (Sacramento !confract and coordinates schedules with; I County) jconstruction schedule of construction bud¡J.et 2% yes, County) tV~I1I.'!~~ Ojai red Approva Requi City ~ I '-. -, ~--_.- ....-. --···r I .---.---- m_'_ .-.-- ! Fina , ~_._.. , Maintenance I Approval of -~---- ! Residential I In Lieu Fees Fees I Artwork Included l I I i i I I· yes, contribution to Public i art in·lieu fund equal to ! .-1min!mum vaiue for the art..l."P.plicant responsibilitY.¡!:,.~""ni,,!;!C;Omr11.i~siO"_'__1 ¡yes, contribution is 1% of I! i (90%) of the project's of I _jc~"struction valuation ~cluded in project proposal .JCity.s::~unc~_.......__, ! : ¡ ¡ , I ; N/A N/A i City Council ...-.- ·····-·-········-·-·I-··-·----------T···-·· .... .... ....-.-... I ! I I Berkeley Civic Art inot c_~~ent~y.____.~.__¡.~~!_cu'!e~tly ___.........__. J_çommission I ' I ICity sets aside ,1 0% from art ¡fund to maintain publicly lowned artworks. Artwork on , Yes, Payment into Public Iprivate property is maintained Art Fund ; b)l owner. Cit~ Cound ¥~.__._. no '-'--'-~-""'-'- N/A -....-...-..---...... no ---....---------. not currentl)l - - Approval of Artwork ·_·..·_--··--·l····_·-Fi·~·al City Counci , , I ·.·-·.·-·.·--"1----·------·...·----·----..·· i 1 I L· F ! Maintenance n leu ees; F ' ees ! 1 I i i I IYes, Applicant pays 1% of ¡City maintains after applicant itotal construction valuationlrecords convenant form I Residential ncluded ¡n/a "----..---.-..--.---,-- , I "!--.". ·-·--·-·"--T-- , I I I I ' I In Lieu Fees I Approva I I Artwork I ~ty (Department of Parks an~ I Recreation) maintains Public I I I Art. Property owner maintain~ ..¡yes, Public Art Fund ~ -lCity Council_._.__ , , I ! I ' ¡ I City Council reviews Public I ' .. Lno _......._.____..Icity mai~tains art _...._..._-'I'.'!.£'rogra"'."'.nnualll'..__ , I ' . i ,Yes, master plan suggests I ¡ 1 % for projects. For ~ i ¡projects without art City maintains art, but no fundi included in project, 2% get et up to repair and maintain i ipaidin~o art fun<!:___J¡:i~ce~_.._..___.__.j~it~c;ouncil ....._~ 0.5% of total construction I i I ' cost of $200,000 or grealer I i (except individually bui yes Community Art I i homes) Program Fund In/a IArchîtectual Commission ..... -·-..-···--·1-·····--··---·······--·-·-··· .......+... I , ¡Art Commission sets aside % jSan Francisco Art !from project to maintain Commission of Final Maintenance Fees n/a Residential Included n/a .-.---.------- no ...__n n/a n/a '~~--'---'--~~----'--'I-------~' . I Finall Maintenance I Fees ! Approvellof I I Artwo ~ I ' ' i I ! I I ' Ii! ¡yes, into Public Arts Fund In/a City Council ........-., ....------,-..-...----.- ...._----~ . ...-.-...- I iSaramento Metrol>olifan I I !Arts Commission I I(nationally recognized Iyes, Art in Public Places i I percent for art prcgram of Program in/a [Sacramento Courty) ._._--~-_.. In Lieu Fees ¡ Residential neluded - n/a .~------_.,-,. n/a City of Cupertino: General Plan 1993 Page I of I G. Create a civic environment where the arts freely express our innovative spirit, celebrate our rich cultural diversity and inspire individual and community participation. _ Policy 2·77: Public Arts Stimulate opportunities for the arts through cooperative relations between local business and the City. Strategies 1. Consider conditioning development approvals with a requirement to install works of public art for public and private non-residential projects of 100,000 square feet armors. 2. Promote publicly visible artworks in public and private development and gateways to the City. 3. Foilow Public Art guidelines to maintain an appropriate cultural milieu. 4. Encourage the development of artist workspace. ~ua.\ ~G." I~~ http://www.cupertino.orglarchive/gpI993/s2h.htm 1/6/2005 19 6e-'tto.\ ~~ 2005 ~t. DRAFT ~"'lIIIIIIij."" age 2-45 I LU-5 Introduction A new policy is recommended by the Fine Arts Commission that calls for developing an ordinance that would require public and private development to set aside 1 % of their total project budget for on-site art. This policy was not discussed by the Task Force, but it is one that decision-makers should be aware of. Discussion A strategy under Policy 2-63 states: Develop and adopt a One-Percent for Art ordinance, which requires public and private development to set aside 1 % of their total project budget for on-site art. The Fine Arts Commission provided the following discussion of this proposal: "Public art programs, also known as "Percent for Art" programs, are funded by both private and public entities. Most public art programs, whether at federal, state or city government levels, are funded through a law or ordinance that sets aside a percentage of funds from the construction budget of capital improvement (CIP) projects. These "percent for art" mandates provide a way for private development to contribute to the community and pay for acquisition, installation and project management fees. Based on the success of public art programs of surrounding cities, the Fine Arts Commission recommends that through a "One Percent for Art" ordinance, that public and private sector developers set aside 1 % of their total project budget for on-site art. Included will be ail municipal and commercial developments with a minimum valuation of $500,000. This valuation will be re-evaluated and adjusted periodically. The ordinance will also apply to public sector improvements. Exempt projects will be residential development, facilities for non-profit social services and rehabilitation of historically significant buildings." Exhibit E is a list of" Art in Public Places Criteria" by City (2001). Programs have been in place statewide and in the Cupertino area for decades. 'DeAF! 20 One issue is the economic impacts on new development. For example, the construction value of the Cypress Hotel would have required a $4,1 million investment in public art and the library would have been $1.7 million. However, public art has a broader definition than just large art pieces such as sculpture, Public art can be other things that visually enhance a project, such as murals, mosaics, sidewalk treatments, special doors or gardens. Therefore, the 1 % could be incorporated into the project, rather than a separate, single piece of art. Cupertino's ordinance would define the City's public art requirements. The ordinance might allow for an in-lieu fee instead of on-site public art. If so, an issue for the City would be overseeing the program. Selecting sites or artists for art to be purchased with in-lieu fees could require staffing and expertise not currently available, One solution might be to contract out for this service. Another problems with an in-lieu fee is finding properties on which to site new art. These are considerations to deal with at the ordinance stage. Options 1, Change the wording "Develop and adopt a One-Percent for Art ordinance., .," to "Consider developing and adopting a One-Percent for Art ordinance...." 2. Reinstate wording from the existing General Plan: "Consider conditioning development approvals with a requirement to install works of public art for public and private non-residential projects of 100,000 square feet or more." 3. Reinstate wording from the existing General Plan, but apply to smaller projects, e.g., 50,000 square feet or more. t .n~ 8tJ ra ¿, . Æ. S l ~ E-< o Z ~ ....E-< ¡:::::¡::::: 00 z~ ....~ ~¡::::: z o ~¡:: ~~ zo , ~~E-< ~~~ <E-<~ "...¡ ~~ E-<r.;¡z ;!¡z< ><r.;¡...¡ r.;¡"~ r.;¡ U ¡::::: o ""E-< ~"" "'~ ~~ '" .... UOJ..-: .... .<:>s '" ..... ~ "'...... o ::s E-< ~ E-< ¡:: 00 ..... E-< OJ .... OJ O 0.0 OJ ¡::: "'...... .... p. OJ 0 ooI._;...~ , OJ "'::! ~ ;: o£í ö § 0 «: : Q)..... Co 1:::1:.... . gp~t¡5C()~~ it! "'"'::! ""- '" - '" ,. ~ '_ c-'- ;: 1.::1 _ ...." I;J'I_...... ~ ;: U ;..; - ~ ¡;:",., ~ "- o - ~ 0 ... "1:::: ,....¡~ð~~~50 ..-: '" ~~ '" .... ",0 S ~ '" 0 rJ)~ s ¿ s ¿- OJ 0 0.0 it! .....OJ 0 0.0 '" ~J::¡::~ J::~- '" :¡:j.....:s o.o:¡:j p. ~ .SO·~ ] 5 s .~ 7ä 'Q, '"':I Q, Q;'OJ ~ x 5:: ~oQ,~~t)~Ej Nì:o£íücciì:o£jü o .....,........... ".¡J ..... 0 ~ b.O -= .~ ~ ~ t> lea' ¡; OJ OJs ~..... _ ¡::............. ::s: ~ .... .¡:: S $ 0 -::: ì:: g .,3 0 g' os ~..gP.~~ì:"''''OJ¡::lJo .~ ;a .ß e .~ ~ ~ ~ ~ ~ ~ g 0 O!:: 1:= :> Q..¡ () .....5 ~ ..s .~ 'ç¡j 'õ' Ò tj O <1J Q.¡;"; -.J -.J ;..; ," ;..; 0 .., Uu'1:l",,,,. P.P.P.ì:P.,.....~ 1:: ~ ~ 'õ '1:1 dJ <'3 ¡:: "" ã ~ 15 oJ 0"'1:1 SOJ ~ ,..... ,,0..... U (J c:: Q, ttS 0- ca ..... c:: ...; i'd QJ Q..¡""!j Õ _ ..... s:: i'd...t:: u..... 0..-1 ..... ~ ~?3;§ '~:E ~ ~ ~ .= Q, '"0 5::""""= ::S'.-I OJ ..... QJ o '" p. 15 ì: P. ~'1:1 ~ o£í OJ ~~ .... OJ ~,E ~ u -= rg ."" .., c: _ Ÿ 00-1 '<:>...'1:1 æ~o ..... . OJ ..... o.ot;¡ '1:1 OJ ::s ..... .<:> .~ '" ..... , u ¡:: .s¿",o o .... .... 0 P....... '00 2J u .... o.~ 0 ..... 00..... » .... 0 OJ - Q..¡o QJ ~$-¡ ........... ~~ 5S ~ cJ ]~~~~ ~ o §g ]~ <::::( ~ ¡;.i¡ ~ ;;;J rJ1 ~ ~ íJ o ~ =-- ~ ~ 't ~ < ~~ ~ ~.g o Up:¡ ~ ~ z ¡;.i¡ u ~ ¡;.i¡ =-- '" ..... u I!) 'õ' -= I-< C,P-< .... ..... ~ 5 ~ ... S ;¡¡ ~ 1lJ'~ - > e -< 2 P-< C, "'- u ~S;:::: ~......~ ....-'" =ElP-< aJ .- '-' (oJ ª" t8 à:;u ~~ on - , - ... .~ 0 cZ ~ e ~ 10. '" ~'" Q>< 10. ~ .... '" ~~ !~ 10. <.) ~ .~ g,.- C,"@ ~P-< o :::S .... N <.,¡ , ~'f) ....'f) =00 Q~ U~ .... ~ '" .~ d) .-.:: ..D U "'- ê u I-< (j) > o P-< ...... J!J U <.) I!) I-< 15 .~ ~ S ~ <5._ æ :: ,-,""" (J > ..a-8» 2 <r: <r: ~ " oj ~--.-. oñ) S Z Z ;:::: 101) ....... 5h:;:::: '"0 ...... 0 8 ;::: oj I-< ~ .~ p........ 0 §- ~€I70 U .~ 0" ~ ª" V) o u ~ '¿f 'tz - - '" ..... u '" ',=, 8 P-< o 0 0 en ZZZ~ ~ 00'" ZZ~ " '" '" -B ¡::: rJ) "'0 ._ 0 00 '¡:: 8 í!J '" P:¡ r/J'~ 8 <.) ».g~~ 'ï.::~iXro '" oj " I-< ..D ...... >. cò 8 æ ....¡ -e Þ2r/j~~ ~ u ;.: '" ~~~o IlJ CI.J () >. o « o·~ »1»9 Õ ~ Õ ê " 0 .~ u µ.. ~o..q-o NO C'f) 0 N r:- 00 C'f) M N 1.0 1.0 I , I I r-r-"TM f'."TI.r)Q t-0\C'f)0'\ --...-...-.. 000000 OV)QV) "T 1.0 oo::t I,Q ------ tI'J ooro"s...... ::s t/.) .- IlJ OJ) ~ U >. B g.8~" 9 ~ >< 0 1-0 +-> '-, 0 ~ 00 ~Z"'-g.IU"¿'~ .£jãiGÞ;,;;; ~.-.- ~ "oõU ...... "'- - ~ '" '" >< '" '" § ~ .. ~ '" " '" ~ Q Þ I-< ._ 00 () § 8 ~ 8'~ '" 8 i': u 8~~ o o - N , a-- N '" ~ o on 'f) ~ o f.I. rn = 0 ¡:: B .9·ca .:::: '€...... cd +-> < '" <r: Ci " ~ g. rJ) rn 5 (l) 0 ú33~>æ rJJ ..... '" 101) "'0 '" P:¡ E '" 8 '" > 2 "'- 8 ...... '" ..... 'g. u ~ N '" '" >< "8 ..a :;;: » <.) § Z ~ '" o » ..... iJ o o o .... , r-- r-- N ~ 00 o .... ~ '" '" o ...., § r/J '" '" "'0 <.) .§ g 9'6 ~o " ¡:: 0 ~~ , - "'''''' "0 0 '" on .'='..... 8 ~ "'-''=' "'" 0 o 5, " I-< .S <oS ..... oj '" '" '" - <.) oj oj >- "","'- o <.) ,0 :.:::: 0' ~ ...... '" P-< § ~ '" 0 '" <.) ~ '"O.~ " " >- ~ e :::::ü .~ '" ~õ) '" '" >< 'E '" ~ » ..c: ..... oj ~ "'0 " § .g '" oj ~ ~ P-<~ o o on r-- , o '" r-- ~ 00 o .... ~ '" '" ~ '" r/J "-' o = o .~ .. > ~ o 0 ¡¡ 8 8 ~ I-< 0"'0 0 ~ § § o = . 0° .~ 0 .....- e'" ..... '" = o U Photograph by Terrence McCarthy Hannah Tarley, 13, is the concertmaster at the San Francisco Symphony Youth Orchestra. She heads for Los Angeles every week for lessons from a world premier violin instructor; and she practices for four hours a day. Young musician is coming of age as classical violinist By JUDY PETERSON In the movies, she'd almost certainly be given "two thumbs up," but in the world of classical music Hannah Tarley, 13, of Cupertino is simply described as an exciting young violinist. But this exciting young musician plays on a rare 1807 Gagliano violin which is on loan from the Mandell Collection of Southern California, something her teacher Robert Lipsett arranged for her. And Lipsett is one of the world's premier instructors of young violin talent. Hannah and her mother head out to Los Angeles every week for lessons from Lipsett at the Colburn School of Performing Arts. Hannah is called amazing. She's per- formed 'On television and been recog- nized as a child prodigy. And as a 5-year- old she won the Chinese Teachers' Music Association of California competition. Hannah gave her first solo recital as a violinist at the ripe age of 4. She says., "I can't really remember when I started playing, but I started walking around with the violin when I was 2. As I got older I started practicing with my mom and I got more serious." Now at 13 Hannah practices four hours a day. Her mother, who is a violin teacher, not only supervises her practice sessions, but home schools Hannah as well. The practice sessions are broken up by her other classes. All the work is apparently paying off. On Halloween, Hannah was a solo per- former with the San Francisco Symphony Youth Orchestra. She describes playing in an orchestra as "really interesting and fun because you get to play amazing music and all the instruments get connected." Her dream, though, is to become a professional solo player. The first time Hannah per- fanned as a soloist was when she was 6 years old. Since she's been at it so long, she says she doesn't get nervous. She has been perfonning with the Youth Orchestra for three years and is the youngest of its 108 members. And the orchestra's youngest concertmaster ever, which means she leads the first violin sec- tion and answers questions from other performers. She says, "You have to know your music. You can't come into practice not knowing the music." During concerts she and the other orchestra members have sheet music in front of them as a back up, but she says, "When I play solo 1 don't use music." Despite the packed practice and per- fonnance schedule, Hannah is in many ways a typical teenager. She swims reg- ularly, emails and chats with friends online and listens to 60s rock and roll. The Beatles and Elvis are her favorites, but she says lately she's been getting into hip-hop. She also loves science fic- tion and books about World War II. "A lot of my family members are World War II survivors from Russia," she says. She and her family have lived in Cupertino for six years. Of the latest trend to put "pop" into classical perfonnances, Hannah says, "I don't think Tchaikovsky or Brahms need to be changed because they're so awesome. You can't forget the original." She says the violin is "a beautiful instru- ment" and feels lucky to be. playing her rare Gagliano. She also says Upsett is "a really amazing teacher." Hannah's training will continue, but she says., "At this point I'm not sure about Julliard." She will be performing soon, though. On Dec. 11, the Youth Orchestra will perform two holiday concerts of Prokofiev's Peter and the Wolf at Davies Symphony Hall in San Francisco. It! /1'1 I ò I.f EUGENE H. LOUIE - MERCURY NEWS The Peacock Cantonese Opera Association singers Tran Mach Chau, left, Marian Mak, front and Maggie Wong rehearse in September. The association is the only group of its kind in Silicon Valley and the only one in the United States with a master teacher. CHINESE OPERA SPREADS OUT IN SILICON VALLEY UNIQUE GROUP'S TEACHER PROMOTES ANCIENT ART TO WESTERN AUDIENCE By IoII:IueI CI'IÅI Mm:uryNews Traditional Chinese opera has existed for thousands of years. In the South Bay, it's been around for littJe more than ayear. The Peacock Cantonese 0p- era Association in Sunnyvale is the only group of its kind in Sili- con Valley and the only one in the United States with a master teacher, said the association's manager, Jennifer Lam. Xiaobo "Paul" He is a 40-year-old Chi- nese-born opera star who moved to San Jose to promote the teaching and perfonning of the ancient art to the Chinese- American community and to Western audiences. He teaches singing, acting, CUPERTINO dancing, opera malœup, stag<o weaponry and technique clas- ses in the courtyard entrance of an Eiclùer house in Sunnyvale near the Cupertino border. Classes are held six days a week with flexible hours to accommo- date the students who range in age from 10 to 84. They include doctors, business people and retirees. "Chinese in the United States have an interest in Can- tonese opera, especially in San Francisco. We want to spread the cu1ture throughout this val- ley," He said through a transla- tor. ''I'm pleased the Chinese community has welcomed us with open arms:' he said "There is a huge audience and more students want to learn. There is great potential" Opera is an integral part of Chinese ~ that combines music, song and acting to tell stories based on folldore and history. It incorporates e1abo- rate malœup, sp<ictacu1arly col- ored costumes and, in some in- stances, weapons and acrobat- ics. "While I'm learning the songs and perfonnance of Chi- nese o¡iera, I'm also learning Chinese cu1ture and history:' said Pinky Lee, a retired Silicon Valley enginæring manager See OPERA, Page 4 ::> '-' .,. o o N ro '"" '" w CD :2 w > o z >- « o '" '" ::> '" t- - '" :;: w z >- '" ::> '-' '" w :2 w '" o ~ z « '" 3 8J§~~ q~~~l~ P ~ ~ cg ~ æ m" 2! & '~j""':> 1:: '" LLJ ~ VI §..d].E! ~E.]:j:;¡ § § ß<~'U~ !;;Æ'" . ~ Q,) LLI..êß § u~ "~ ..., ~;SUJO '" , 0:: +-' ro () S 8~'" 1¡:]' OO]~j~] UJ~]~~ 1-<= .D2l -',,,:~"ª '" ~·s~.£j ~ ",:.ê ~ Z:§ ~-ª ~£ 8~åæij ~ ]~8"tijl~ §'o .0 - '" ~ g UJ E g~ " '" 0 O:::J;2o·c ~ 0 Jl.. íIJ"'O '" .§'S"'O~-o ~.£j'¡j~ :::¡ji!Q¡ ~ ~.!: &:.~ ~ ~ ~ ~i~]ln ~~~~i~ o 13 "'- ~ Me~ s::: . III :>-.æ.s~ z ,,~~ () s::: ~ IJ.. §¿f~..... (31;Jè; Q."- ~ "'~"'O" .sooo" " '" S 1--1(.) f<:S(\j o <I! " () :c ..s:::- ~ ~ ..6"S' ......0 Q) ~ -- ...... 00: ~...... z -;æ.8 ¡,J, i!: ,....-4 > œ !." r~ VI s::: ~ ]~-Ð ~ <I! t: 'd u '" i' œ a. ..~ "O~ ... w r""1! ... " 0 () VI uI I Q)Vi "'0..., E...... :c p; s¡::s ~~ ß'c o s::: " 9 . 0 ::> . &:..s::: 1]~~ u () if ~ ~Æ _ "0 . () ~ ~ ._...c ~~ ä1 ~ ~ B·~ ~ <=<+= CfJ()""'j VI () ;¡ ·c:5 oo...c::~ <I! "- 0 <'-'" ..s:::0 '" "'.- ""~h ~ ::::" >,E ~ .¡;:....::l ::="0 ::Ii "'" s::: s::: :i! .~ ~~ :E~ § ~ <I! ~, I -:::: ro E () ~ -"=,,,, 0]..., 0 -of;' :N~:S E u I o 1i3 rJ'J. IE-o ~x .B:si u-- ~.¡;¡ ()"O. "'",- "'''' ~~ ~ en:=¡--= rJ'j c>'" () <I! <I! <='" §'"'O' .- '" ~CJ):¡::¡ "'0 "'''' ",<:3 ~.~~.,,; ,- e>.s::: ffi~ ..s:::~() ~í!.8JJ U..s:::...... ~ a.", l!<I!8. Oij:: o:"''''~ "'0 {; ê':å jj ::Dc. ...... VI...... ~ <=" :s 1}J '" '" -- <I! .- 0 "O()() -<=~ 1J0:5'E () "- "- '-'c> VI()e> ~ æ..s::: VI Iff! J~-:SÈ~~ å3.-a 6.] 2! _5 í!j-s'õ ¡jj .8 6. å3 -I- -- Q. , () 8.~ 0 jtJo..§ QJW . -Q.j Q,j0 f3 VI "- ~ -:S "tij tJ o.~ .£j ~ S ß J ~ g3 ;ï;.~ S æ ~ E E () - ,,-..s::: oo]~gj~]J~ "ê:.ê.g·S. æ1}J",~.<> 1!:.ê ~ ~<I!I- Q) ,~~~. " I' 0 gj~ 0:"'0:5 I ~o .S L~ ".S~~ ~ni1fi~~.81 ~l~ ~ rJ'j 'i:;¡" - o:§ Z¡ãJ 0»'" 0.0 Q,) sg¡·s.s· ~ . gj 0: '" S I"iI "I'Q"'O'¡¡' 0 ~!:æ-~ å38~~ ~~l "'"'0 ß'c~,S~~ld.§J ~~~~ ~ ¡ ;¡:¡..s Ê "'", ~ ",jj .8] ~ ]- _ 1:: ..;E.... !f ~"8 U0:5 .~] '" o:~ "'- 0:--'" "'<-¡j .~ 0<4~'E gj]] ~ê.8' ~~jj~§'~, ¡f~....:i Õ :¡¡iI1~' I '" '" '" ",..d.," 2.<> ~~o '" i ~f~B ~ U~ð~~'~ ~~]:~~.£ji1~] UJ ¡j ~,g~'~Þ';ð"'';:¡¡1J02 .,~¡, "'0 - 0:> "'0' -I\' "'O-0:5~S.8 .!!!<¡jI'Q.,,,, .æ§", c:z: ~ ;~¡-:S ~ ~ ¡j]1"iI ~.!s '~§]]~'õ ê'.š æ] ~ 0:; ~...,'õ ~ :¡¡ "'~ '" "']. 0 ~ 'õZ¡~ áj 0: .¡] CII:: ~ .]:j ji~~]~~¡ji'õlj~iihf~~] § f LI.I .8 0: ~ .~:,:;.£ Ê ~ '" 0 ....:i. 1 gJj '~]J~.£j si.s]1~~ ~'ã æ~ ~'~.s~ a.. ¡: s~~£~ I\' ~ 8.;1}J æolrlS.§1J:=§'~ ~ <:: 0 ¡: ..8]"".. n ~~ß ~~ 1J ê E 8: 'Ii! ~§ gj.2tJß'ª (3 i?; ~ ~ ~ EUIDOObv. O~N ,..c ~~,~. ~".~ .. ~. ._. ~ '^ - ~ ",. . '¡ 11(11/0 'f Public Art: Pract:ices A Reference Guide for Developing Public Art Programs and Projects 7iY1<litionally, public art has been exactly that--art in public places. A heroic soldier ill the park, a bronze cagle ill the hallk. 01' (I decorative relie( 011 the f""ade o( city hall. While traditional works like these represent the fiJl/ndation o( public art, co1ltemporary public art has grown to encompass ~:. }vid~' j;'1Jì,:;C q(irl}()l'ative cuncepts, prqjectc"l' and programs. Historically, one migllt IISf! the Statue o( Liherty is a good example or "lIew" art horn Fom traditional ideals. A g.ff!O the Chlited Slates in lH85. it f(lok over 20 years/or F. A. Bart/wldi to develop, design and create thc worldlàmo/is .\'!a!uc. Although his heroic image q{ liberty was based ollfiguratlve sculplllres orille past, its representation o!.freedom as a woman was IInllsual in the Ullited States and hecame causcf':'r dehate. People were afi'aid she '£I look tired or old alld he less than heroic. Rumors, misperception\' and concerns over its "contemporWT" nature created intense controveny in the /880s und the sculpture H'{lS J1ear~v rejected. ]\l011/, almost 120 years later, it is one o(the most recogni;,able examples o(public art in the world. Today, public art ill eludes "traditional" monuments and decorations along with a broad .'~jJectrum q(unilftlC pn!iects and progranls. 111 many case.\', artists arc included car~v in the design process or as par' o(the design te(lm, and community leeder...· work to include and educate the public t/¡roug/u;'itt '/¡c del'clop'í1tTll olpndccts, JYi/h /!lese and other nelr stratcg;cs, more ofh.'ll than IIOt, pl/blic art becomes" source of pride alld elljoyment f(¡r visitors and residents 01 the cities and comn1llnities it in/whits. At the ,\fart q( the new millennium Hie've learned that a comprehensive public process is qlien the key to ,\'lfcces,~fit! public art pn?jccfs. Some works like Ihe Statue ofLiherty. f¡"ve world..wide impact while others may identity a eity or simply hrighten a neighhorhood 7here are many examples o( sl/ccessf¡tI permanellt and temporwy puhhc art prqjects Ihrollghout thc nation: 77/e "Chicago Picasso" in Chicago '.'I Civic Center Pla:::a; unique henches and hu.\ she/tel's adorning parks and sidcl,va/ks across the country; photographs, .fìlm..... and tderision programs' projected un the side q{ ¡Jili/dings hy artists .fhr l'iewers g:..lIhcre(/ ill thc street: artists, architects wal desigllcrs collaborating to transfÓrm land .lU/s into SCC/1Ù: parks; street musicians and pedármers cntertaining IUllch time cnnvds; a garden designed hy an arti.\'t mul (l scient!,..,! that \,vill help remove toxin)" from soil; husses painted by local citizens 10 ce!ehrate oml add ,'il,/'(/nev to eilV life; a quilt with sectiolls made hy peoplefi-om around the world that travels the cOlml1y to raise (Hl'(Jreness ahout AiDs: The "Gateway Arch" on the shore qfthe A1issisSl/Jpi River... St. Louis Regional Arts Commission 354(1 Washingtun Ave., St, Loui", MO 314-652-5511 This plJb]1c~:¡rjon i:; availahJe for downloading at: \vw\\i.art-stl.c011l A Ilcj(iooal A'I. COmm'"SlOtl Si.I.".ü. Statue of Liberty "Back in America, fund mjsing tÖr the pedestal 'A d going panicularly slowly, so Joseph Pulitzer opened up the editorial pages of his newspaper, 'The World" to support the fund mising effort. Pulitzer used his newspaper to criticize both the rich who had 1'ìiled to finance tfte pedestal construction and the middle class who were content to rely upon th~ wealthy to provid" the funds. Pulitzer's campaign of harsh criticism was success1lli in motivating the 1)(~ople (,f'l~mcric(;( to donate." -The Nalional Park Service, Statue of Liberty and Ellis Island Gateway An h _'ø .,', t"~chO(1 'Únional [:xpansroll Memorial ---------.'"-.-- ".'. -. .,~-_. - ...... ..--.-. -------- CONTENTS PUBLIC ART PROGRAMS PERCENT -FOR-ART PROGRA'v1S......"................,......................,.....................,...........1 -Mandated Percent-for-Art Programs -Voluntary Percent-for-Art Programs - Partnerships and Collaborativ,e Public Art Strat<gies ARTS IN TRANSIT/CIVIC DESIGN PROGRAMS....,.................".................................,2 -Artist/Architect/Engineer Design Teams PUBLIC ART LOAN PROGRAMS.,.....""..........."",,,...,,,....,,.......,,......,,....,....................2 -Long Term Loans -Short Term Loans -General responsibilities or each party and estimated costs for loans ·Collections COMMUNITY PROGRAMS, PARTNERSHIPS, COLLABORATlONS........................3 ·Education Collaborations/Partncrships -Community Projects THE SELECTION PROCESS PUBLI CART COMPETlTI ONS ,......,....,,,.....,,,,.,............,,..,,.....,,,..........,,..........,............4 -Reques! 1'0.. Proposal (RFP) -Invitational PF!OJECTS CONTEMPORARY PUBLIC ART PROJECTS IN THE UNITED STATES..................4 -3-D Chicago I Pier Walk -Denver International Airport I Terry Allen -Buster Simpson, Host Anal,,!; -Agnes Denes, Wheatfield - A Confrontation -Maya Lin, The National Vietnam Veterans Memorial -Th< AID.' Memorial Qmtl FREQUENTL Y ASKED QUESTlON8....,,,,,...........,,......,,,,.,,..,,....,,,,...................,......,,....6 ELEVEN STEP PUBLIC ART PLANNING MANUAL .....".............................................8 RESOURCES..... ..,.,.....,......"... .,......... ......",......."...."..... ...... ...."....."..........,....,......."..,..,12 ARTICLE: "Legal Issues Surrounding Pnblic Art Contracts"....................."............"...13 PUBLIC ART PROGRAMS PERCENT-FOR-ART PROGRAMS Percent·for-art programs encourage or mandate that a percentage of the construction budget for public buildings and sites be used tor public art. n,ere are over 225 city/county and state percent-Jor-art programs in the US, Hiswrical1y, projects developed through this process have included sculpture, fountains. photographs. paintings, murals, bas-relief, t100r designs (terrazzo, tile, etc.), specialized lighting, and text (poetry. quotes, etc.). Morc recently. projects have included landscape design, sound. video, and interactive computer and video kiosks. Many projects are integrated with structural or design aspects of a building or site, and might lnclude handraiL, \-\'¡ndow desib'1lS, light fixtures, landscape designs, railings, columns, etc. They might akm be incorporated in daily opl,~ations--musjcal sounds added to announcements in recorded airport instructions. unIque bcnches. or creative signs that help guide visitors. Mandated Percent-ror-Art Programs .. The typical percent-for-art ordinance stipulates that a percentage (typicaliy j to 3 %) of the cost of constructing or renovating a public building or site (or a capital improvement project) shall be set aSIde tor artwork. This allows one or several artists to create artwork in the building and/or 011 the site. In many cases, artists work as part of a design team with architects and engineers. This minlmizes costs by inteb:rrating thl:: design work with the construction process. (In many cas~s, an artist designed railing, light fixture, or floor design is no more expensive to fabricate than "stock'· product¡..) j iistoricaily, public m1 projects that include community participation and support are the 1110st successful. ~Il most cases, these programs arc administrated through city government with a selection committee and a tlwrough selection process. Education programs often evolve trom these projects which increase community awareness, participation, and support. General Cost Range per pro;ect: $5,000 - $1,000,000 Voluntary Percent-tor-Art Programs· These program.s are privately sponsored by corporations, 0"'1ers and/or arrflitects "itl1 the recogniLon that art and design projects greatly enhance the environment of buildings and grounds. Enhancement of space and artwork increases attractiveness, thereby attracting tenants, increasing employee morale, and encouraging a greater sense of community. It also increases corporate visibility. a"ld improves owner ir1age In some c&,;es, there is an investment factor --works of established artists wi1.l appreciate over time. For many voluntary art programs and projects, a pt;vatc art advisor/consultant is contracted to coordinate the process including. project/program design, budget, selection of the artist/s, artist contracts, insurance, doclimenlation, corr:.mittce and community involvement, public relations, and installation of art work. General C",t Range per project: $1,000 - $250,000 Partnerships and Collaborative Public Art Strategies - The programs listed above represent the fundament"l proœ3ses behind pubiic a11 progTamming. To cnhance these programs, many public art projects bene1ít from partnersLips, :.:ullaboraÜons aJlci/or collabo.-ativ~ funding strategies. For instance, a trans, it program or mandated percent··fc,r-3Jt program might seek a grant from a local m1s commission or private foundatio;t to pay for the cost ofpriniíng a æquest for art ,,vork; public or private land might be donated as a site fè'T public ar::; prIvate d'JnatioTls might be col1cctcd to fund the maintenance/preservation of artwork; in-kirid donatïon~ of equipment rental trom ptivate construction companies might be used tor the installatiol of art work... ARTS IN TRJ,NSIT/CIVIC DESIGN PROGRA:\IS These are prob'Tams developed specifically' for tran:;;portation projects. Generally, they are funded through percent for ar ordinances and'or individual project grants. Pu;'lic art in this category includes a range of projects from bench desígns and m1Jra~ projects to bridge and railway station designs. Artists may be asked to create a specilìc wcrk··--ber;ches. wall tiks, murals, railings, window designs, objects at rail sfations, etc.---or work as pal1 ~)f a design team \\'1Ih architects and engineers to integrate artwork into the facility----columns, lighting, structural cornponents, ¡nick designs, sidc\vaJk designs, etc. This adds a new pcnpective to the design process an(~ allows for a wider range of design solutions. General Cosl Range, $5000 - S500,OOI) Artist/Architect/£ngineer Design Teams Coilaborativc d~sign æams are oLe;} pan ~,;t a percem-IÌ::<r-art, transit program or private projects. Artists work with architects, designers and engineers throughout a project to develop aesthetic and creative design solutlcns. Tbrough this process. the team afreets the aesthetics and design differently than an individual architect rmght. Localíy. these team<;ollahoration projects have been successful in the development of the St. Louis an:;n Metro1i;1k s1atiolY~," General Cost Range: $501)0 - $SlIO,OI)(} PUBLIC ART loOAN t'B!)GRbJ~.s Art loan programs give the borro\ller (such as buildmg owneTS, business associations, neighborhood associations, cities. etc.) the opportunity to temporarily display work on an on-going basis. In community settings this i; an OpDoJ~"U 1;t~! to e(:,œ~me ocoplc aboet public ,u1 and how it can enhance their sUIToundings, fûstt-"[ dialogue afle enc(~l'.n.'Ige a greater l~t:'l1Se of cor.ul1unÜy. It is also an opportunity for local and regional artIsts to sho\v lhe;r 'vor;'~. Chicago '8 .r(eI....\Y"ªlk exempli ties this. In 1995, three sculptures were displayed on Chicago's ¡,¡¡nous pier. on 10an from tr dividua I aJetists. Because of its popularity, just three years later, durirtg the nrmual event, 1í'5 s'cuJptures wcre dlsplayed for six months and seen by oyer a mijhon pL"Ople. Long-Term Loa.ns i;lclude h loan Jgrcerncnt with artists, art museums, private collectors, galletics or art organizations to hGn'mv ....\\)rk~~ of :lrt IgeneraJly sculpture) for a period of a year to an indefinite amount of time. Short-Term Loans m:'Jude;¡ lO(1;" ~\greune:lt \.,vith :u1 -:nuseums, art organizations, galleries or individual artlsts to place är~ .,.n H '>'aI-jetY ofp13U:~~' .cJr per"ods:rom I month to a year or more. This offers an opportunity to showcé\~'~ local artj~;ts, and can h-= c:nmhim:d v.'Hh festivals and events to gain more attention and add a unj,~ue sense of fun and coì]abüration to Co sire. General r~~ponsihmtÌ('s of each partv and estimated costs for loans: A loan agreement will be required by the lender which will ,pccify the period of the ioan, l11aint'~nanceivr:nd8;)SI'.l rG9,msib¡li¡ie~, msurance requirements, round-trip sbipping, and any other specifications and responsibilities requIred by either pany. Below is a list of common responsibilities for the lender and borrower. A variety of circumstances can arise for borrowing and loaning art, other agTec'nents can be t1l'gotlated between f.arties Lender Rðponfìlbil;¡ie:;: · Shpping? · V/ork should b~-.. shipped in tht best condition .. Pf:J\"i(k: ('nrrt;>r ~·::Cl;r:e'l1.n('e'·'e-c'Jrd~~ · Sped fications f('¡" maîntenance,c{)ûservatiotl I) To voice C~ì'.1 ):".11"; to I, ¡~(' hor~()we·~ 2 Bormwer Respons;bilities: · Shipping, shlprín'~; jnsuranCl~~ {(ìcnerally not the responsibility of the lender.) · Site preparation · Concrete pad ilS base (for sculpture) · Equipment for moving and installing work ,( Crane ,/ T'n.JckJtrailt-'i ./ Labor · Maintenance and or Conservation during the loan period ./ tn:;;urancc .;. Specai considerations ,/ Sod rep]a~;e1ìlellt/side\\'a]k repairs ý SpcCl<:d hbricatjon~:"'lr rr.ollTlting/Hartb,'are Cost Range: Cost; vary according to the size of the work, its location. and the complexity of installation. A large meta] sculpture (horse and rider scale), shipped from a location 200 miles away and installed on a concrete pad, nll¡,ht cost between S500·$5,000 for s;1ipping and $500·$5,000 for installation. Personal Art Colled;ons - Sometimes 811 collectors seek unique venues to display work ¡rom their collection or. upon their death. will their collecion to inter.ested parties. In these situations, a long or short· term loan can ')e :1rT3nged or thl~: work can be accc~sioned by a town or city agency. C~\llM UI\ tD:.n~ Q(!itc\_[\15.>l'c~ RT~E;.~~mp..& CO LI,ABORA nONS Community and e(ucatÎoll programs are gë.ining attentJOIl for their impact and long-tenn educational value. PartnL,-ships bet'eveen individual cit::zens, al1s organizations, communities. schools. and businesses are producing -innovanve ~,()lUtìŒ1S to many sociat challe!1gçs. Education Collaborations/Partnerships· Arts organizations. museums, schools, and/or artists can be select,~d to deve10p independent or cDlbborativc education programs which include public art projects. These projec!s are ge~le:n1L~y scheduJed to nCCèr duri.ng the academic year and include a public celebration aner the inst1I1alÌo'¡ of the \Vork With the I1Jvolvement of students and residents, these projects are general1y "eil re('cived hy the c""'.munity and sometimes heeome annual events. Examples include school 111ura]s, cornnILJ!il\' µ,:m1ens. sidev..,-alk dc~~i[!I1s, painted dumpsters, etc. Grants, private donations, schools, and cl)1Iabon:¡!I\/(' ()r~rn~'ljl;;")r)S :;uPl1urt !hr::,c prognlnY:;. Uasic costs l11c1uáe payment for the artist/s, matenals. equipment. printing (announcements or tìyers). and food & drink tor a reception. Many public artjst~ seek opportl'mt;,~s to \\iork \"it:1 ~tudents, CQ1l1111Untty bTfOUPS., and neighborhoods to develop projects. Several of the 1an:ou5 Lcs A..ngeles 1'1lJr315 'A'ere created colJaboratively by the artist Judy Baca along with yormg peop1e from sUJTc>U11ding neigrborhoocl.8. Cost Range: S5o¡) - Ji2S0,(}(}(j Community P'rüj¡;ds Communities inÎ(:rested i:n IlcighborllOÜd impreven'"!em can sponsor community-based public art progTams. Working with iœal artists.. architects and landscape designers. they can develop enhancement projects or inciude progralrs :;]('1('\'/ construction. f'hey can alSO develop pm1ncrship probTfams working with local busjnr~ssc~" dH.ITCh(:~;, :JrganÜations, schools nnd/ur ;~¡rça youth to promote temporary and pennanent f~Ilhancemcnl nrojecl:; :1 THE SELECTION PROCESS PUBLIC ART (~OI\1P~TITION!; (see page 8 lor a public art project planning outline) Once a decision is made to add art\vork to a building or site, consideration of the appropriate media (sculpture, ]andseHne design, painting, etc.) should be developed along with criteria (environmental, struet1Jfal, aestbeLr::, etc.) D,)f tbe Viork This might be very specific or left open for the artist to develop ideas. Once this p(¡a',e is completed, the process for selecting an artist begins. There are two primary vlays to select af1jsts: Request for Propo.al (RFP) or Request for Qualifications (RFQ) - When a new project has been detincd and thc criteria set, requests for proposals are sent to artists regionally, nationally or globally or some combination of:he three Thes¡, requests specity the infonnation and fonnat the artist must follow to submit his or he: pmposal. Generally. hackf,'Tound iniònnatÎon (resume, slides of earlier work, newspaper ¿nicks, de:.) I~; reqllestCQ along with sketches and a written description of the project. Cost Range lor selecting arti,,!,\: $500 - $50,000 1n addition to L-utist's tees, material costs, construction and installation costs, and housing when applicable, there are a!so cxpellS~S r(;~lateä to the selc,:;tion process. SeJection committee members are sometimes paid an honoranLEl tÓr the" time. If arti,!s are selected nationally there may be airfare and botel costs, and finalists (3 to 5) receive an honorarium tÓr tinal proposais - gene'fally $500 to $2000. Invitational- The RFP process (above) is lime consuming. In some cases, rather than reviewing a large number of proposais. ;) smalier numbu of arti"ts ca;) be invited to submit proposals. These artists can be io:::atEd througl~ a \..and'ý 01 me~-ns including reviev.' of current public works, contacting local arts organizatlons, speakinç wirh luca] art~ protessionals and/or contacting national organizations, Although this is the same ba~,lc scJection process a';; thc RFP, it reduces the office work and time needed to interview a large number of 3;118:;':. CfJst Range jÓr selecting artists: $ J, 000 ~. $ 75,01)0 Invitational projects ,,1Ien include artists with established careus, which usually means they come at a higher expe-nse, C,)st also reflects rnisccJlaneous expenses like daily stipends for visiting finalists, hotel costs, airfare, etc, PROJECTS CON rEMI::'QR.~c~sY_PJ~.I}.LIC AH.I.rI(~JJEClS Public art has l'vol\'ect from its dçcor:1Lve and monumental roots to include contemporary projects ranging from gumba1l Illilc:linvs thát d,:.spensc works of children's art to scientific land reclamation prqjects and tnmÜ design. ~';';(JI'd\= d1ic.Ut' pubti:; d(t pr('.iect~.;r;cLJlie: .. 3~n Chicago··The E~DYalk series has become an annual event of an "open air" display of sculpture on and around Na\'y P1Çr in ChiCLgO. In 1 '~9g, 175 sculptors n·om around the US exhibited their work. Sears. Roebuc:C 2nd Co. sponsors the project \\'hich dravìs thousands of visitors each year. llt!JJ:/}:'·~'}j_:_:.Et.L'rHal!i.:£fu.J.I{ . Denver International Airnou"t Project n a lJercen[·lor-art program was estabiished specifically for the con~,trLcijo~, o' :1,., IiC"'! Denver lnt~rndti(\nÐ1 Airport. ¥/ith a budget of over 57,5 million, 40 ,mists and SO committee members were involved ill the development, selection and installation of an works throU¡:!1tILlt the (jirpO'1, in transit tunnels. 3l1d outside the airport, Terry Allen, ;()rtist - His Nctn~ Denver project includes humorous gargoyles sitting in suitcases mounted on th.;' Y/all~~, :jn the ne\\' Dell'.'er Intcmational Airport. !J.lf 11 :¡!!2..ll:~':...~~/~~-'0!!:!l.i-":!:~I;~!l.!!.!_X~ªUbl...it!!!~~'¿¡!JJllly.tl i.\L i d ~;1 4 · Portland C(lnVciiltÌOìß Center.' ßu~tt:.. Simpson, artist--ln 1-10St Analog, commissioned tor the Portland, Ore.:.!On, Com.ention Center, Simpsoll is in the proCCS.5: of creating a forest of trees from an eighty toot I()n~~ Douglas tïr "nurse" log that was cut some thirty years ago and then not used as lumber. The rotting tc,~ provide:: an excellent growth medium for sprouting seedlings. Simpson has planted seeds of \~v'cslem red cedar, Douglas fir. and hemlock directly on the log. httv://'rVli'H;~g~t!.('n!nUStYJ11.(Wf.-:/arJJ.'·( inJ".Y.(Jhp?ertÍsf id=21.. h/tU://Wli'HJ.husters;mvson.net/ · Battery Park L.ndnll, New York City I Agnes Denes, artist-·ln a work called Wheatfie1d - A çonrrOmª-Ü~!!J.: ')i.:r.cs p'nnled arLd har,fl:sted lY acres ofwhe;:l.t on a landfill near the World Trade Center in N'èW York City. Thç Wheatiield project was a stark visual contradiction: a bcautiful goiden field of whca~ seT among the cCìüJ steel skyscrapers of downtown Manhattan. The harvest yielded loon pounds of gl":Iin, \vhich wa~, h~o~o police horses, h!œ:'/H'\nl'.hat/ervnarkcilr.oJ'f!.¡'fJUhI;c.htm · Washington DC / Maya Un, architect - Y..ietnal!!.War Memorial At the age of20 and still a student at Yale Univer:;ity. Lin WŒl ;] natIOnal design competition for the Vietnam Veterans Memorial. Under a com:oiicatcd and polirical1y mcssy process, the famously simple but moving piece was erected and has become one of the most visittd NHtional Monwnents in \Vashington DC. !l[JQ: !/1,F\l}8'.æL~fLQ{':~:/¡}¡ c1,<}J.JJ.L--!J!.!!! · T~_AI.iI,\l"l:.i.c~'flOrÍJ¡tl.º,!Ï1t - The large,¡ on·:;oing international community arts project in the world. Each of the O\,,,r ~·1.0()1) cclonùl panels in the Quilt was made to remember the life of a person lost to AIDS. Th~ qL"L ;.'~'nIìnl1e;, to ~:ro"\l ?nd is supp:;rted by a web page with infonnation ahout aids and aids research, < ÙJlrJ~::.'2~~iiÙ..~1J1!:!!.1J....!lJ1{/> 5 FREQUENTLY ASKED QUESTIONS JVhy public art? Placing art in public places is as okì as humankind. From cave paintings and pyramids to monuments and architectural design, an ha, alway> been a part of the public realm. In confemporary society, public art, and the community participation which often accompanies it. contributes to the identity of a city. In the same way thai pet'ple work to decorate their ho'llcs, public art oners visual appeal, pride, a sense of celeh'·ation. fun, and ol\ell represents 'chc health and wcahh of the city it inhabits. Where does the 1IuJ/ley come from for a percent for art proiect? Recent public art ordinances allocate a percent (l to 3%) of the budgets of eligible capital construction projects for public art. (In most ca>:e,. this includes any publicly fimded project over 1 million dollars.) The money is placed in a separate, interest-heming public art and design trust fund. (The trust fund is also authorized to ac""pl gifts. donations and grant.s or Itmds for public art and design purposes.) Interest accrues to the benerit of the public art and desiblJ1 pLlgram. This money is then allocated for administration, pro:~rnmming. fàbricatiollo im:taJation and maintenance/preservation of art work. Who should admìlli.'ìtrare public art programs? There are several models tor public art administration. At the city/county level, pubhc art commissions or cultural affairs councilshwith the support of additiona] staIT members--are created separately or within an existing govemmcilt agency (ìVIayor's Ol1ïce, Board of Public Service, for example) to oversee projects. In many cases, eXIsting arts councils and commissIollS assume the responsibility by adding one or two staff people. In addition to bUdgeting and general onice administration, the responsibilities of these commissions genenlly cover the tòllowing: · Act as FI team ]eader for city prcjec;: rn~magers, architects. professional design teams, community represel1tativ~:; ,ud "n~st:-; · Assist in det2ITtlining ar. apprüpliate artistic medium, as well as site opportunities and 1imitations · Contract ncgl,tlations, budgéting., pa;,ment ~,cht:du]es and insurance requirements · DcHne the arti3t ~ekc~ion prnccEs eligibility and critetia · Support an artist mailing list and slide regÙ,try · Prepare bid.s and pLice a1l..nouncements ill appropriate publications; infOlID artists of opportunities · Develop setecLm process guidf~Jines t(1 ("nsun-~ ,~qual accesS' for artists of all backgrounds · Identify qualified ,Iolunteers to SI..';lì'C on :>eJecticn/advisory panels and oversee the panels · D,:,velop majr!en:mce p.lidelines s.nd act in accordance with professional conservators to maintain collected work Examples: City lOr Columbia. Ofiice ofC'Jltu"al Aff.'¡rs in Columbia, MO; Mayor's Commission on Art. Culture and Fi'rn i" Denver: Vamz.s City MumcipeJ Art Commission, Kansas City, MO, Seattle Arts COll1mission; The:;: Cultural ¡-\rts CouncíJ oJ'HOustolvlianis County; The San Francisco Art Commission; The Pheonix Ans Commission; Hre-ward County Cultural Affairs Div;sion, Broward county, FL; City of Atlanta, Bureau of Cultural Afbirs; OIlice of AI1s aud Culture, City of Philadelphia, Scottsdale Cultural CouncIl, AI; Virf:inia Beach Arts and Humanities Commission, Vi\.; Las Vegas Arts Commission, NV; etc., and many state a?f:S councils. How i.\' an artwork .'œlecU!lf'! The public art program aC.fI1Í'listra¡or keeps a list of potential committee lì'embers (if additional time is requin~d, selection COnllTLttee members ¡J.re E,ometimes given an honorarium) who are asked to volunteer on sClection cO!YlJ~littiXS_ Cümmitree mCll]h~(s might include an artist, eJected Clty official, school administratur, ".L3Ci1Cf, local n,':'vV~~nper Sl8f: a leade: from the religious community, business leader, bank officiai, stude:lts, cOlrlmunity members, alld an ofllcÎal fì-om an anchor business in the community. 'lllC selection committee Stlrveys the sik/s P.nd revlev.'s the artist's proposals. Once finalists (3-5) are selected, " they are asked to creU,· mxiels of their proposal and make a tònnal presentation to the committee. The committee is n:;;ponslb,c to evaluate the \'\'ork tor iLS esthetic quality, construction quality, approptiateness to the site, and engineering/logistical c1ilcria. After an artis{ is selected they are required to adhere to the ctiteriH established for the project. Can a proposal/¡mbFc IIrt wo..k be rejected? Yes. After the proposal has gone through the sclec:ion proCESS there shouldn't be a need to reject the work. If however a problem ari~es, the artist is given the opportunity to modify the work or withdraw tTom the projeçt. Aner in,;tallation. a work can be deaccessioned (removed tTom the collection) by the public arts commission after going through a deacc(;ssioning process established by the public art comn"[SSI0n. What j,\' tire ecollomÙ' impact (~lpllbli(' ,r!rt? Of funds alJocdted to a uroject a percentage goes to: · Artist's fee/so traveL per diem aad hotel · Insurance (ifanpFcahle) · Suppliers, eng;ne~T<'; (if apDlica~le) construction and installation (materials, labor, contractor's fees. equipment rerl'~a] etc.) · MaintelJ3I1Ce · (In many ca~;e:; a nen.'tT!tage 8.1S0 gOC'3 to neighborhood and cOlllmunity projects) Acco,·ding to \V<'ishington Sta'e i~{) f~)r Art Rcsearch, for each Percent for Art project money expended: II 6-11,6°1> is I'd Jnl(Ô in ~ales 1<>:< I) 42-43%! goes 1(' direct pu!""chas(",: of n'!.Htt'rials .. 9- 10% i~. spent on (¡verl1e2'.d (studio, ut.ilities, etc.) · 30-37% gües to PlY ,,,,laries and wages of artists and subconfractors for fabrication/installation work How 1n1J.('h d'oe..- fI'U~ '(l"'j;sl make? Some people 1,;<,r that the arbt gets all the money budgeted and can do whatever they want with it. This isn't true. ^, pro¡¡'ssional "nisi is required to act much like an archit~cl--dcvelop a proposat, fulfill engineering: cnteria and specifications, and \\-ork with other artists and contractors to create and instal1 the work. The artist wc{'ives ? fee for 1heir \VOfk as does the architect, suppliers and contractors. Whllt's 1111 RFP Of /IrQ:· RFP ¡, an acronym ¡()to ;~ec",st for Propo,al. RFQ is an acronym for Request for Qualifications- seeking infÒnnation from artists for several projects or future projects when a specific proposal is not necessary, ~See ra,~'e 6, Tne Selection Process) 7 ,1-1 ~tep Process AN ELEVEN STEP PUBLIC ART PLANNING OUTLINE How to Develop and Implement a Public Art Project- All elemelltary outlille oflmportalll stepsjòr plWI1Iillg a public arl project. Allhough this outlille is structured ill chroJwlog;cal order, it mfght be necessary to duplicate some steps, change their order or add step.'i' u,¡;clJi"dmg to )-'OU" nel!ds. Two key elements t,,~ ," . r~d ¡Jto ¡he ,bli: 'r, ,,,vcess: Patience and Inclusion !atie!1£!J. It i.\ impnrlanr- to decide lvhether or not ti puhlic art prqjecf is the best solution/or the situation. PU/1/iC art is no! a "quick fit"" process. Time and energ.v must be spent to de~'el()p the ('oncept, SeÙ!Cl {Ii,:; anisl/s, one! ¡ndude /he cOl1l1nwllfy. Inclusion: A''11vfBY :,:twutsjàr lv'o{ in ¡¡.fy Back Yard...' rV/¡ile most puhlic art prc~iecrs hegin with good intentions, mWl.l'J;,il h~'ca!{s(; they Grell't appropriate.fÒr the community lvhere they are insto//ed or .they ,','{ rhr:{~'¡I 011 ,r¡,c C01J1,nnmiiy H'ÙJwut ~1·'arnirlg. lnsensitl;}i(v to the opinions qfa cOf11r'.m¡f·' ('/:11 (;"I"',{,'/n" c nro;C'í'i hr~(r;rc it hegins. 1. Cr~ate ,\ _Phlnjtlr:nr; C .1' .~ A planning committe¡: r~p!C,êr"ini! Ulê (U1Jl1nWulj is an "ssemia: clement of successful public art projects. The plmming committee should be represmtative of the community where the art will be installed. F8ctm·; to c('nsider ;n2!ude age, cultura! background, ethnicity, gender and profession. Potential c.,);nll1'ltœ lI1embcl" might i'1dude all art1Sl elected city otticial, school administrator, tcachi(r, loud."';e~'sparcr :,;t:atI a k:adcr frem tJII! religiou3 community, business leader, bank otlicial, students, (;OmìJlUíiÎty,nembcrs, ,~nd an ofÜcial !i'Om an anchor business in the comnmnity. Once the cOlrcmllce na' he':!'; ,I' ,,,;,. 'c' " chair or co-chairs should be appointed. Next, determine the goals o[the comm'Ly r,' .11 "::cltL rí; ;,-,.hing ,ne ¡lOals. 11. cf1en helps to determine the deadlme and \\'ork oacL-'\"d'¡l;', ':Cí:! -;:~'.jTJ1i:d¡dh: J0;.lÌs, St;".JCtur(', your lneeting schedule to meet the goals. Periodical! Y check on group members' contmued support of the project goals. Also, the committee shuukj devote time.Co educate members about contemponny public art possibilities. 2. Collect Visual Images and Educate the Committee CompIle examples of appealing historical and contemporary public art images. This may include slides, photos, brochures, magazines or image:; ¡Tom personal travels, Have pcople knowledgeable in the field of puhlic 011 conduct slid e: presentltions for those interested. Use these images and presentations to genera '('--n',:(· 'Ui '~gct ,~iscussi()(s ~J1 cornmiltce meetings and to assist in building grJnr C()I1"f~r SI, The RC,?;imiU1,4ïfl; ('{)J)iiJIr,;,'!'on /,!,',\ (/ slide I'egi.wry OthYïll, national and žnternational artists ~!.';d {/[}I fa/I,)," (I slid:..' /)¡·e.w'II/(/tio.'l(O,I· YOif," ; weds. Speak v·'ith Pori I '" A,i'neill tit 3/4-652-55! 1 for n10FC in(ormatÙm. 8 in additiUlI, there are National, State and Ci) public art programs across the Nation. Many offer colorthl brochures or \\/eb pages that describe lheir progmm". \\lith a phone call, you can begin to lämilimize the committee to public art projects 1Ýom across thc country. 3. Determine the ßnctgd Use the infÒmntion gai!1ixi 6"oJn ycur ,::cncept re:ìearch and initial inquiries to create a budget. Consider donatic.ns, voiüntce[ 2Lnd in-kind resources. To start a fimdraising plan, use your knowledge of community members and organizations to create a list of people who have a known interest or pos"ible imerest m a public art project. Oetennine who might be the lead donor(s) and how mJch ~b¡t perscn or ol'gamzation lLight comribute. Create a '''contributors chart" working down ii'OlÚ ,h" Jmount ,)fthe iead cl;",,,r,: unti, it mèèts a m:~or portion oftl1e projected budget. Budget items to consider [or a public art project: · ArchÜeet¡Engin~~e E".ft'~n3es · Al1i~t'~.; ¡~ee I)tn;)) · Crating/lrqnspùrtation · cquÌ]JI11CJ1t RE:nL11 · FaÓricatjon C05ts · Hired Labor · lnstallation Costs · Insurance · Legal Expenses · Mete,:ais · 1\1isc(~~l1aneou~, j ost; · Photography · Rcsearch Costs · Specialized Services! Subcontractors - electrician, plumbing, etc. .. Storage · Studio Rent · TraveliMiIeage · Utilities · Maintenance · Special Costs - installation, etc. 7he RCi:'Ù)Jll,,1 A,'!¡; (,:)"11,111i\sion eim (,'sSistYOlf whit hudger development. Con/act f'ort.:'rA/'IU'i/! at 3.14-65.2··5511 or Qi)rteriŒstlr?,c.ofgf(}f· more ¡'~!Ònnali011. 4, ES(¡'blish a Tim' Line Activities '~o cO'ls~der when creating a tune line are: jJ CdmnlmìÍty Ed-.1cation · (\¡r1íXpt [)è\ cl~,pmC:J1t · Crc:HñlAl 01'1::1;; B'JdL'et · '·Ündn¡jsn'~ .' l\.'lad~ctHlb Pial! · A1ti~t Selection .' Contracts, lnsurancc " Creation of Work · ìnstailauon of Work · Dedication 5. ,)~t"rmine:J COl1Upt for An \Vork Idcl1lif¡ 'md di::c""s werks of 3It and cnl1ce¡:;t' that interest the committee. If appropriate, the artist selected can be induded as pa.1 of the design kam tor a new building or site. In this case, the design team (;311 work Wilh the committee to develop the concept for art work. 9 6. Condud;~ SIf.'ardl fDr an Artist (or Artist Team) Oetenninc ifm1isl sclcclion wd! be by invitation, local search, statewide search, regional search, national search or jnlcrnatio~al seanoh. (Remember that trdvel costs and a per diem tor each artist will come ot. ¡ of the budget.) If artist selection is to be by search, rather than invitation, create a "Request ¡(or f'r"pcsJr' (RFP) and di:;tribute. Contact the RegioJ/i/1 Arts CommissionfÓr injÓrm(ltion on developing (In RFP i/nd how to find mailing list... and periodicals vv'here the RFP can be posted. 7. Negotiate ~ Ctmtr:\d With the Artist The contract shotld include a timelire.. copyright agre~'Illents, considerations for additional costs, insurance œsronsibilities and the individual responsibilities of each party involved. Public art projects oHcn haw ve¡y unique cequirements, it is wise to research and gain insight tTom a number ofpeople to avoid complicatiOns. eLEAS~~ NOTE: Important items for consideration: . Insnrance (Is the work insured betc're, during ,md aHer installation? If the artist and/or ~s,istJJnts are worki'T 'ê1: ,ire. aff' Ibey covered? If a child climbs on the sculpture and tàlls during Cf ¡¡th~'" irr',t:li]alion, who i~l liable?) · Ownersh,p üfH,,, work ..e. cop)1Ìghts. mom] rights, image o'4nership, resale royalties, credit;, liability, elc." (See ~ttached article by Laura Danielson, Page 13) 8, Develop a Maintenanœ/Conserntion Program This tends to be the most O\crlooked aspect ofa public art project. Awareness of the maintenance æquiremcc,ts of a teu,;, is vital and Iii" (,-"ii, ,h"uiù be included in the budget. Personnel should be trained about tbe appropriate maintenance for each work. Most maintenance, if done regularly, is simple and inexpensIve. Negle.;t is costly. 9. Creat1úHh1(¡J,¡'Ïfiiiti\,j;) Ü,fïU¡e v~rGrk Atìu the artis·. \01 arilst team) has been selected and explored ideas with the committee, they can begin developing the ·hOlk 't's a good idea to schedule several dates with the artist for pæsenfation, àlKl!or stuÖi,) Vii;iLs IVltll members of the commjttee. This allows everyone involved a chance ù) gam irsiglf: about ~J}e arÜ.;;¡.'s concept and methods. Ideally, at th,; ~n:l of :be cn~Jtion/dc\'e]opment process, ¡he selected artist (or artist team) should be invited to urcsen'~ rlrw",'ings, ;1 v,Titter d.e~cliption, a final budget and a model (also known as a ''111aquet:,,'') ei .N[,r,,· rk to the ccmm;:1ee. If the committee approves the proposed work and the ~Jl!dEd. ~:-,t r -,ì{.'I'·; . '1".;(: '.:cnlmtrÚy membeß to annOlUlCC the project is recommended. If the commi1æc c!y.s' 't ,F.p¡ro'/:: 're :"¡(cpo:~ed v7Drk J:i1.d/or I1h~ hLldgct then the artist should solicit new ideas and crib,isms and "cork \vi¡h th" committee '0 decide what changes are appropriate. It is important f(¡· the ccrnmitter: to remember that the artist has been selected for their artistic and professinm¡! ç':ill';[ they shrHI~d be givm as much creative control of the project as possible. 10 10. Installation of the ,,, orl, After the work has bee" apPlOved, ¡rl~taHatìon can begin. Depending on the size of a project, installation work may include the artist, the artist and assistant/s, or other contractors. 11. DedicatIon of the "liork The new arlwork ¡:; inslaìled' Now ifs time to celebrate, thank the people involved, alert the press and dedicate ¡IIi..' \),'Cd'K! *Much of the inlÙn:latiol1 ];,)]' this DLtlinc is oorrO\ved, with permission, from The Arhmsas Arts Council's Public ,\rt Gnnt Plw~r:\·n :Jldlll ;11? ~¡Janua[ by Sa!Jy Wi1Jiams, Director of Public Art. 11 Public Art Resources Public Art Infolrmation: The St. Louis Hegional Arts Commission (RAC) þttp://www.arHtLcom/ PH: 314·652-551·¡ FX: 314-652-0011 EMAIL: QQt1cná.stlrac.org Porter Arneill, Director of Public Art and Education (Note: There is a reference library with several books about public art at RAC) Legal Issues: St. Louis Volunteer Lawyers and Accountants for the Arts PH: 314-652-2410 FX: 314-652·0011 EMAII..: ",lllaCaStirae.Drg Sue Greenberq, Executive Director Maintenance IHSU~S: Save Outdoor ~cL:lpture (SOS!) 1730 K Street NW, Suite 566, Washington, D.C., 20006 (A prograr.l of I-'er:táge Preservation, Natior~al Museum of Amerioan Art - Smithsonian Institution) PH: 1-300·422-46'12 Periodicals: Art in America ARTnews SCJlptxe rJ:¡¡ijaÚ c Public Arl Re~¡¿w Slides: The 51. Louis Regional Arts Commission (R.AG) A¡is in Tr.3ns: -.cttp:/.www.bi-state.or:g¿äit/index.html Helpl'ull.ocal (St. Louis Region), National and Intemational Web Sites: St. I_ouis R."gional Arts Comrnission http://www.stlrae.org! A.is Il Transit l}ttfu/,\'w"\\'cbi:;tc'lte.org/artsintransit.htr:!ll F'ûblîc ,MI"l <.:1['; :,:-;e r~¿t lmß'/w_~~'0.'~_:(J2!!~I.com/publ1.f! Arts Wire !l!jl,l;/i\)\V-w.ans'0'ire~.l~ Missouri Arts Council httQjw\\1".missouna!1:;<2ouncil.org! International Sculpture Center http://\\:ww.sculptll,ecenter.org/ Americans for the Arts http://www.ansusa.org¡ Public An Nerw,)rk (PAN) http://,,w", .artsusa/mÚissues¡otherinterests/peergroups/publicart.asp Save Outdoor Sculpture (80S) Il1JLY;~ww.h'lilc¡g~nS!".'iËI}:ªtionorg¡PROGRAMS/SOSisosmain.htm Art-public.cOrTIlm!'¿~··""l'cart-D!!I1J.E,~:!! Phoenix Art Commission/Artist Opportunities - http://www.ci.phoenix.al.usIMILE/stoneidx.html Arts CaJenoé1r .- ~:y\Y\~~::;'~1Cale11i.1ar.c(~!}) ArtDeadlloø.corrl - ~~:~':.ù'.~ui(i.s~dlÜle.(~Üm Community llrts Network· httE'!~}vw.communityarts.net! 12 Lega! Issues Surrounding Public Art Contracts hy Lauru [)(,'I1;elson As we a]1 know. many rc,:.:cnt public (l1-;~3 commissions have emo]'¡):kd artists ir. cDntro\Crsy and entangled ¡hem in hUfc.J'Jnutic red ta:le. \\ hi1e some of these conflict" arc unav,)iddblc. cl.~(lail: ¡cgal issues can he anlicl)J::lteo and deah with effectiveiy in the public J.!-t commissinn d{~reL'meI1t. W:1Cn an "rtist receives a pul,it lit ~.)\)I~I i·, ': 1 ì :j-~ 1\ ;I!e ¡- typically presented \viil\ a standard, Oft¡:1l lengthy contract that spdls out the obEgations 'Jf both parties. [t details the ':)fojcct and its dimensions, timetable <!Ild delivery, paY;ììent schcduk, insurance. artist's warrantic~, etc. An artist shoLèld be WlíY, howcvçr, of signing sucl, ,n agreement (,1(\ ma~t:r how acccptabk it appt,<,:; (Ill ¡t~ face) \\':thDUl first analyzing \Vnethvl ii <il'(k'~,;~'s cerlain key iS~;ll''::;. These iSS,h~S, rei ding to :-H·ti~.t";' [irhts 3\1d 1::1oi I tics, include cüpy,ight ("\vl}(.'r~;h:p. (-rca!ive ':()ì'~rol and freedom of expn::s~:~'jll. r,lpi',,] right.;:. re~;êlc royalties, credits and liabilit:,. dimension, and materials as fully as possible, but still allow for artistic variations. This won't preserve the work if the public ends up hating it and cries out for its removal or destruction, but it will at least ensure that the artisT gets paid. A nother reason it is essential for artists to ru..:!\c cremi\'C control i" t1<1t they occasionally bump up against union requirements that interfere with the fabrication and installation. With full creative control artists have more power to object to offensive changes. Both the artist 'md th'~ cOPl!nis'iioning Délrty !T'<!Y have a strong inten~:;t in :etainin:; the ccpyrigr,t to the comple!cu \\Iork 'p..,c :'nist's primary ('''nee!"!: is in pr(~scrvng ':l1e righ! TO ,>,:-,tJ'·1 ç:x~)1rît;¡linl and tc, create dl'ri\'a,i\,: \',!CI"kS h_'~;¡~d l';, tl!~ nrÎg:na! \',<,".¡;. The comr:J;:'",ionil'g "éIrt/', ~:onc::rn >; th<11, 1h~ W-Jr~_ because ';If its "1'~,b\i:':"~d'l!í(" ('1m hi: phufugraphcd, reproduced, i:H~d ('t¡L~!'\\,>(; C\'.p!o-':«(' wifr'('~t interfercnCl-' hy ('h,:~ <I r1i ';: T : IC a ,·1 i c:t dues n,)t hi \"'': t() forfeit his \)r her righ1~ w resoh-c Ihi, centlicL he or she should expressly rnr;n th~ «(ìpyright. and 1icen~,(: to the comrnissinnirg "')arty on:y tho~c partie.rlar rights j 3Ct!,HQy n~'~'c~,. Sometimcs til( (.ùlnnli,sinning party v"mb tllC copyrighl :,0 Ü!dt [;,(,: i'1i"ti-,t ;~, rc~:triccí:d from cr.;:-alirg similar wür;';'s, wLicj¡ \\dU\! lu,'"n lh: ()!igi:1ä] W,)!";, was IHI 1011g~~r uni{]!J\':'_ I-\!ói__¡~L t~"lis can be rcsol ,(J with nut th.... arti",t t:-i\îllg up :III.~ (OfJyriglil. ire dl'li< can agl·c\.: lwt to ;n,-¡J",; C\.-iCl ;epl-odu:;¡i~)I;S ':Ii" pulJ,;ciy exhibit ¡he cOltlmis:iiol1cJ \\,('1-" INiUwut writtcII pennissioll. Moral Rights "Moral right..;," which haví.:~ long be~n rl..'cognized in Europe, arc held in such low regard in the United St,'Ites that mest people do not even know what they are. The~;c rights are the artist's personal rights in the Hrtisti,: expression, the most important being the ~ight of "integrity" -protecting a work from unäuthorizcd mutilation or destruction. The idea is that mistreatment of an expression of an artist's per",onality affects his or her artistic honor and reputation, and so impairs a legally protected personality intcre",t. rhere arc many examples of interference with American attisrs' moml rights, from the removal of Richard Serra's Tilled Arc in Manhattan, to the public n:\'olt in Tacoma against a mural by Stephen Amonakas, to the total destr,¡ction in 1980 of Isamu :'>Joguchi's sculpture in a Wa]] Street bank. In the United States, there arc a few states with moral rights legislation, as well as the federal Visual Artists Rights Act, recently enacted by Congress 2lfter the United States signed the international Berne C)nvention for the Protection of Literary and Artistic Wnrks. which contains certain moral rights provisions. The protection this legisl1:ltion affords is Jim:tcd, however. Artists are advisi..~d to further prmed tJ-:c.:mselvcs by including clauses in the cnmmi:-:sion agrcement~ that iimit the commissioning party lì-om altering or rclocating the work without the ¡mist's written consent. funher, if the work is ímrr'~)perly maintained, damaged, or otherv¡ise :"îoYtied. the artist shou1d rescr'!e the right to Oishssoeiate himself or herse1ffrom the work. Copyright Creative Control To avuid djspLt-.:.:;, the ,lrti~,¡ oiiliJtdd t:')' to retain all artistic a-,d H¡:~ti;di( r!i~...:i_~:(H1" ,:!);'It.! (~¡,~~ \I,'()lk. allmving "ur t1c:;ihili1Y 1(; '¿I:o:¡gn chajJg'_~s. r-}¡;~ contr2ct >:h(H~ld JI~o,:ri"( rl:\: in'I:,"~cd w;,rl'., dL''i:.g'l, 13 Resale Royalties A very common !CiIllCI:t of artist;; js that tI-\('y never get tl:· pndit ii'om Ill(' ¡1rpr'~ciateù~'~:111'C oftlH.':r work. Ca!ifornia is tht.:: O]!y~t"~e that ha:ì '~naclcd a statute that give:-; arli~t" the ~ight>(l reœivc rnya1îic:) on the :cs;dc of their w,:rks BuL this ¡q~is¡atiÎ\n is effective o;lly ¡frhc ar,\\¡IJrk "clrwins in CaliforniawJ the seller complies with th.; Ion.... ·\nothe1' way to ensure resale royalties, at least on thc first resale, is to include a provision in thl~ commission ägrccment that requires the commissioning party to pay the artist ä percentage t1ypica!Jy 15 percent) 'J1' tle incrc8sc in v,due orthe \vork Oil rc.;,ale. harmlc:,;s" clause in the agreement with Christo, who had fortunately pun.:hascd his own liability insurance ro~ the project. While an artist may be able to ensure in the contract (hat only the; commissioning party incurs liability for an injury, this C8:-ìC points out how important i~ is for the artist to thoroughly understand his or her potential ¡'or !iability ,1I1Ù need for 1t1:'urancc. Credits By addressing all these issues early in the game, hcfnr~ any serious conflicts have arisen, artists can assure themselves fewer legal headaches later on. [f a conflict do~s ensue, especially one related to issues lif creative expression, the artist wili at least be affiled wilh greater protection and clarification of his or her righh. Fai!ur ~ to crburl tl:l1 ar ?flist re~~l'iVTS pIP11.:r credit can 12äd t(1 ,:,c-:·¡(\u:; ::,)]1111cls. '\:1 <tni~;t ~,hYJld require thi:n his 01. her nam~' :\f(1 tile narne :md dätc nf the work be p!açed and a(kljuatcly maintained ;it the public art sitc. AI~o. apy j1h(~to~: 0:' lewod'Jctions of the work should n~(1uir,;: apprnrr;ate en:tLt to the artist. Further, the artis~ 1TIa~1 want to r~se:'vc the ri!~ht to u"e tltC cnEJm!~:,i,~.J'I":2 Wlrt:.'" ;1?me ¿nd identifyin[; ir ];)rmation j:l CT1J:~r:inp \".-ith promoting his or hcr \\'ork. Launl Danielson is a Minneapolis lawyer with a '~pecialty in patent, copyright, trademark and related causes, and is vice chair of the .\1idwest Center for Arts, Entertainment, Literature and the Law (MiCAEL). If a v\'·'i"k i:.; 11m;:gnl :)1' k),.;t Juri'1.!? t~:h¡-¡c;¡t;nn, shirring, or ins~aila!:cn. :]:1(1 thc'(' i~~ ilC' pro--..is;p]1 in the contract to ~¡,,_, :(\;1(1":,TY, :b~ :;,-tist gcnc:-'.\I!v Dcar.., the ri..,k. It is th;.:~!-,:rorc l'i~'~1 ~(ì '::'~bV;:-C 'hat the nrtist has adequaL~ ;"~l!r¡¡ncc IJ)ver:jg~" A rnJgic exampk of nth..:'! ri:;);s <in a~·tist can irr..:.'ur in a rq¡hk 8ft pro.¡~e i~: thl",-'a~;'..:: of CllL·i:;¡,_~'~: gi,L·,t yelllhl' Ull!b..clla ))1'_;.1~Cl. i: ',\;li-,_'iî "Ill; ,)1' tl¡\.: 4:;5- pound umim::la:.; ¡'_'ppkx¡ ¡llJ kilkJ ê. 1I,;)]nan. The Californi<l county \VI1<:1<':: Itw prujl:':; wa:~ ,-:cnstrtlcK'd was shielded tì-om !i<.!bi)i:~/ as the result o!" ¡:¡ "¡wid Notes: John Henry vlerryman and Albert E. Elsen, in Law, EthiL·S. and the Visual Arts, Philadelphia: University of Pennsylvania Press, 1990. Scott M. Martin änd Peter W. Smith, "Commissioning )ubti.-.: V/orxs of Sculp~ure: An Examination of ·:·:mlr'l.::t Issues Involved," Co/¡"uhio--VLA Journal ,,(L:\1· end ¡lie Arts, :2:481, 1988. Sylvia Hoçhfidd, "The Moral Rights (and Wrongs) of ~ub]ic Art," ARTfJelvs, 87:5, May 1988. Albert Elsen. "What We Have Learned About \1'Jdern Puhlic Sculpture: Ten Propositions," Art JOlln/d, 291. \\'intcr 1989 ·Llnris<: ;-(crtesz, "Christo Accident Covered," BII.i'/!}CSS I{MUranct', 25:44, Nov. 4, 1991. Liability This :Jrticle W:1:'> copied wi1h permission tr')1r 'he H'Jthor 14 RAC 1/2002 This publication is available for downloadiug at: www.art-stl.com 15 '* AMERICANS fortheARTS PUBLIC ART FUNDING I Developing Percent-far-Art Programs After the Philadelphia Redevelopment Agency and City Council both passed percent-far-art mandates in 19S9, a number of other cities followed suit- most notably Baltimore in 1964 and San Francisco in 1967. The move- ment gained momentum in the 1970s and swept across America. Today, 300 cities, counties, states, federal agencies, and other govern- ment bodies have adopted percent-far-art programs, generating more than $200 million annually in public art support. This has resulted in the commissioning of thousands of public artworks. Stair #1 (1995) Arquitectonica International Corporation Downtown Bus Terminal Fort Lauderdale, FL Brenda Brown and Mary Rubin, City of San Jose Office of Cultural Affairs ()n the late 19S0s, a small group ~ of Philadelphia citizens unintentional- ly started a revolution. Their idea was a simple one: set aside a small portion of the construction costs of public projects for the indusion of artworks which would enhance what they considered to be the stark modernist architecture of the time. From this little-heralded beginning was born a movement that has overtaken the country and become the primary method by which public art is funded in the United States. AMERICANS FOR THE ARTS SERVING COMMUNITIES ENRICHING LIVES. How Public Art Benefits the Community . Contributes to the enhancement of a cityscape, creates a sense of place, or improves the design qualities of public infrastructure. Fosters collective memory and gives meaning to place by recalling local and regional history. Enlivens public space by creating a sense of serendipity and discovery. Promotes local urban and economic development by creating opportunities for local artists. Makes sense of communities by creating landmarks, directional elements, and defining neighborhoods and districts. . Gives visual expression to local cultural diversity. Creates a sense of community identity through unique functional elements such as bus shelters, tree grates, seating elements, paving patterns, parking garages, etc. What is Public Art? Public art is different from studio art or art exhibited in museums and galleries. Public art is accessible to the public, it typically reflects an awareness of its site, both physically and socially, and, most importantly, public art involves community process in its creation. A wide variety of approaches to public art are possible. Some approaches emphasize integrating artwork into the built environment, others emphasize placing artwork in a plaza or on a wall, and still others involve the creation of temporary works in community settings. Depending on the needs of a community, one or a combination of the following approaches may be taken: Discrete object: The traditional approach of placing stand-alone sculptures, murals, or other artworks in public buildings, plazas, parks, etc., as a means to beautify and humanize the environment. Integration of public art and architecture: A multi-disciplinary design team approach wherein artists work on project teams with architects, engineers, landscape architects and other design professionals to design and create public projects, such as transit systems or waste water treatment facilities to achieve the highest aesthetic innovation. This approach may also result in artist-designed functional elements that are integrated into the project such as flooring, furniture, light fixtures, fencing, tree grates, etc. Master planning: Artists working with other design professionals, policy makers and community groups to identify specific opportunities for the integration of various forms of art within a December ZOOO specific project or urban context, such as transit systems, neighbor- hood redevelopment districts, airports, parks, and civic plazas. Urban design/place-making: Artwork projects that contribute to the enhancement of a cityscape, create a sense of place, or improve the design qualities of public infra- structure. Artist-designed freeway enhancements, bridges or parks are examples of such projects. . Temporary installations/sculpture: Non-permanent artworks that respond to a specific physical or social environment. Temporary projects can involve a single artist working with the community or hundreds of artists responding to the same subject matter. . Arts and community development program: Artists working in communities to create public art projects that respond to the reality and integrity of those communities (e.g., artists working in social institutions, prisons, homeless shelters, with the elderly, youths). Public art is accessible to rhe Pllblic. it rypically re}Jecrs all awarelless of its site. borh physically alld socially. alld, l1Iost il1lpartallrly. public art illvalves cOIIIJIIlllliry process ill irs creatio/l, AMERICANS FOR THE ARTS 2 Monograph AMERICANS FOR THE ARTS Public Art Selection Process The goal and the process of artist and artwork selections make public art unique in the art world. With some notable exceptions, the goal of the selection process is to identify an artist who will be commissioned to create an artwork, not to choose or purchase an existing artwork. This approach allows the commissioned artist and the commissioning agency to engage in an outreach process with the community early in the development of the artwork project. The artist can then design an artwork that responds to the specific physical and social context of the project. " ~ " · ::; · ~ :ì' ~ " · c 2 "3 ~ Five Skaters (1996) Artists: Larry Sultan, Mike Mandel I [ r A commemoration of figure skating champions from the San Francisco Bay Area: Brian Boitano, Peggy Flemming-Jenkins, Rudy GaJindo, Debi Thomas and Kristi Yamaguchi. Five Skaters honors the art of figure skating, the [ocal champions and others who have contributed to its vitality, tradition and popularity. San Jose, CA The process of selection is a democratic one. That is, rather than making unilateral decisions on the appropriate artists for a commission, it is the responsibility of staff to curate professional selection panels to review artist qualifications, interview artists and make final recommenda- tions on the most qualified candidate. A selection panel should include artists, arts professionals, design professionals and community representatives. The following are examples of typical selection processes: Open Call for Entries/Request for Qualifications (RFQ): The most commonly employed method of artist selection. Detailed informa- tion describing the project and how to apply are distributed and publicized through an RFQ. Artists submit a package that includes a resume and slides of their work by a specified deadline. A selection panel reviews submissions and finalists are determined for interviews. The panel makes its decision based on the following: (1) aesthetic quality of artists' past work, (2) artists' demonstrated ability to respond to project site and context, and (3) the specific criteria for the given project. limited Invitational Process/Curated Pool of Artists: In contrast to an open call or RFQ, staff develops a short list or pool of artists 3 who are qualified to accomplish a commission, and invites these artists to apply. These artists are presented to the panel, along with artists who the panelists themselves suggest are appropriate to consider. The panel uses the same criteria in making their recommendations as in an open-call process, and finalists are invited for interviews. A limited invitational process or curated pool is used when the project schedule does not allow for an open call or when a specific set of skills is required. Blind Competitions - A Request for Proposals (RFP): a detailed package of information, often including site plans, photos and competition guidelines is issued. Artists design a proposal based on the guideiines in the RFP. Each proposal is given an identifica. tion number used by the selection panel during the review and selection process. The selection panel considers the project criteria outlined in the RFP when reviewing submitted proposals. This method of selection is most often used for high profile projects of regional or national interest with ample budgets to support the process. One advantage to blind competition is that the process allows everyone an even playing field on which to compete. Once the selection panel makes its recommendation of an artist or proposal for the artwork commission, their recommendation is often reviewed for approval by an arts commission or other reviewing body as designated by the governing ordinance. (safety mats) (1999) Artist: Jean Lowe San Diego, CA Artist Jean Lowe designed rugs for the North Operations Building and Administration Building at the Point Lorna Wastewater Treatment Plant. These rugs are if the same type as the "Kex Mats" usually deployed throughout such a facility, but feature artist-designed imagery instead of ubiquitous safety slogans. lowe's rugs combine a straightforward use of decoration common to sources (Poseidon), transport (aqueduct, water bearer), utilization, disposal, cleansing and undersea life. December 2000 How is Public Art Funded? Public art programs can be funded by both the public and private sector. The majority of public art programs at the state, county, and city level are funded through a law or ordi- nance that sets aside a percentage of funds from the construction budget of what is known as an eligible capital improvement project. These "percent·for·art" mandates generally provide a percentage of total eligible capital improvement project costs for the acquisition and commissioning of artworks. While the details of individual funding ordinances vary, three common elements include: 1. Definitions of eligible capital improvement projects (CIP) Since public art program funds are made available through CIPs, defining the eligibility of such projects is a critical consideration, as it will have a large influence on the scope of the artwork project that can be accomplished. Think about the wide variety of building projects a city, county or state undertakes, and you will soon have an impressive list of potential ClPs to consider: office buildings, transit projects, libraries, schools, parks, airports, hospitals, street/sidewalk improvements, fire stations, county/state buildings, freeways and bridges. The type of project, identified as an eligible CIP, will also have a significant influence over the approach of the public art program it funds. That is, the broader the definition of eligible CIPs, the broader the scope of the public art program. Minimum project value may be a defining AMERICANS FOR THE ARTS 4 Monograph AMER.lCANS FOR. TliE ARTS constraint (e.g., only projects with budgets greater than $300,000 are eligible). The flexibility to pool public art funds from multiple smaller projects to create fewer, larger- budgeted projects should be considered as well. It should be noted that every public art project, no matter how small, takes signifi- cant staff resources to accomplish. 2. Percentage identified for public art projects The percentage allocated for public art projects typically ranges between 0.5 percent and 2 percent, which may also indude project administra- tion and maintenance costs if these are not to be funded from the municipality's general fund or another source. In recent years, most new programs have allocated at least 1.5 percent of capital costs, which ensures sufficient funding to provide for both artwork and program administration. 3. Guidelines for expenditure of percent-far-art After defining what type of CI P is eligible and what percentage of that CIP budget provides funding for public art, guidelines regarding the specific use of those funds are the next consideration. To begin, the total pool of percent-far-art funds must be appropriately divided into two funds: (1) administrative funds and (2) artwork project funds. Public art program administrative costs run between 15 percent and 20 percent of total percent-far-art funds, leaving a balance of between 80 to 85 percent to fund artwork projects. Administrative costs are the costs associated with running a program (e.g., staff salaries, overhead, public relations) and the costs of managing a project from beginning to end (project development, artist selection, community outreach, artwork dedication and maintenance). Artwork project funds are often divided into design vs. fabrication and installation costs-typically at a rate of 15 percent for design and 85 percent for fabrication and installation. In addition, most art budgets factor a contingency of approximately 10 percent from the fabrication and installation budget for unknown or unforeseen project costs. Artwork project costs are any and all costs associated with the artist's responsibility to design, fabricate and install the artwork project, and are typically facilitated through a contract directly with the artist. Artwork project design costs indude, but are not limited to, the ·artist's design fee, research, travel, project proposal, engineering and construction documents. Artwork fabrication and installation costs indude artist's travel, materials, studio overhead, subcontractors, fabricators, installers, site preparation, insurance and bonding. Thillk obollt ehe wide varieey or blli/dillg projects a ciey. colllley or state IIlIdertakes. olld YOII will 50011 hove all impressive list ojpoeelleia/ Capica/Improvemellt Projects 10 colIsider: ollief blli/dillgs. erallsie projeces. libraries. schools. parks. airports. hospica/s Advantages of the Percent-for-Art Funding Model There are distinct advantages to funding public art through the percent-far-art mechanism. It ensures that the level of artwork funding is commensurate with the size of the funding capital improvement project. It protects the artwork funds from budget cuts which can Occur when public art funds are borne by a municipality's general fund. 5 - Decem . Since artwork funds are determined in advance, early selection of artists and their involvement on project design teams can be achieved, and the artwork can become part of the fabric of the overall project, rather than an afterthought. . This approach is flexible enough to be adapted to the needs of a given community. The model allows for small scale, discrete objects in neighborhood parks as well as architect/artist collaborations on large municipal buildings. c ~ o W . ~ c . W ~ ~ o Õ ~ ~ Man of Fire (1998) Artist: Kim Yasuda The artwork commemorates Dr. Ernesto Galarza (1905-1984), scholar, poet, labor organizer. community leader and civil rights activist. San Jose, CA How to Get Percent-for-Art Funding in Your Community Investigate whether a percent-far-art legislation already exists in your city, county or state (contact your city, county or state arts agency). Note that some municipalities have multiple overlapping public art programs. One city, for example, could have an active state, city, transit, and redevelopment public art program. (Contact Americans for the Arts for the Guide to Public Arts Programs in the U.S.) Create a working group of volunteers with community-wide participation to investigate and pursue a percent-far-art funding ordinance. Contact public art coordinators in your region. Note that coordina- tors may be employed by agencies other than an arts program (parks, planning, redevelopment, etc.). . Attend a regional or national public art conference to further educate yourself about current public art issues. (Contact Americans for the Arts for information about upcoming conferences.) Consider engaging an experienced public art consultant to develop a public art master plan for your community. Critical Issues to Consider When Crafting a Percent-for-Art Ordinance . Try to include the broadest definition possible of an eligible capital improvement project in the percent-far-art ordinance. Making amendments to the legislation at a later time can be difficult; this will help avoid the need to do so. Specificity is critical when defining which elements of the CIP are included in the public art calcu- lation (architectural costs, engineering costs, construction costs, etc.) and which elements are excluded, such as land acquisition. Define the applicability of the ordinance: public projects only, public·private projects (such as those of a redevelopment agency), and/or private developments. AMERICANS FOR THE ARTS 6 Monograph AMfR1CANS FOR TH£ ARTS Program Profiles The following profiles illustrate the diversity of percent-far-art funded programs. Seattle Art Commission, Seattle, Washington In 1973, the city of Seattle took a pro-active approach to inciuding public artworks in its cityscape. According to its public art ordinance, which specified a 1-percent set-aside for artworks, the mission of the pro- gram is "to integrate artworks and the ideas of artists into a variety of public settings" with the objective of contributing to a sense of the city's identity. One of the unique features of the Seattle model is that eligible CI Ps y inciuded utility plants in addition to the construction or remodeling of any building, structure, park, street, sidewalk, or parking facility. At the time, the inciusion of utility plants within the parameters of eligible CIPs was unusual for a public art program. Seattie's Viewland- Hoffman electrical substation is a pioneer project that set the precedent for the now widely adopted "design team" approach to public art. In a design team project, artists are commissioned to work in collaboration with architects, engi- neers and other professionals to approach a project as a whole, and in which the artwork is integrated into the fabric of a CIP. In 1976, three artists, Andy Keating, Sherry Markowitz and Buster Simpson were commissioned to work c ~ e ~ . ~ c ~ ~ ~ ~ o Õ ~ ~ Origin (1999) Artists: Brad Goldberg, Beliz Brother, Joe McShane San Jose, CA Origin explores the relationship between art and technology, and celebrates the earth's basic natural resources as the foundation of technological innovation. with the engineers for the Viewland·Hoffman project. It was the v/"first time Seattle (or any public art program in the country) had involved artists in the conceptual design phase of a project. The artists' role was expanded beyond that of designing artworks for pre-selected locations to having an effect on the overall design and aesthetic of a project. The result was a whimsical integration of the artists' sensibility into every aspect of the substation-from security signage, to color-<:oding the pathways of electricity as a visual guide, to à series of whirligigs-throughout the entire sub· station. What might have been a case of NIMBY (Not in My Backyard) in response to a large, unattractive electrical substation in a suburban residential community instead became (and con· tinues to be) a popular neighborhood attraction and playground. Public Art and Design Program, Broward County, Florida In 1995, the Art in Public Places Program of the Broward County Cultural Affairs Council went through a master planning process 7 December 2000 which examined the existing art-in-public-places program and made recommendations for its future direction. The result was a shift of the program focus away from the more traditional place- ment of paintings and sculptures in public spaces toward the enhancement of urban design through artist participation on design teams. A direct result of the Design Broward master planning process is that artists are now brought into the ClP process at the same time as architects, and work with the archi- tects as collaborators. Artists are also encouraged to reach out into the community in the early stages of the design process to ensure that the resulting art- works respond to community needs and perceptions. San Jose Public Art Program, San Jose, California The San Jose Public Art Program, funded by a two-percent mandate, emphasizes community input through an extensive public process. While developing a series of commemorative art projects in the early 1990s, staff determined that a public process was critical to realizing meaningful projects, ~ and that outreach to the public had a direct bearing on the Teie- vance of those projects to the community. Beyond commemorative projects, the San Jose Public Art Program is currently focused on the continuing development of the city's downtown, an airport expansion program, and a new emphasis on neighborhoods. All of these projects and programs include a public outreach process. , , , The county's revised public art and design ordinance allocates 2 percent of the budgets of eligible CIPs for public art; broadens the definition of an eligible CiP to include the construction or renovation of any building (except detention facilities), park, highway or arterial, bridge or causeway, sidewalk, bikeway or above grade utility; and it also includes road beautifi- cation and beach restoration projects. The expansion of the program to include a variety of CIPs in addition to buildings is perhaps the most significant revision to the Broward County Public Art and Design Program. By applying the public art and design efforts to CIPs beyond buildings, the oppor- tunity has been created to effect, over time, the whole look of urban design in Broward. the first large-scale combined university-municipal library in the country. The artwork, by artist Mel Chin, is a series of sculptural insertions that pay homage to the book collection and the world of ideas that the library makes available. The insertions will be scattered throughout ViewlandlHoffman Substation (1979) Artists: Andrew Keating, Sherry Markovitz, Lewis "Buster" Simpson (whirlgîgs by Emit & Veva Gehrke Architect: Richard Hobbs (principal), David Rutherford (project manager), Hobbs/Fukui This was the first major capital improvement project in Seattle that actively included the artists in the design phase. The purpose of the artists' indusion was to the humanize and soften the substation's impact on the surround- ing residential neighborhood. Hailed as a landmark project in the public art community, the ViewlandjHoffman Substation continues to generate interest. Seattle, WA Years of refining community process are culminating in the development of public art for a new main library-one that will be AMERICANS FOR THE ARTS 8 Monograph the library, provoking curiosity and initiating further exploration of the book collection. The goal of the art- work is to explore where culture and ideas come from through an exten- sive and collaborative dialogue with the community. Working with a multi-disciplinary team of scholars, students and community members, Chin is facilitating discussions on a range of personal and civic issues that help define how the community sees itself. These forums are a catalyst to inspire ideas behind the artworks themselves. Samples of the concepts developed to date include the following: True and Through: A 130-foot-tall Dawn Redwood tree, currently existing on the site, will have to be cut down to accommodate the building. Responding to the community's distress over losing the tree, ·the artist will mill the tree and clad a series of coiumns within the building from the lower level through the eight stories of the building, essentially creating an eight story interior tree. Roundup: Referencing the history of San Jose, 81 leather chairs will be branded with the 27 historical cattle brands from the original San Jose rancherias. The chairs will 'wander freely' on the second floor of the Library. City of San Diego Commission for Arts and Culture, San Diego, California A few innovative approaches to funding public art through municipal CI Ps are being explored across the country as the value of artists' design AMERICANS FOR THE ARTS s: ~ Õ N . cr "- .. Artwork for Mexican Heritage Plaza (1999) San Jose, CA Artists; Ann Chamberlain and Victor Mario ZabaUa contributions are gaining recognition and acceptance. The City of San Diego Commission for Arts and Culture is an example of a public art program whose funding is not governed by a percent-far-art ordinance. While the city council policy, Artists Involvement in Selected Capital Improvement Projects, adopted in 1992, legislates artist involvement at the inception of CIPs, the artist's involvement and fees are negotiated on a project-by.project basis. Artists are typically under contract to the project's prime design consultant (the project architect, engineer, landscape architect, etc.), although in some cases the artist is the lead consultant, hiring designers as sub-consultants. This procedure encourages a comprehensive approach to design aesthetics by including the artist's involvement on the design team. Fabrication and installation costs of the artist-designed elements are drawn from the construction budget and are fabricated by the building , contractor, or a separate agreement is negotiated with the , appropriate fabricator (artist or other). The City of San Diego Metropolitan Wastewater Department (MWWD), in partnership with the commission, committed to hiring an artist as the lead consultant to develop a comprehensive plan to mitigate the visual impact of an existing wastewater treatment plant. Lead artist Mathieu Gregoire selected a team of sub-consultants that included artists (painter, colorist, sculptor, poet and composer) and designers (architect, engineer, landscape architect). In 1996, the team published a precedent-setting com- prehensive plan for the aesthetic development of the 30-year-old 9 December ZOOO plant, including design recommendations and proposals for public artworks for the existing structures and for the new multi-million dollar upgrade and expansion. It is important to note that by January 2000, through the commitment of MWWD and the commission and with support from the National Endowment for the Arts, all the recommendations made by Gregoire and his team have been realized or are in-progress. The comprehensive plan contains a broad range of recommendations, including: a color scheme for repainting the plant that harmonizes it with the natural landscape; terrazzo floor designs, floor mats, and sandblasted walkways using imagery related to nature and the function of the facility; poetry about the site etched into handrails, concrete walkways, walls, and glass throughout the site; a series of nighttime construction photographs that reveal an aspect of the site that is not seen by the general public; a landscape plan that includes a new entrance, parking areas, and pedestrian circulation; and architectural guidelines for building types. -þ¡ Resources Allen, Jerry and Murphy, Jennifer, Design Broward: Public Art and Design Master Plan, Broward Cultural Affairs Council, Ft. Lauderdale. Fl. 1995. Allen, Jerry and Gustin, Mickey, Visual Dallas, Office of Cultural Affairs, Dallas, TX, 1987. Americans for the Arts, The Public Art Directory: Vour Guide to Programs Across the United States, Washington, D.C.. 1996. Bach, Penny Balkin, Public Art in Philadelphia. Temple University Press. Philadelphia. PA, 1992. Banton, Richard, Culture Wars: Documents from the Recent Controversies in the Arts, New Press. New York, 1992. Cleveland, William, Art in Other Places: Artists at Work in America's Community and Socia! Institutions, Praeger, Westport, CT, 1992. Cruikshank, Jeffrey L. and Korza, Pam, Going Public: A Field Guide to Developments in Art in Public Places, Arts Extensiofl Service, University of Massachusetts, Amherst, MA 1988. Doss, Erika, Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities, Smithsonian Institution Press, Washington, DC, 1995. Dubin, Steven C, Arresting Images: Impolitic Art and Uncivil Actions, Routledge Publishers, London, 1992. Deutsche, Rosalyn, Evictions Felshin, Nina, Ed., But Is It Art? The Spirit of Art as Activism, Bay Press, Seattle, 1995. Kramer, Jane, Whose Art is It? Duke University Press, Durham, NC, 1994. Lacy, Suzanne, Ed., Mapping the Terrain: New Genre Public Art, Bay Press, Seattle, 1995. Lippard, Lucy, Mixed Blessings: New Art in a Multicultural America, Pantheon Books, New York, 1990. Lippard, Lucy, Overlay: Contemporary Art and the Art of Prehistory, Pantheon Books, New York, 1983. Mitchell, W. J. T., Ed., Art and the Public Sphere, The University of Chicago Press, Chicago, IL, 1992. Peter, Jennifer A. and Crosier, louis M., The Cultural Battlefield: Art Censorship & Public Funding, Avocus Publishing, Inc., Gilsum, NH, 1995. AI11cricul!sj()f Ihe /-\rts is thc tlGliol1'S leadil/g LUIS inforlllo/ion c!earillg/¡ollse, wit/¡ a 40 year record of objective arls illdustry researc/¡. As t/¡e preelllillellt arts advocacy orgallizalioll. it is dedicated 10 represelltillg alld serving local cOJl/1IJllllities and creating 0pporflllli/ies for every AlIleriuw to parricipOle ill cwd appreciate oil jÒrllls o( tile arts. Public Art Review, Published semi·annuaJly by FORECAST, St. Paul, MN. Raven, Arlene, Ed., Art in the Public Interest, UMI Research Press, Ann Arbor, MI, 1989. ~ie, Harriet F. and Webster, Sally, Critical Issues in Public Art: Content, Context and Controversy, Harper Collins Publishers, New York, 1992. People for the American Way, Artistic Freedom Under Attack, Washington, DC, ï'94. ./Public Art Reference Manual, California Arts Council, Sacramento, CA, 1995. AMERICANS FOR THE ARTS 10