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Home My WebLink About08-01-2019 Public Art Advisory CommitteePublic Art Advisory Committee Thursday, August 1, 2019 3:30 PM Helling Lobby Conference Room 410 E Washington St AGENDA Call to order Public discussion of any item not on the agenda Consideration of minutes of the July 11, 2019 meeting (to be distributed Wednesday, July 31, 2019) Review of Performing Art Applications and General Future Steps Discuss Draft Public Art Strategic Plan Review of "Hit the Ground Fitness" art project proposal by Sayuri Sasaki Hemann Committee announcements or Committee reports Staff reports Adjournment If you will need disability -related accommodations in order to participate in this program/event, please contact Marcia Bollinger, Neighborhood and Development Services at 319-356-5237 or morcia- bollinger@iowo-city.org. Early requests are strongly encouraged to allow sufficient time to meet your access needs. Performing Grant Applications -July 2019 Name Pyoject name start end description location Bud get 1 Mimi Ke Falling: Aerial Dance and 10/5/2019 10/5/2019 Story -telling, aerial dance and music. Music from Pieta Brown and 210 S. Dubuque St $2,000 . _ Americana circus artist/coreographer Mimi Ke 2 Jacob Harrison Jones Radio Orchestra 10/4/2019 30/4/2019 Improvisational, collaborative sound and radio performance art work Ped Mall $1,746 that plays with the electromagnetic waves in downtown Ped mall. 5- 10 artists and musicians will have amplifiers and AM radios to explore the invisible electronic presence of lights, businesses and people 3 Jon Ranard Polyester Blend & The Rayon Kings 10/11/2019 10/11/2019 Music, fun and fellowship in a Ballroom Dance opportunity, free and Senior Center $1,100 Ballroom Dance open to the public at the Senior Center. Playing dance music in every style: swing, big band,jazz, pop, country, polka, salsa, rhumba, tango y and foxtrot. 4 Jason Snell Mu table Sequences 9/20/2019 10/14/2019 Public installation that explores how memories mutate over time. 127 E College Street $2,000 Motion sensors, lights and a sound system will be installed on Dubuque street between The Graduate and Martinis. Peoples movement through the alley will trigger corresponding sounds and lights. Motion data will form a memory of music notes and lights, over the time of the exhibit, each participants movements will change and mutate the performance. A metaphor for memory changing overtime. 5 Nikesha Jones Drumling in the City 8/1/2019 10/19/2019 Jones academy performance featuring a dance group and the newly 210 Dubuque St $2,000 _ formed Iowa City Dynasty Drumline 6 Antelope Lending Library Animation Workshop 9/1/2019 10/31/2019 Residents from 3 neighborhoods will collaborate to construct and Coles Mobile Home Court $1,925 animate paper collage mini -scenes with the help of an animation Breckenridge Estates expert - Mark Jones. Participants will create and film scenes during Forest View Trailer Court bookmobile visits to each of the 3 neighborhoods in September, then Jones will create a final video that will be posted online and shown at movie premieres in each neighborhood in October. 7 Dan Stolley Art Walk in the Park 9/27/2019 9/27/2019 The goal of this project is to provide local artists with a venue to Riverfront Crossing Park $1,750 perform and gain exposure to the community et large. Similar to the Gallery Walk, attendees will walk around a local park with approximately 15 artists. Performers would all perform for a segment of time and afterward attendees would be encouraged to walk to the next station along the path. Artists would be a mixture of spoken word, music, dance and other visual arts. Each artist gets a $50 _ stipend. 8 AI Boulund How to make cartoons that 10/19/2019 10/19/2019 Performance involves screening a simple animation the artists made No Location Selected $Soo everybody will like a lot and teaching kids tricks on how they can make their own. We could give drawing tutorials, music lessons, script writing tricks, etc. 9 Kim Cassisa D20 Ensemble 9/5/2019 10/27/2019 Dungeons and Dragons sessions with live interactive music to fuse the The Mill $705 works of gaming and music to introduce a diverse audience to both artistic fields. Participating Groups: Dungeon Master, Musicians, Pla ers and Audience 10 Jennifer Beall Suppressed Desires Double Billing 10/11/2019 10/13/2019 Two one act plays that will promote famous but less celebrated 120 N. Dubuque $2,000 women playwrites. Both plays explore the themes of suppressed thoughts and feeling and social expectations of women. 11 Melissa Airy Emanation 9/27/2019 9/27/2019 Collaborative Performance art TBD $2,000 $17,726 Submissions must be received by: Friday, July 19th S:OOpm Review of submissions by the Public Art !advisory Committee (AA%..C): Thursday, August 1st 330pm (Applicants should be present.) Notification of PA AC. decision: No later than rriday, August 9th Performance Completion: No later than October 31st, 2019 Applicanto Name * Mimi Ke Address* Street Address 1328 Muscatine Ave Address Jm 2 Oty s bvva City Postal / Za (bw 52240 Phone Number* 3194007385 Email* rrimi.g ke@gmail.com Project rlame * Falling: Aerial Dance & Americana Proposed Start Date* 10/5/2019 Proposed End Date* 10/5/2019 Description of Proposed Project* Iowa Gaeiry United States Failing,. Aerial Dance & Americans is a merged show of story -telling, aerial dance and music. This performance will invite Iowa City to etperience a unique interdisciplinary art collaboration of local musician, Pieta Brown, ano circus a! tist/choreographer. Mimi <a. Plate's poetic soundscape sets the stage for a dynamic aei is[ silk performance on a 20 foot free-standing rig. The show plays with the bounoaiy between earth and siry and amplifies the sense that, before your eyes, what you know to be impossible — defying gravity while eartnbound — suddenly oecomes magical. 3400 characters renewing Vjho is the Intended audience for this project?* .:.^.rue d�.hine th_ :4cnCz au�::'tie `a tl� i✓ojad "ei t'va u4f:,:i� yu wB! :u2 to kxriaftl t`a ores>Lra bwe � 3y:xxnn:'ily Our hope is to bring Iowa City and surrounding residents back to the downtown area for local art ana culture. We. would like to make accessible events ti.at, othenwse, ,Would be cost prohibitive. Our intended aua.erce :s woe -ranged (all age groups, locals and visitors) but specifically those who have never etgrerienced the magic of aerial dance accoroanied by live music. 1400 characters reneinirg Y.Fhat promotion and mart:eting are you planning br the event?* We will embrace our social media base (personal, business and Eastern Iowa Circus), email subscription base, and approach local businesses to display posters. 1400 characters reneinirg How rill you gauge a successful outcome for this project?* We will gauge a successful outcome through attendance ano the ability to attract people back to the Iowa Ciry downtown area. In the long run, we nope this project will spark an interest in opportunities to experience live art and create more local collaborations. 1400 characters rerreirirg Project Location Si -set Address 210 S. Dubuque St. A, ess Line2 City State/ r mince/ Ragi :n Iowa City IA r-atal / Z.,� ode C'mrmy 52240 USA Project Location Deiatls* r3as� provt::e cl, z., assoc4::ed 10 %WAor- of the evc 1perfame,m m0c)i.rg wrr:o a s, how ft is open ano fray avax.fri to Li� g_rcat p.Ji Our ideal location in the Iowa City Pedestrian Mall is dependent on construction. An alternative location would be Black Hawk Mini Park. 3400 chararters rernwing Is this public or private property?* public Describe your partners (if any) for this project and what role they will play (financial assistance, providing space, technical assistance, etc.). Partners Partner* Contribution * Pieta Brown live music m-� Equipment $ 700 00 Professional Scrvicos (artist) $ 1,000.00 Supplies Food and Beverage Oihnr $ 300.00 Describe other expenses* Rigging Other Other Total Project Cost $ 2,000.00 Utters of support and/or other documents (?) Submisaions must be received by: Friday, July 19th 5.30pm Review of submissions bythe Public Art Advisory Committee (PA«.): Thursday, August t st 3.30pm (Applicants should be present.) Notification of PCAC decision: No later than Friday, August 9th Performance Completion: No later than October 31 st, 2019 Name * Mimi Ke Address* `.,eetAddre s 1328 Muscatine Ave Ads ess fine 2 ay Iowa City Pbstz' / Z;p 0x 52240 Phone Number* 3194007385 Email * mimi.g.ke@gmail com Project Name * Falling: Aerial Dance & Americana Proposed Start Date 10/5/2019 Proposed End Date* 10/5/2019 Description of Proposed Project* State/Ftwime/,bjw lowa 0�ur*y United States Falling: Aerial Dance & Americana is a merged show of story -telling, aerial dance and music. This performance Will invite Iowa City to experience a unique interdisciplinary art collaboration of local musician, Pieta Brown, and circus artist/choreographer, Mim Ke. Pieta's poetic soundscape sets the stage for a dynast aerial silk performance on a 20 foot free-standing iig. The show plays with the boundary between earth and sky and amplifies the sense that, before your eyes, what you know to be impossible — defying gravity while earthbound — suddenly becomes magical. 3400 characters rerrelnmg Who is the intended audience for this project?* : _esodesciibed:-: projecta,dtvcffats y,.uwri :se to%Ynjft tho txoader lowL+City cw,minity. Our hope is to bring Iowa City and surrounding residents back to the downtovr+ area for local art and culture. We would like to make accessible events that, otherwise, would be cost prohibitive. Our intended audience is vide -ranged (all age groups, !ocals and visitors) but specifically those who have never experienced the magic of aerial dance accompanied by live music. 1400 characters rerr imrg What promotion and marketing are you planning for the event?* We will embrace our social media base (personal, business and Eastern Iowa Circus), email subscription base, and approach local businesses to display posters. 1400 ctaracters rerrar ing Wow will you gauge a successful outcome for this project?* We will gauge a successful outcome through attendance and the ability to attract people back to the Iowa City downtown area. In the long run, we hope this project will spark an interest in opportunities to experience live art and create more local collaborations. 1400 characters reraFmg Project Location 5ee. Addtia 210 S. Dubuque St. Adj css Ur,:i 2 CRY R":a / Bovine / Fbg.r• Iowa City IA Ibsh'/Zp mri 03u1.1ty 52240 USA Project Location Details* Fein_ provk:o cl . t�, 3.,srJa:ed to if c �, aJw of Us w_.,Vpcqam m expV.rmg w! -�re;t rj, how it'-- open ax: ` -,:y avu:abi: to Fhe C: a! pubic. Our ideal location in the Iowa City Pedestrian Mall is dependent on construction. An alternative location would be Black Hawk Mini Park. 3400 characters remising Is this public or private property?* public Describe your partners (if any) for this project and what role they will play (financial assistance, providing space, technical assistance, etc.). Partners Partner* Contribution * Pieta Brown live music Equipment $ 700.00 Professional Services (artist) $ 1,000.00 Supplies Food and Beverage Other $ 300.00 Describe other expenses* Rigging Other Other 'total Project Cost $ 2,000.00 Letters of support and/or other documents (1) Submissions must be received by: Friday, July 19th 5;00pm Review of submissions bythe Public Art Advisory Committee (PAAC): Thursday, August 1st 3:30pm (Applicants should be present.) Notification of Piir'G decialon: No later than Friday, August 9th Performance Completion: No later than October 31 st, 2019 Name* Jacob Harrison Jones dress* `wtAddr%s 5 Oak Park Ct Address tine 2 UY Iowa City F9sto"Z� ibde 52245 Phone Dumber* 4056598707 Email* jacobharrisonjones@protonrna.l.com Project hlame * Radio Orchestra Proposed Start Date* 10/4/2019 Proposed and Date 10/4/2019 Description of Proposed Project* Slatei Ilovinmi m IA (buntry USA In Nicholas Collins' book, Handmade Electronic Music, there is an exercise that educates the reader about the presence of potential electronic sound all around Them. By using an AM radio ore can tune to a dead channel and move the radio around discovering howthe static sound changes when moved near a computer, a smart phone, or a light source. Radio Orchestra is an improvisational, collaborative sound and radio performance art work that plays with the electromagnetic waves in downtown Iowa City's Ped Mall. A group of 5- 10 artists and musicians will be equipped with battery -powered amplifiers and AV, radios. The group is encouraged to exploi a the invisible electronic presence of the lights, businesses, and people - all of which will affect the sounds being produced by the AM radios. The artists and musicians are each composers and will be responding to the sounds produced by each other and their environment, The perfoi mance will encourage audience interaction - for example if someone were to take a picture with their phone using flash that affect the sounds being made by the performers. Radio Orchestra a)plores the contrasts betweer the physicality of the invisible and the sculptural qualities of radio. Although principally a sound work, the use of battery -powered amplifiers will although the group to be mobile while not being too loud. Finally, this work will be in collaboration with KRUI 89.7 and will be broadcast on their airwaves. This performance then will engage with listeners near and far in Iowa City. Budget Justification Equipment Battery Powered Amplifiers: Average $30 (between used and new options) x 1 C = $300 https://w.vw.gu itarcenter.00rrVRog ue/G5-5 W-Battery-Powered-Guitar-Combo-Amp.gc Battery Powered AM Radios: $19.97 x 10 = $199.7 https:/AwAv.a mamDn.coni/Battery-Operated-Portable-Pocket-Radio/a p/B076DK947 N? psc=1 &Subscriptionld=AKIAILSITYYf F!VPWl1Y6Q&tag=ad-backfill-amzn-one-good- 20&linkCode=xm2&camp=2025&creative=165953&creativeASIN=B076DK947N 1/8' Cables: $5.09 x 10 = $50.9 https://www amazon.con/AmazonBasics-3-5mrrrStereo-Audio- Cable/dp/B00 NO73Ml1Q/ref=zg_bs_3224439011 _1 ? _encoding=UTF8&psc=l &refRID=W04MTSJADV8YS63VTSR2 1/8' to W adapters: $6.99 x 4 = $69.9 https://vmw.amazon. corrVAu ru rrFCables-3-Pack-6-35 mm- Adapter/dp/BOOXAVOW00/ref=zg_bs_3224439011 _6? encoding=llTF8&psc=1 &refRID=W04MTSJADV8YS63VT8R2 Professional Services: Artist Honoraria: $75 x 10 = $750 Photographer: $75 Lead Artist: $250 Snacks and Food: $50 Total: $1745.50 3400 characters rerreining Who is the intended audience for this project?* :;:>v;.o dascr vLhc::r.::Med aud;arr�far:h4 prt�d-idtmerfc.ts yeuwii x,,'m to lb�W.:: Igor x Iowa City corm::•-Tty. Anyone in Ped Mall or tuned to KRUI 89.7fm. While most performmers will be walking around producing sounds for the work one or two performers W11 be dedicated to a)plaining to people how the sounds are being made and letting them try it themselves. This project is intended on reaching the broader public in a collaborative spirit while also attracting those more critically engaged in the boundaries between visual art and sound. 1400 characters remaining What promotion and marketing are you planning for the event?* In my emerierce as a music venue booker and promoter, I've found the :host effective way to promote/market an event is fl,ering and word of mouth ! believe that this performance and the fliers are cool enough people will promote them or. social media themselves. Nevertheless a facebook event will be created Fliers will be put up all over campus and businesses around Ped Mall and will be announced on KRUI leading up to the event. Fwtner, this collaborative project will include fellowgraduate students in the Schoo! of Art and Art History and the School of Music and will get marketing/promotion support from those communities. 1400 characters reneiri g How wiil you gauge a successful outcome for this project?* Sharing my research into the physical and sculptural presence of sound and radio in our everyday lives with public is my goal. Engaging in conversatiors about sound with people is key to my vision of success in this work. 1400 characters remaining Project Location &'TeotAddress Ped Mall Adi�ess tire City Slate / Ray.Ixe / Fleg m lowa City IA ."atal / Z:P Code Country Project location De.aiis* Vices - ;pro do dogssea='audtothelocation oftheevc-.npefom w.expla.r:igwi�l Is, how ItbopenaruifrxyavL--.4etcthe genre;oublic. Performers will walk all around Ped Mall. Some performers will be in one location that will act as a base camp where we can talk to people about the performance. 3400 characters rarenirg Is this public or private property?* public Describe your partners (if any) for this project and what role they will play (financial assistance, providing space, technical assistance, etc.). Partners Partner* Contribution * KRUI 89.7 FM Remote Broadcast, Promotion School of Art and Art History, Intermedia Promotion Equipment $ 620.50 Professional Services (artist) $ 1,075.00 Suppfios Food and Beveraga $ 50.00 Other Cher Other Total Project Cost $ 1,745.50 Letters of support and/or other documents (?) jWnet_jake_joines_letter_of suport_ic_publicart_2019pdf 59.9":KB KRUI Letter of Support.pdf 67KB 1 THE ft UNIVERSITY OF IOWA July 17, 2019 Iowa City Public Art Program Review Committee 410 E. Washington St. Iowa City, Iowa 52240 To the Review Committee COLLEGE OF LIBERAL ARTS & SCIENCES Sehaol of Art and Art Whtacy 150 Art 90ding West rows CKY, kmro 52242 7000 It's an honor and a pleasure to write unconditionally and without reservations in support of Jacob Jake' Jones' application to the Public Art Program for his community -based, experimental music and performance project "Radio Orchestra." Jake joined the University of Iowa Intermedia MFA program last fall. From the get -go he has made a positive impact to the program and community through his enthusiastic esprit de corps and dedication to his creative practice. In Intermedia Workshop, a critique -based seminar, and in numerous informal discussions and studio visits, I have been consistently impressed by the quality and conceptual integrity of his work, and by the depth of his artistic and social commitment. "Radio Orchestra" is an exciting project that combines his interests in collaboration, sound, performance and public engagement and presentation. His work with KRUI — and history of promoting independent music shows across the Midwest — ensure that the event will receive the public attention it deserves. While based in sophisticated contemporary classical and "new music," the event also embraces an equally important playful spirit of fun and community engagement. Jake has unique qualities, skills and interests that guarantee the success of this project. I'll further add that he is also a delight to work with. Combined with his professionalism, I am sure those lucky enough to work with him on this project will find it a terrific experience. July 17, 2019 Jon Winer page two I believe the proposed budget and implementation to be eminently reasonable. I am confident "Radio Orchestra" will a popular and critically acclaimed part of the Public Art Program 2019 offerings. Thank you for your consideration. Please don't hesitate to contact me if you have questions or would Eke to discuss Jake's qualifications and the project. Again, I recommend him for this grant most enthusiastically. Sincerely, Jon Winet I -AM The University of Iowa Professor and Program Head, School of Art and Art History Intermedia Program Professor, Public Policy Center and International Programs Director, The Passport Project Student Success Initiative Faculty Advisor, IC Red Week Co -Director, AIDS Quilt Touch Director, 2020: An American Vision (in pre -production) ion-winet@uiowa.edu 1 1.510.967-6977 [m] Dear Iowa City Public Art Program, This is a letter of support confirming Jacob Harrison Jones' relationship to the radio station as well as our interest in broadcasting Radio Orchestra over KRUI 89.7fm. Jake has been working as our Production Director since October of 2018. While DJ'ing his shows Good Bad, This is a Rock and Roll City, and The Test of Lime w/Jake Jacobs they have shown a commitment to advancing experimental radio and community engagement at KRUI. Radio Orchestra fits within the kind of work Jake has done on his experimental radio art show, The Test of Lime w/Jake Jacobs, and we are fully confident in their ability to successfully execute this project and are excited by the potential benefits for KRUI and Iowa City. James Ward, Station Manager Kelly Soukup, Arts and Entertainment Programs Coordinator, Center for Student Involvement & Leadership, University of Iowa Submissions mus: be received by, Friday, .:.,ly 19th 5,00pm Review of submissions bythe Public Art Advisory Committee (P'AAC): Thursday, August 1st 3.30pm (Applicants should be present.) Notification of PA-C decision: No later than Friday, August 9th Performance Completion: No later than 0<3ober 31st, 2019 Name* .Ion .Renard Address* Str:et Address 3023 Pinecrest Rd Ad6ress Line 2 a(Y lovta City Rbsta' / Za Code 52245 Phone Number* 319-321-1219 Email* Note58us@yahoo.com Project Mame * Polyester Blend & The Rayon Kings Bailroom Dace Proposed Start Date 10/11/2019 Proposed End Date 10/11/2019 Description of Proposed Project* State /Pjme/.;b4a. IA Caunb-y USA r, An energetic, something -for -everyone evening of music, fun, and fellowship, this Ballroom Dance opportunity is free and open to people of all ages from 7-10 p.m. at the lows City Senior Center. Playing dance music in every style, Polyester Blend & The Kings Of Rayon (a quartet comprised of a lead vocalist, piano, bass and drums) provide music that is suitable for beginners on up to seasoned Ballroom couples and those in between. From swing to big band, jazz to pop, country to polka, salsa to rhumba, and tango to foxtrot, it pro, -uses to be an event designed to utilize the Iowa City Senior Center as a focal point of inclusion through music and dance. With plenty of room for dancing, the high ceilings and open atmosphere of the Assembly Room work well spatially and acousticaily. The main lobby area outside of the Assembly Room provides comfortable seating, restrooms, water fountains, and opportunities to rest, visit, greet friends, and make new acquaintances in a welcoming and casual environment. 3400 characters renwxV Who is the intended rudience for this project?* f_ edesrroe the Intended curse; ice is fit ply,.:t and fix:LOo. is yw will tac w loafkfr, t:e botxx:cf kMaatyc ,rru,* The goal of this event Is to provide a fur., inclusive, relaxed musical experience for people of all ages and backgrounds, regardless of dance experience or ability Area Ballroom Dance clubs, established dance groups from the Senior Center's program roster avid the University of love, and/or individuals, couples, or groups that simply want to enjoy the music and the atmosphere are encouraged to attend By publicinng to already-ewsting dance arid social groups of all ages and backgrounds throughout the Iowa City/Coialville and Co,! idor communities, as well as to those already Involved with the Senior Center's wide variety of programs, it is out hope that people will discover a brand new experience at the Iowa City Senior Center, whether they ate f,sbtime visitors or loyai and regular supporters. If a variety of people from Iowa City and beyond can come to the Senior Center and spend part or all of an evening experiencing joyful music, dance, camaraderie, and a sense of community with friends old and new, then the community -at -large most certainly benefits as well. 1400 characters rertanvg What promotion and marketing are you planning for the event?* Promotion and marketing will be handled through mass email(s) to the already-ewsting Ballroom Dance Clubs ;n the Iowa City/Coralville and Corridor areas, at the University of Iowa, and to the current members of the Iowa City Senior Center. Additionally, paper and print advertising (posters/filers) Will be shared throughout the community, and publicity through the lows City Senior Center and the Polyester Blend websites, Additional coverage in local and area news publications through event calendars and press reieases is also expected.. 140D characters refraining How will you gauge a successful outcome for this project?* For this particular event, the word "success" may be defined differently for many reasons. First and foremost, if those who attend and participate in the event enjoy the evening through dance, socialization, listening, or visiting and individuals leave feeling good about the experience, that is a success. Secondly, if this event Introduces (or reintroduces) people to the Iowa City Senior Center in a positive way and showcases yet another way to draw people together in a central location with a friendly environment and "something for everyone" message, that is a success. it is likely that the Iowa City Senior Center Wil provide a more scientific way to survey those who may have attended to receive valuable feedback regarding the event itself, the suitability of the facility, the accommodations, and the likelihood that people would return for an additional dance event. 1400 characters remaining Project Location £ WVW_ess Iowa City Senior Center Address Uro2 28 Linn Street City Iowa City rbst l/7g�fbtle 52240 State! axwi,xe/ io4on IA Qnrtry USA Project Location D:talls* Ra se provlr� d:��.;s assocaRud tithe locution of the e✓e,-,tlperi oma ice expleintng wh:se @'s, how it iE open and 'ro ar ava?rnle to I:. yenaral pub c. The Iowa City Senior Center is located in the heart of downtown Iowa City at 28 S. Linn Street, close to the University of Iowa Campus. The Sensor Centef has elevator service and handicap -accessible points of entry, with available street and garage panting nearby. The event is free and open to the general public from 7-10 p m, on Friday, October I Ith, and can be enjoyed In its entirety or joined mid -event. 3400 characters ren' inrg Is this public or private property? public Describe your partners (if any) for this pruject and what role they will play (financial assistance, providing space, technical assistance, etc.). Partners Partner* Iowa City Senior Center Equipment Professional Services (artist) $ 1,000.00 Supplies Food and Biveraga $ 100.00 Other Other Other Total Project Cost $ 1,100.00 Contribution* Publicity/Marketing/Managenai and Custodial Staff Letters of support and/or other documents M POLYEST_R BLEND AND THE RAYON KINGS Publicity.docx 6U 9KF3 Submissions must be received by: rriday, July 19th 5:00pr.. Review of submissions by the Public Art Advisory Committee (PAAC): Thursday, August 1st 3.30pni (Applicants should be present.) Motiilcation of PAt+.0 dacl3ion. No later than r. iday, August 9th Performance Completion: No later than October 31 st, 2019 i•lame * Jason Snell Address* SlreetAdf.' s 3105 Alieghany Dr NE Address Lim 2 :zy Cedar Rapids i's4-.. / Zv 0�10 52402 Phone Number* 646-528-3102 Email* snell.jason@gniall.com Project H'ame * Mutable Sequences Proposed Start Date 9/20/2019 Proposed End Date 10/14/2019 Description of Proposed Project* S�Ae / r'�rt:e/ legiu: IA Caur..ry USA Mutable Sequences is a public mstaiiation art project that explores now memories mutate over time. Motion -sensors, lights, and a sound system with multiple speaks: s will be instalied in the Dubuque Street Alley between The Graduate Hotel and Martinis. A scheduled art opening will present the installation to !ne public. People wilt De encouraged to walk, run, jump, or dance through the alley, and then movement will trigger corresponding sounds and lights. The motion data from this event will form the initial "memory" which is a sequence of musical notes and lights. This is a rnetapho! for a life event taking form as a memory in the brain's hippocampus The ;nstallation will stay up for four weeks. As pedestrians move through this area, their movement will trigger notes and lights from the original sequence. However, based on the pedestrians' speed, direction, and position, the original sequence will be slightly mutated. This is a metaphor for how each time a person remembers a memory. the memory changes slightly. A website bull. for this art project w ii display both the original "memory" and the current version of the mutating "rnemory " A OR code to load this webs:te will be on a placard in the alleyway so pedestrians car access this visual display on their smartphones By the end of the exhibit, the public will be able to see how much the original sequence mutated overtime. 3400 characters rerranog V,Fho is the intonded audience for this project?* Rk a describe the me ided EaKlenrr, ;or this pr! Vim: a•dd Ine efforts yra., wf'aic i; i LiOil the ToFr:T 9w we (Ay cormunity. Iowa City pedestrians who travel through this part of the Pedestrian Mall and people who specifically come to the exhibit as a destination. 1400 characters renavlmg What promotion and mar%eting are you p!anning for the event?* The opening eveni wil be promoted on social inadia and shared with my contacts who work for the City of Iowa City, the Stanley Museum, Iowa Pubiic Radio, Little Vliage Mag, and the a-ts, theater, music, engineer ng, and journalism. departments at the t diversity of Iowa. A continued social media campaign Wil persist throughout the duration of the installation, and I expee, press stories to also cover and promote the installation 1400 diaractus remaining How will you gauge a successful outcome for this project?* The data from the motion -sensors can be quantified to estimate the number of visitors, as well as how much each visitor moves*. This data, along with press coverage, will show the level of engagement and success the project has. * Privacy note: -, he sensors Kell not be storing video or photographic information. T he sensors only collect motion data. 1400 characters rerahing Project Location Street Atress 127 E College Street Address Line 2 CRY Iowa City Pastel /Ta Cade 52240 Project Location Details* State: R V=e I Rjgim IA mmo-y USA :•case orw.clo des=s asses: -:zed :nthe bo ,�- d the ave-Jpefoonence explzr-N where d's, how L: open cnd fred'y aysiab: to to ganeraW=z The alley is between The Graduate Hotel and Martini's =.n the Pedestrian Mail of bwa City. The alley is covered, thus providing protection from rain. it also has electrical outlets spanning its entire length. Here is a diagram of the installation, detailing where the lights, sensors, and speakers will go: http.Hmed ia.jasonjsnell.corrJiowa/installation.html The equipment needed for the exhibit includes audio speakers, an audio amplifier, audio cables, a MIDI to DMX converter, DMX lights, DMX cables, the motion -sensor system, and hanging materials. 3400 characters reneiring Is this public or private property?* public Describe YOU partners (if any) for this project and Mat role they will play (financial assistance, providing space, technical assistance, etc.). Partners Partner* Contribution * Equipment $ 1,30000 Professional Services (artist) $ 700.00 Supplies $ 0.00 Food and Beverage $ 0.00 Other $ 0.00 Other $ 0.00 Other $ 0.00 'total Project Cost $ 2,000.00 Letters W support and/or other documents (') JSRecommendation.pdf 134.32KB Submissions must be received by: Friday, July 'i9th 5 00prn Mev iew of submissions by the Public Art Advisory Committee (PAAC): Thursday, August 1st 3:30pm (Applicants should be present.) Noti/ication of PAAC decision: No later than Friday, August 9th Performance Completion: No lalei than October 31 st, 2019 Name * nikesha Jones Address* Address 917 20th Avenue Place A Address Um 2 ry Coralville Ft,ta/Z?(bw 52241 Phone Number* 319.594-1356 Email* jonesacademyic@gmail.com Project .dame * Drumling in the city Proposed Start Date 8/1/2019 Proposed End Date* 10/19/2019 Description of Proposed Project* Sate / R Mnoe / R4W to cow," USA The Jones Academy will be hosting a Perrormace Arts showcase to feature our dance groups as well as our newly formed Iowa City Dynasty Drumline. 3400 characters rerrar ing Who is the intended audience for this project? * Fiesse descruethe mended C, &_rica -a Nis prWxt and tie orfr is you wi: t,:: to ,_tit the xeaaer;owa CtY corrr-Aty. The intended audience for this event would be youth and their families in Iowa City and surrounding areas. 1400 characters rerreiring What promotion and marketing are you planning nor the event?* Social media outlets, post or our website and post flyers up the neighborhoods. 1400 characters reneirirg How wta you gauge a successful outcome ?or ihis project?* We will gauge the outcome -based off the number of youth paiticipants able to perform at the showcase as well as the number of people come out to support our performers. 1400 characters renelnhg Project Location StrestAddre.s Pedestrian Mall Address : ,: e 2 210 Dubuque at CRY Iowa City RSV I / Zn Cute 52240 State/ FYwince/ iegio Iowa (.bw"' Project Location Details* xoN_, onta s associated to ttic!ocation of Ma we-Wperfarrerce ezplair'99 wk m 3 is. how r - open and freely avziiade to he gawsal PWc. The Fed Mall is located in downtown Iowa City. The ped Mall serves as a gathe•ing place for students and locals. It draws large crowds for its summertime everit such as the Friday Night Concert Series and annual Iowa City Jazz Festival and Iowa Arts Fast. The Ped Mall is an open outdoor space where many locals and new artist showcase their talents. 3400 characters remaining Is this public or private property?* public Describe your partners (if any) for this project and what role they will play (financial assistance, providing space, technical assistance, etc.). Partners Partner* Con4ribution * Dream Center 2000.00 is in kind donation for space from August to October. Equipment $ 750.00 Professional Services (artist) $ 500.00 Supplies $ 450.00 Food and BeveraCe $ 300.00 Oiher Other Ocher Total Project Cost $ 2,000.00 Letters of support and/or other documents (') Submissions must be received by: Friday, wuly 19th 5,00pm Review of submissions by the Public Art Adv!sory Committee (rrAAC): Thursday, August 1st 3.30pm (Applicants shoule be present.) No6ificetion of PAAC decision: No later than Friday, August 9th Performance Completion: No lacer than October 31 st, 2019 Name* Antelope Lending Library Address* BtredAddre s 1122 5th Ave Address Line 2 lov a City ;bsty / ZG Coda 52240 Phone dumber* 319-343-6872 Email* cassandra@antelopelendinglibrary org Project Name * Animation Workshop Proposed Start Date 9/1/2019 Proposed End Date 10/31/2019 Description of Proposed Project* State/7uvime/ dtfal IA oximy United States Antelope Lending Library patrons of all ages in three Iowa City neighborhoods (Cole's Mobile Home Court, Breckenridge Estates, and Forest View Trailer Court) will work together to construct and animate paper collage mini -scenes with the help of local animation expert Mark Jones. Participants wili create and film sce: ies during bookmobile visits to each neighborhood in September, then Junes will edit the `outage together to create a final video which will be posted online and shown at movie premieres in each participating neighoorhood In October. The film wail be projected outside (weafner permitting) and we will provide refreshments for a real theater -type experience. 3400 characters rerreimrg Who is the intended audience for this project?* F:::3sa descrie the intanded a;x5.: 'ar this pre)ect xJ the efforts you wil talc to benflt the broader lowa lily ci m nity. The intended audience for this prolect is neighborhood kids and teens, many of them from low-income households, though anyone interested in participating is welcome to. By bringing the wiperience of film making to those who night not have the opportunity to participate in something like :his otherwise, we are opening the doors to new possibilities for Iowa City residents, and everyone benefits when all are g:ven opportunities to explore their world in new ways 1400 characters rerreir irg What promotion and marketing are you pinnning for the event?* With this two-part event (making the movie and showing the movie), we'll advertise through flyers when we visit the neighborhoods do, ing our August summer service, as well as through our website, Facebook page, and Instagram. We will also create and post posters in the participating neighborhoods to draw on riew audiences wt,o we may not have regular contact with. We will advertise similarly for the premers. 1400 characters remaking How will you gauge a successful outcome for this project?* We will measure success by number of participants in the workshop and at the premieres, and through the enthusiasm and excitement of those who work together to create something from nothing. 1400draractas rerram)J Project Location Srx: Address (1) Cole's Mobile Fbme Court, (2) Breckenridge Estates. (3) Forest Viewirader Cour. Address L r: 2 (1) 2132 S Riverside Dr; (2) 4494 Taft Ave SE; (3) Forest View Trailer Park i]ty Sate/ Pannco /'hgion Iowa City IA 52246; 52240; 52245 Project Location Details* 9e 6prMid;dc:snism-v"'ro9wiocaricr.d tlM tWoreancc exploring wlxae d's, how rt s qiQ i ao frro'y Well ie to he genera: pu:.Jic. The workshops will take place during regular bookmobile visits to the neighborhoods in September, with the movie premieres scheduled for bookmobile visits in October. While these neighborhoods are technically private property, access to the neighborhoods is rot restricted and anyone is welcome to attend the workshops and movie showings, and Antelope Lending Library already has express permission from the neighborhood managements to regularly visit these neighborhoods. 3400 characters rerreining Is this public or private property?* private Do you have permission from the property owner?* IT, Yes C P.b Describe your partners (if any) for this project and what •ole they will play (financial assisiance, providing space, technical assistance, etc.). Partners Partner* ConWbutlon Mark Jones Animation Bpert Equipment Professional Services (artist) $ 1,600.00 Supplies $ 100.00 Food and Beverage $ 225.00 Other Other Cther Total Project Cost $ 1,925.00 Letters of support and/or other documents (") Mark Jones Animation, Resume Workshop at a Glance.pdf 403.06KB Animation Workshops with Mark Jones Contact: mall@mrjonesart.com Workshop at a Glance During the course of the workshop (typically 5 sessions) students will: Create an animated short film or music video. The length of the workshop will determine the depth and scope of our final movie. A week-long workshop typically allows for one to two minutes of animation. The story of the movie wi!I be determined by staff and students. This often will tie into a school or district -wide initiative or idea. Become proficient in using stop -motion aPes and software. 1 will lead students through a series of hands-on tutorials leading up to the final movie. Most of the software we use is free, or readily available. This accessibility encourages students to continue animating on their own for future projects. Work as part of a team to create all the content forthe movie. The movie should be "student made." During the first few sessions I teach concepts and techniques, but I want the final productto be something they create. Students work in teams, problem -solving their animations collaboratively. Learn about careers in film and animation. The skills students learn in this workshop are directly applicable to careers in animation. As a working animator, I believe it's importantto stressjust how accessible these careers are. Raw artistic "talent" takes an immediate backseat to a strong work ethic in manyjobs in the visual arts. About Me I taught K-lz art for seven years in Iowa City and served as the district's Arts Coordinator. In that time I was always developing ways to incorporate hands-on technology into the classroom. I created an animation curriculum for my school district which stressed student input and collaboration. I am currently a full-time freelance artist and workshop organizer with a passion for passing on the lessons and techniques I've developed while working with my students and colleagues. References Jessica Stortz 920387.7970 1stortz(a)mavvi lle. kiz.wi.us Jessica was the coordinating artteacher for my artist -in - residence workshop with Mayville, Wisconsin K-8th graders. Lynda Farnham 641.7843351 ext. 2432 IfarnhamMiamoni.kiz. ia.us Lynda is the Media Specialist and TAG teacher for Lamoni, Iowa. I coordinated with her for a week-long animation workshop with 6th-12th grade students. Animation Workshops with Mark Jones Contact: mail@mrjonesart.com Workshop Example A collaboration between elementary andjunior high schools. Spring 203.7 in Mayville, WI. This animation was made during a one -week NAYVI workshop with K-8th grade students in two ��V L different schools in Mayville. The overarching HOOS theme was Cardinals Flock Together. LEach grade level was tasked with coming up with a scene that matched the theme, as well as having their characters move in time to the — _ beat of the song. Cross -Curricular Aspects: Writing: We played storytelling games as a full class to improvise the plot of our movie. Math: Students had to match their animation with the song using beats -per -minute of the song, and frames -per -second of the animation. P.E.: Students used pixilation, or animation using their own body movement. They worked in teams to come up with ways that the bird could "dance" with them in the movie. Music: We recorded student -performed percussion and sound effects for our song. Subrinissions must be received by: F day, July 19ih 5 00pm Review of submissions bythe Public ft't i-Avisory Committee (PAAC): Thursday, August 1st 3 30pm (Applicants shodld be present.) uotifrcation of PAAC decision: No later thar. Friday, August 9th Performance Completion: No later than October 31 st, 2019 Wane Dar. Stolley Address* S:teet Address 746 Oakland Avenue Address Line 2 city iox-a city ista i Z d ibde 52240 Phone plumber* 131979517b8 Email * dcstolley@gmail.com Project Name* Art Walk in the Park (official marketed title subject to change) Proposed Start Date* 9/27/2019 Proposed End Date* 9/27/2019 Description of Proposed Project* State/ i hm ce / k.•rp.,: IA (lilt 14 USA The goal of this project is to provide local artists with a venue to perform and vital etposure to the community at large. In a similar structure to the present Gallery Walk downtown, attendees will walk around a local park with around 15 artists soaced out in stations around the location. Performs ,ers would all perform for a segment of hrne (appro)dmately 10 minutes) and afterward attendees would be encouraged to walk to the ne)d station along the path. Artists would be a mixture of spoken word, music, dance, and other visual arts. Individual artists would be compensated with a $50 stipend - with group artists to receive a group stipend of a to be determined amount. Artists woulc allowed to sell meranandise (books, CD, etc) and distribute their owat marketing materals in a similar fashion to the Galle•v Walk, attendees can enter to win a prize by visiting s certain annant of performances Furthet, local organizations and outdoor initiatives will oe !nvited to set up a table to showcase their ongoings in a designated area. 3400 characters retaining Nh10 is the intended audience for :his project? F:.ase d ,rrhellx; ' etc n:;4 c�.i�re � wtha :x:t:v". acd 7te sffaw' you wiv aiw; N ir,-w6rt tx bre�at.:� k,wr: (hy �rtrc. lq� The intended audience would be local residents, the student population, and visitors - with the planned date an evening before a home University football gains, it would be a great event for tourists to stop by and emerience Iowa City's valuable artists. Also, artists would represent a wide variety of backgrounds and identities, which would hopef.:lly attract a dive -se audience. American Sign Language interpreters would be available for anyone witi i anyone deaf or hard of heanng. 1400 characters remaining What promotion and marketing are you planning for the event?* Promotion would include digital & social media marketing and good, old fashioned grassroots efforts - posters, flyer, radio shove, and more. hopefully, once funding is approved, we can partner with local businesses to sponsor', which would provide further reach. Graphic design would be completed by myself, with a budget for printed materials. 1400 &wauters re aniry How wiil you gauge a successful outcome for this project?* This event would be deemed a success by merely having attendees etperiencing the variety of art being fostered here in our community No matter the number of attendees, providing artists a platform to be seen and compensated - rather than asking for free performances - will help shape future opportunities outside of traditional venues that currently underpay or take a large cut of performers' revenue, which discourages many from pursuing artistic careers. 1400 characters rensiring Project Location SC;xitAddress Riverfront Crossings Park Address _in_ 2 CKY Iowa City Fists / In Cow 52240 Project Location Details* Spat:, F'wYwa / ri gir:.i IA 11.Il1IN US Rase rn de deta�, assocGed to the bcadw of ire eve Vperfc-"no3 oxplc;n:rg wi sre -t s, how @ ss opera and freely ava'rable to+ha general publG. The newly established park would be an ideal location for this event due to the space's size and accessibility. The amourt of pathway available would be useful not only for the spread out performance spaces but for handicapped attendees that would need a paved surface There are restrooms located on site, a.id parking availaole on site. with adadlonal parking actions at Big Grove Brewery ana the Waterfront Fy-Vee (ride sharing, biking, and busing Wl! be encouraged). 3400 characters renardi Is this pudic or private property?* public Describe your partrers (if any) for this project ar,d what role they will play (financial assistance, providing space, technical assistance, etc ). Partners ?ertne r * Conrlbution The E,rgiert Theatre Terits, tables, chairs/stools, music stands - potential rain location FIImScene "opcorn for guests Equipment $ 200.00 Professional Services (artist) $ 1,000.00 Supplies $ 150.00 Food and Beverage $ 200.00 Other $ 200.00 Describe other expenses* Marketing Other Other Total Project Cost $ 1,750.00 Letters of support and/or other documents CI Submissions musi be received by: Friday, J:ly 19th S:OOpm Review of submissions bythe Pubiic Art Advisor, Committee (PAIAC): Thursday, August 1st 3 30pm (Applicants should be present.) r'otification or PAAC decision: W later than Friday, August 9th Performance Completion: M later than October 31 st, 2019 Name * AJ Boulund Address* F'.':ee: Add.Pss 75 Ashford Place Adc.ws Line 2 CRY Iowa City .-bste /Zp 0,,e 52245 Phone slumber* 3199309462 Email * alex-boulun('.@uiov4a.edu Project [Jame * Flow to Make Cartoons That Everybody Will Like Act Proposed Start Date 10/19/2019 Proposed End Date* 10/19/2019 Description of Proposed Project* $tu'li: / iT WPC ] l ri�gim Iowa Cwntry United States My partner and I would screen a simple animation we made and teach kids tricks or how they can make their own. We could give drawing tutorials, music lessons, script writing tricks, etc. 3400 characters remartirg Who is the intended audience for this project?* F:�.;e descrbetlre. K,.--deJ awe;: ce for this prerrxt and 0 e a fe S you wi'i %a a to tom'-�:: tv broa6ui lwc City oxrnu•ity. Our target audience is Was ages 7-13, but all ages are welcome to come. If this works, we'll have loads of kids making post it note animations all across the city. 1400 characters remaining FJhct promotion and marke'Ina are you planning for the event?* We would heavily market it on out social medias. 1400 characters renarirg How will you gauge a successful outcome for this project?* If I can get one kid to decide to go into art, then it's a success. 1400 characters renalring Project Location Street Adiess AdGess 1.1s2 aty I bstel / Zr} r—Ae State /Rooince/:bpan tb.0 5y Project Location Details* Flew p'w:de detais ase=o& :o'.he bmhw of theeve. /perfomarra eupla'rirg whare A is, how it is open a x.'rcey avraeble to tM generai x. o ic. We don't have a location set for this. My frierd forwarded this email, and I was hoping you could help us out with this. 3400 characters remaining Is this public or private property?* public Describe your partners (if any) for this project and what role they will play (financial assistance, providing space, technical assistance, etc.). Partners Partner* Noah Freeman Equipment $ 100.00 Professional Services (artist) $ 100.00 Supplies $ 100.00 Food and Beverage Contribution * Music, Script $ 200.00 Other Other Other Total Project Cost $ 500.00 Letters of support and/or other documents (9) Name: Kim Cassisa Address: 2482 Street Address: Lakeside Drive Address Line 2: Apt 5 City: Iowa City State: Iowa Zip Code: 52240 Phone Number: (662) 715-9124 Email: kimcassisa@gmail.com Project Information: Dungeons and Dragons sessions with live interactive music Project Name: D20 Ensemble Proposed Start date: September 15 Proposed End date: October 27 Description of Proposed Project: D20 Ensemble will create a unique fusion between the worlds of gaming and music in order to introduce a diverse audience to both artistic fields, forging new relationships between separate disciplines. A live, open game of Dungeons and Dragons will be accompanied by a live improvised "soundtrack" which provides an interactive setting and enhances mood by responding to the story in real time. Creative dialogue between the Dungeon Master and musicians will create an exciting and unique artistic experience for the audience and participants. The project will build a creative space for entertainment and learning through the collaboration of an experienced storyteller and professional musicians. The four groups involved are as follows: Dungeon Master — This individual is responsible for guiding players through the story with fluid narration and providing entertainment for the audience with voice acting and vivid description. Musicians — The musicians will provide a musical backdrop to accompany the story, giving the players a multi -layered gaming experience as well as entertaining the audience with live, improvised music. Players — Up to five individuals per event will be given the opportunity to participate in the Dungeons & Dragons session. Those less familiar with the game will be especially encouraged to participate. Audience — Community members, including families and individuals of all ages, will be welcomed to attend this event which provides entertainment through an exciting, fantastical story and live music. Proposed dates for this project are: Sept. 15, Sept. 29, Oct. 13, and Oct. 27. Proposed time is 12pm; holding this event bi-weekly on Sundays at noon will allow for accessibility for a wide audience, including families. Each session is expected to last about 2 hours. Who is the intended audience for this project? Please describe the intended audience for this project and the efforts you will take to benefit the broader Iowa City community. This project has the potential for wide community outreach; disciplines often perceived as unwelcoming to newcomers will be presented in an accessible, friendly format. Anyone interested in collaborative storytelling or live music will be encouraged to attend. The proposed event time of Sunday afternoons makes this project appealing to individuals of all ages, including families. The synthesis of groups involved with gaming and music will benefit the broader Iowa City community by providing a space for relationships between different communities and age groups to be formed and strengthened. What promotion and marketing are you planning for the event? I will make a Facebook page for the project with an event page for each specific event. This means that I can reach people I am connected to and it provides a platform for the events to be shared beyond my own network of friends. The project will have its own dedicated Instagram page with which I will be able to reach other audiences through shared interests rather than my own personal connections. The Instagram page will also be a way for potential audiences to visualize what will largely be an auditory experience for the attendees. There is an automatic promotion of the event through the venue; the Mill have their own website to share events within the Iowa City community. They also advertise upcoming events inside the venue. I will provide the venue with flyers and the project brief. Potential audiences can also be reached in game stores across Iowa City. As I already have a large network of both musicians and people interested in gaming, a significant component of the initial advertising will be through word of mouth. I have found this to be the most sincere way of sharing my enthusiasm for the project. How will you gauge a successful outcome for this project? A major way to measure the success of the project will be by tracking the growth of the audience at each event. This will be done by taking a head count at each event. I will also be able to measure the project's success by monitoring the growth of its social media presence. There are analytical tools available to do so as the administrator of the Facebook and Instagram page. More importantly, however, the success will be measured by measuring the number of people who attend for whom at least one aspect is a new experience. To gain an accurate idea of this, I will create a survey for participants (see supporting documentation) to show a) how many people have attended b) whether they are familiar with collaborative story telling c) if they are regular attendees of live music events d) feedback from the audience to develop future events. I will incentivize attendees to complete the survey by entering each participant in a door prize, which I hope will be donated by a local game store. Project Location: The Mill Street Address: 120 E Burlington St City: Iowa City State: Iowa Zip Code: 52240 Project Location Details- Please provide details associated with the location of the event/performance explaining where it is, how it is open and freely available to the general public. The Mill is a restaurant that is also a venue for live music and theater events. It provides a platform for creative professionals and amateurs in Iowa City to share their art with the public. This project will be held in the Mill's performance space, which is a separate room from the main restaurant/bar. It has a stage as well as tables, chairs, microphones and other equipment that is necessary for this project. Is this public or private property? The Mill is private property that is open and freely available to the general public. Describe your partners (if any) for this project and what role they will play (financial assistance, providing space, technical assistance, etc.) The Mill. The Mill will provide a venue, tables, chairs and sound equipment, including microphones and speakers. They will also provide assistance in the promotion of the events. Critical Hit Games. This is a potential partner that I have reached out to for sponsorship. This would involve donation of materials for door prizes and potential financial support. I will also be advertising in the store itself. Community support. The project is supported financially online via a GoFundMe page. The page can be found here: https://www,goftmdme.com/f/dampd-with-live-soundtrack&rcid=r01- 156357065213-4b220bal7dfe4282&pc=ot_co—campmgmt—w BUDGET Equipment Microphone/Speaker $0 — provided by venue Professional Services Dungeon Master $50 x 4 events Musician 1 $50 x 4 events Musician 2 $50 x 4 events Musician 3 $50 x 4 events Supplies 200 flyers $10 Players' Handbooks $0 — provided by partners Dice $0 — provided by partners Food and Beverages Restaurant/Bar onsite Available for purchase by attendees TOTAL PROJECT COST $810 Secured Funds $105 REQUESTED FUNDING $705 Audience Survey [DRAFT] 1. Is this your first time at a D20 Ensemble event? YES NO 2. Do you regularly attend live music events? YES NO 3. Have you played Dungeons & Dragons before? YES NO 4. Do you have any comments or suggestions for future events? A to ci ik -Iv p&I 'ove✓ Gvvs' Submissions must be received by: Friday, July 19th 5:00pm Review of submissions bythe Public %ri Advisory Committee (PAAC): Thursday, August 1st 3:30pm (Applicants should be present.) Hotification of P.ti'C decision: No later than Friday, Augast 9th Performance Completion: No later than October 31 st, 2019 Name Jennifer Beall Address * Stre9 Address 1809 Higley Avenue SE Muses Line fly Cedar Rapids Rx.z IHp 0r 52205 Phone Number* 319-480-1971 Email * jenniferbeall@outlook.com Project Marne * Suppressed Desires Double Billing Proposed Start Date* 10/11/2019 Proposed End Date 10/13/2019 Uescription of Proposed Project* SYrte! i iw!ncc; / r�tt IA ca,my United States Over the last year, I have beer. looking for opportunities :o stage performances of plays in the public domain that have strong historic and literary value, but that are often overlooked. i have been wanting to offer these productions at a free or reduced admisslon in order to make sure that they are available to anyone who might have an interest. The goals of the Iowa Public Art Program seemed to align w.th my vision for this project, which will present two historic one -act plays. In recent years there has beer. a push in the world of trieaue to create greater recognition of the contributions that women have made to the theatrical canon. This project would work toward that goal by presenting a one act by Susan Glaspeil, an. Iowa native and Pulitzer Prize-winner, and Alice Gerstenberg, a playwright known for her innovation and errperlmentation. Both of these writers weie leaders In American theatre, but their works are not as well known today as those of their male contemporaries, such as Eugene O'Neil, whom Glaspell actually discovered. l he two plays that I plan to stage are Glaspell's comedy Suppressed Desires and Gerstenberg's drama Overtones. Both of these one -act plays explore the themes of suppressed thoughts and feelings, with Giaspell's dealing with a couple's humorous encounters with Freudian pyschotherapy, and Cerstenberg's wploring the social expectations that worter. should keep their true feelings hidden behind outward shows of politeness and civility. Both plays were significant in the development of rrodern American theatre, with Suppressed Desires being one of the first plays produced by the Provincetown Players, a grruP that helped to establish the regionai and community theatre movements we have today, and Overtones being cited as the first play to visually show the split subject. I would like to present each of these plays fully staged with technical elements to give the audience the fullest theatrical expel fence possible. Both of these plays have a small cast (Suppressed Desires - 1 M, 2F; Overtones - 4F) and overlap in casting between each is possible. The production will also require at leas; one director (I plan to direct Overtones myself, and I know a director who is interested i^ Suppressed Desires) and a stage manager to operate the lights and sound. I would ideally like to provide a small stipend of around $100 to each of the artists involved in the production, and I have listed the rriaximum total amount to be used for these stipends in the "Professional Services" section of the budget below. I also plan to do an audience talk back after each performance so that those interested can learn more about the process of putting on the snows and the historical content behind them. If this project is approved, I would like to reach out to members of the University of Iowa tneatre faculty to see if any of them are interested in taking part in these talk backs. The costs in the budget below are flepble if need be to accommodate dispersing the greatest number of funds to a variety of projects. One of the reasons that I think both of these shows would be good for a free admissions show !s that neither require extensive sets or props to be staged. I am happy to work win the Public Art Advisory Committee as needed to secure appropriate funding. Copies of both plays have been attached below for reference. 3400 characters remaining Who Is the intended audience for this project?* Faosedesci%write'rt.�tled rudleme for th'snr*Ytandthe efforts ywwit Wow here&:t;o imo jsr kwaay cam,;o*. . I believe that this performanco could be enjoyed by anyone with an interest in theatre. With ore comedy and one drama, there is material between the two plays that can be enjoyed by a wde range of people. Despite both of these plays first being produced in ', 915, 1 have found that the both have appeal to a modem audience, and I think that the humor in Suppressed Desires reads even better than some modem comedies. My hope with this project is to give people who might not normally want to see older plays a low -risk opportunity to enjoy these works. I would also hope that members of the local theatre community will see these shows and take a more serious look at public domain works as a viable option for future productions. Since these plays do not require royalties to produce, they are an affordable option for theatre companies and schools with any budget, but we often do not look past the more weh-known tities when seeking out historical plays to produce. The content in these plays would be appropriate and iikely understood by ages 13 and up. 1400 characters repairing Nlha2 pronri and marVeting are you panning for the event?* I plan to make posters, send press releases to local papers and do both paid and organic online promotions. When working on past events, I have found that social media is a good way to reach new audiences. I also know people who work in radio and I would like to connect with them to speak about the project on air, When creating the images to promote the performances, I would like to create something colorful and modern so that audiences with a perception of older plays as "stuffy" might be more encouraged to see these shows. When I first started thinking of staging Suppressed Desires earlier this year, I had thought of the tagline "A play about marriage, Freud, and chickens" as one odd enough to get people's attention and make them want to learn more about how those things would be connected in a play. Since I am partnering with Dreamwell Theatre for this project, I would also use their existing marketing channels to promote the performances. 1400 characters repairing How will you gauge a successful outcome for this project? * Attendance would be one factor, but not the only one. I would say that this is a successful project if I hear from people that they enjoyed the performances, took a rsk or seeing a show they might not normally go to, and/or learned something about theatre history. In the past when I have wanted io do audience evaluations of a production, I have used comment cards as a way for attendees to give their feedback. That is an easy and free option that I could use for this project. 1400 characters remaining Project Location &-cat A&Irx-s 120 N Dubuque St Adcreas tie 2 city 56.k: / Rwince I gim Iowa City IN Fbstd IZ:p Aide o3urt y 52245 United States Project Location Details* Fuss.prcvicacrs+s a oeci:wdtoarckcaliorcf tN::. ent/paiorm r explar:ngwhereala, how tis openam. rreeiy ava�ahletothegcrera:,x Jic. Dreamwell Theatre typically uses Public Space One for their performances, and they have agreed to help me secure space there if this project is approved. There is, however, a rental cost to using this space, which I have estimated in the budget below. If the funds for this project cannot be used for that type of cost, I have looked at the Iowa City Public Library as a back-up location. The two plays could be performed there, but we would loose technical options. 3400 characters rerraning Is this public or private property?* public Describe your partners (if ary) for this project and what role they vdll play (financial assistance, providing space, technical assistance, etc.). Partners Partner * Contribution* Dreanmell Theatre Securing a space, promotions, access to theatre resources for props and costumes Equipment Professional Services (artist) $ 1,000.00 Supplies $ 400 00 I°cod and Eaverage Other $ 225.00 Describe other expenses* PS1 rental Other $ 375.00 Describe other _xpenses* Marketing Other Total Project Cost $ 2,000.00 Leiters of support and/or other documents(?) OVERTONES.pdf 60.99KB SUPPRESSED DESIRLS by SUSAN GLASPELL.pdf 129.88KB OVERTONES a play in one -act by Alice Gerstenberg The following one -act play is reprinted from Washington Square Plays. Ed. Edward Goodman. New York: Doubleday, Page & Co., 1916. It is now in the public domain and may therefore be performed without royalties. CHARACTERS HARRIET, a cultured woman HETTY, her primitive self MARGARET, a cultured woman MAGGIE, her primitive self [HARRIET'S fashionable living -room. The door at the back leads to the hall. In the centre a tea table with a chair either side. At the back a cabinet. HARRIET'S gown is a light, "jealous" green. Her counterpart, HETTY, wears a gown of the same design but in a darker shade. MARGARET wears a gown of lavender chiffon while her counterpart, MAGGIE, wears a gown of the same design in purple, a purple scarf veiling her face. Chiffon is used to give a sheer effect, suggesting a possibility of primitive and cultured selves merging into one woman. The primitive and cultured selves never come into actual physical contact but try to sustain the impression of mental conflict. HARRIET never sees HETTY, never talks to her but rather thinks aloud looking into space. HETTY, however, looks at HARRIET, talks intently and shadows her continually. The same is true of MARGARET and MAGGIE. The voices of the cultured women are affected and lingering, the voices of the primitive impulsive and more or less staccato. When the curtain rises HARRIET is seated right of tea table, busying herself with the tea things.] HETTY: Harriet. [There is no answer.] Harriet, my other self. [There is' no answer.] My trained self. HARRIET: [listens intently] Yes? [From behind HARRIET'S chair HETTY rises slowly.] HETTY: I want to talk to you. HARRIET: Well? HETTY: [looking at HARRIET admiringly] Oh, Harriet, you are beautiful to -day. HARRIET: Am I presentable, Hetty? HETTY: Suits me. HARRIET: I've tried to make the best of the good points. HETTY: My passions are deeper than yours. I can't keep on the mask as you do. I'm crude and real, you are my appearance in the world. HARRIET: I am what you wish the world to believe you are. HETTY: You are the part of me that has been trained. HARRIET: I am your educated self. HETTY: I am the rushing river; you are the ice over the current. HARRIET: I am your subtle overtones. HETTY: But together we are one woman, the wife of Charles Goodrich. HARRIET: There I disagree with you, Hetty, I alone am his wife. HETTY: [indignantly] Harriet, how can you say such a thing! HARRIET: Certainly. I am the one who flatters him. I have to be the one who talks to him. If I gave you a chance you would tell him at once that you dislike him. HETTY: [moving away] I don't love him, that's certain. HARRIET: You leave all the fibbing to me. He doesn't suspect that my calm, suave manner hides your hatred. Considering the amount of scheming it causes me it can safely be said that he is my husband. HETTY: Oh, if you love him-- HARRIET: I? I haven't any feelings. It isn't my business to love anybody. HETTY: Then why need you object to calling him my husband? HARRIET: I resent your appropriation of a man who is managed only through the cleverness of my artifice. HETTY: You may be clever enough to deceive him, Harriet, but I am still the one who suffers. I can't forget he is my husband. I can't forget that I might have married John Caldwell. HARRIET: How foolish of you to remember John, just because we met his wife by chance. HETTY: That's what I want to talk to you about. She may be here at any moment. I want to advise you about what to say to her this afternoon. HARRIET: By all means tell me now and don't interrupt while she is here. You have a most annoying habit of talking to me when people are present. Sometimes it is all I can do to keep my poise and appear not to be listening to you. HETTY: Impress her. HARRIET: Hetty, dear, is it not my custom to impress people? HETTY: I hate her. HARRIET: I can't let her see that. HETTY: I hate her because she married John. HARRIET: Only after you had refused him. HETTY: [turning on HARRIET] Was it my fault that I refused him? HARRIET: That's right, blame me. HETTY: It was your fault. You told me he was too poor and never would be able to do anything in painting. Look at him now, known in Europe, just returned from eight years in Paris, famous. HARRIET: It was too poor a gamble at the time. It was much safer to accept Charles's money and position. HETTY: And then John married Margaret within the year. HARRIET: Out of spite. HETTY: Freckled, gawky -looking thing she was, too. HARRIET: [a little sadly] Europe improved her. She was stunning the other morning. HETTY: Make her jealous today. HARRIET: Shall I be haughty or cordial or caustic or-- HETTY: Above all else you must let her know that we are rich. HARRIET: Oh, yes, I do that quite easily now. HETTY: You must put it on a bit. HARRIET: Never fear. HETTY: Tell her I love my husband. HARRIET: My husband-- HETTY: Are you going to quarrel with me? HARRIET: [moves away] No, I have no desire to quarrel with you. It is quite too uncomfortable. I couldn't get away from you if I tried. HETTY: [stamping her foot and following HARRIET] You were a stupid fool to make me refuse John, I'll never forgive you -- never-- HARRIET: [stopping and holding up her hand] Don't get me all excited. I'll be in no condition to meet her properly this afternoon. HETTY: [passionately] I could choke you for robbing me of John. HARRIET: [retreating] Don't muss me! HETTY: You don't know how you have made me suffer. HARRIET: [beginning to feel the strength of HETTY'S emotion surge through her and trying to conquer it] It is not my business to have heartaches. HETTY: You're bloodless. Nothing but sham -- sham -- while I -- HARRIET: [emotionally] Be quiet! I can't let her see that I have been fighting with my inner self. HETTY: And now after all my suffering you say it has cost you more than it has cost me to be married to Charles. But it's the pain here in my heart -- I've paid the price -- I've paid ---- Charles is not your husband! HARRIET: [trying to conquer emotion] He is. HETTY: [follows HARRIET] He isn't. HARRIET: [weakly] He is. HETTY: [towering over HARRIET] He isn't! I'll kill you! HARRIET: [overpowered, sinks into a chair] Don't -- don't -- you're stronger than I -- you're -- HETTY: Say he's mine. HARRIET: He's ours. HETTY: [the telephone rings] There she is now. [HETTY hurries to 'phone but HARRIET regains her supremacy.] HARRIET: [authoritatively] Wait! I can't let the telephone girl down there hear my real self. It isn't proper. [Into the phone.] Show Mrs. Caldwell up. HETTY: I'm so excited, my heart's in my mouth. HARRIET: [at the mirror]. A nice state you've put my nerves into. HETTY: Don't let her see you're nervous. HARRIET: Quick, put the veil on, or she'll see you shining through me. [HARRIET takes a scarf of chiffon that has been lying over the back of a chair and drapes it on HETTY, covering her face. The chiffon is the same color of their gowns but paler in shade so that it pales HETTY'S darker gown to match HARRIET'S lighter one. As HETTY moves in the following scene the chiffon falls away revealing now and then the gown of deeper dye underneath.] HETTY: Tell her Charles is rich and fascinating -- boast of our friends, make her feel she needs us. HARRIET: I']I make her ask John to paint us. HETTY: That's just my thought -- if John paints our portrait -- HARRIET: We can wear an exquisite gown -- HETTY: And make him fall in love again and -- HARRIET: [schemingly] Yes. [MARGARET parts the portieres back centre and extends her hand. MARGARET is followed by her counterpart MAGGIE.] HARRIET: Oh, Margaret, I'm so glad to see you! HETTY: [to MAGGIE] That's a lie. MARGARET: [in superficial voice throughout] It's enchanting to see you, Harriet. MAGGIE: [in emotional voice throughout] I'd bite you, if I dared. HARRIET: [to MARGARET] Wasn't our meeting a stroke of luck? MARGARET: [coming down left of table] I've thought of you so often, Harriet; and to come back and find you living in New York. HARRIET: [coming down right of table] Mr. Goodrich has many interests here. MAGGIE: [to MARGARET] Flatter her. MARGARET: I know, Mr. Goodrich is so successful. HETTY: [to HARRIET] Tell her we're rich. HARRIET: [to MARGARET] Won't you sit down? MARGARET: [takes a chair] What a beautiful lamp! HARRIET: Do you like it? I'm afraid Charles paid an extravagant price. MAGGIE: [to HETTY] I don't believe it. MARGARET: [sitting down. To HARRIET] I am sure he must have. HARRIET: [sitting down] How well you are looking, Margaret. HETTY: Yes, you are not. There are circles under your eyes. MAGGIE: [to HETTY] I haven't eaten since breakfast and I'm hungry. MARGARET: [to HARRIET] How well you are looking, too. MAGGIE: [to HETTY]. You have hard lines about your lips, are you happy? HETTY: [to HARRIET] Don't let her know that I'm unhappy. HARRIET: [to MARGARET] Why shouldn't I look well? My life is full, happy, complete -- MAGGIE: I wonder. HETTY: [in HARRIET'S ear] Tell her we have an automobile. MARGARET: [to HARRIET]. My life is complete, too. MAGGIE: My heart is torn with sorrow; my husband cannot make a living. He will kill himself if he does not get an order for a painting. MARGARET: [laughs] You must come and see us in our studio. John has been doing some excellent portraits. He cannot begin to fill his orders. HETTY: [to HARRIET] Tell her we have an automobile. HARRIET: [to MARGARET] Do you take lemon in your tea? MAGGIE: Take cream. It's more filling. MARGARET: [looking nonchalantly at tea things] No, cream, if you please. How cozy! MAGGIE: [glaring at tea things] Only cakes! I could eat them all! HARRIET [to MARGARET] How many lumps? MAGGIE: [to MARGARET] Sugar is nourishing. MARGARET: [to HARRIET] Three, please. I used to drink very sweet coffee in Turkey and ever since I've -- HETTY: I don't believe you were ever in Turkey. MAGGIE: I wasn't, but it is none of your business. HARRIET: [pouring tea] Have you been in Turkey, do tell me about it. MAGGIE: [to MARGARET] Change the subject. MARGARET: [to HARRIET] You must go there. You have so much taste in dress you would enjoy seeing their costumes. MAGGIE: isn't she going to pass the cake? MARGARET: [to HARRIET] John painted several portraits there. HETTY: [to HARRIET] Why don't you stop her bragging and tell her we have an automobile? HARRIET: [offers cake across the table to MARGARET] Cake? MAGGIE: [stands back of MARGARET, shadowing her as HETTY shadows HARRIET. MAGGIE reaches claws out for the cake and groans with joy] At last! [But her claws do not touch the cake.] MARGARET: [with a graceful, nonchalant hand places cake upon her plate and bites at it slowly and delicately] Thank you. HETTY: [to HARRIET] Automobile! MAGGIE: [to MARGARET] Follow up the costumes with the suggestion that she would make a good model for John. It isn't too early to begin getting what you came for. MARGARET: [ignoring MAGGIE] What delicious cake. HETTY: [excitedly to HARRIET] There's your chance for the auto. HARRIET: [nonchalantly to MARGARET] Yes, it is good cake, isn't it? There are always a great many people buying it at Harper's. I sat in my automobile fifteen minutes this morning waiting for my chauffeur to get it. MAGGIE: [to MARGARET] Make her order a portrait. MARGARET: [to HARRIET] If you stopped at Harper's you must have noticed the new gowns at Henderson's. Aren't the shop windows alluring these days? HARRIET: Even my chauffeur notices them. MAGGIE: I know you have an automobile, I heard you the first time. MARGARET: I notice gowns now with an artist's eye as John does. The one you have on, my dear, is very paintable. HETTY: Don't let her see you're anxious to be painted. HARRIET: [nonchalantly] Oh, it's just a little model. MAGGIE: [to MARGARET] Don't seem anxious to get the order. MARGARET: [nonchalantly] Perhaps it isn't the gown itself but the way you wear it that pleases the eye. Some people can wear anything with grace. HETTY: Yes, I'm very graceful. HARRIET: [to MARGARET]. You flatter me, my dear. MARGARET: On the contrary, Harriet, I have an intense admiration for you. I remember how beautiful you were -- as a girl. In fact, I was quite jealous when John was paying you so much attention. HETTY: She is gloating because I lost him. HARRIET: Those were childhood days in a country town. MAGGIE: [to MARGARET] She's trying to make you feel that John was only a country boy. MARGARET: Most great men have come from the country. There is a fair chance that John will be added to the list. HETTY: I know it and I am bitterly jealous of you. HARRIET: Undoubtedly he owes much of his success to you, Margaret, your experience in economy and your ability to endure hardship. Those lust few years in Paris must have been a struggle. MAGGIE: She is sneering at your poverty. MARGARET: Yes, we did find life difficult at first, not the luxurious start a girl has who marries wealth. HETTY: [to HARRIET] Deny that you married Charles for his money. [HARRIET deems it wise to ignore HETTY'S advice.] MARGARET: But John and I are so congenial in our tastes, that we were impervious to hardship or unhappiness. HETTY: [in anguish] Do you love each other? Is it really true? HARRIET: [sweetly] Did you have all the romance of starving for his art? MAGGIE: [to MARGARET] She's taunting you. Get even with her. MARGARET: Not for long. Prince Rier soon discovered John's genius, and introduced him royally to wealthy Parisians who gave him many orders. HETTY: [to MAGGIE] Are you telling the truth or are you lying? HARRIET: If he had so many opportunities there, you must have had great inducements to come back to the States. MAGGIE: [to HETTY] We did, but not the kind you think. MARGARET: John became the rage among Americans travelling in France, too, and they simply insisted upon his coming here. HARRIET: Whom is he going to paint here? MAGGIE: [frightened] What names dare 1 make up? MARGARET: [calmly] Just at present Miss Dorothy Ainsworth of Oregon is posing. You may not know the name, but she is the daughter of a wealthy miner who found gold in Alaska. HARRIET: I dare say there are many Western people we have never heard of. MARGARET: You must have found social life in New York very interesting, Harriet, after the simplicity of our home town. HETTY: [to MAGGIE] There's no need to remind us that our beginnings were the same. HARRIET: Of course Charles's family made everything delightful for me. They are so well connected. MAGGIE: [to MARGARET] Flatter her. MARGARET: I heard it mentioned yesterday that you had made yourself very popular. Some one said you were very clever! HARRIET: [pleased] Who told you that? MAGGIE: Nobody! MARGARET: [pleasantly] Oh, confidences should be suspected -- respected, I mean. They said, too, that you are gaining some reputation as a critic of art. HARRIET: I make no pretenses. MARGARET: Are you and Mr. Goodrich interested in the same things, too? HETTY: No! HARRIET: Yes, indeed, Charles and I are inseparable. MAGGIE: I wonder. HARRIET: Do have another cake. MAGGIE: [in relief] Oh, yes. [Again her claws extend but do not touch the cake.] MARGARET: [takes cake delicately] I really shouldn't -- after my big luncheon. John took me to the Ritz and we are invited to the Bedfords' for dinner -- they have such a magnificent house near the drive -- I really shouldn't, but the cakes are so good. MAGGIE: Starving! HARRIET: [to MARGARET] More tea? MAGGIE: Yes! MARGARET: No, thank you. How wonderfully life has arranged itself for you. Wealth, position, a happy marriage, every opportunity to enjoy all pleasures; beauty, art -- how happy you must be. HETTY: [in anguish]. Don't call me happy. I've never been happy since I gave up John. All these years without him -- a future without him -- no -- no -- I shall win him back -- away from you -- away from you -- HARRIET: [does not see MAGGIE pointing to cream and MARGARET stealing some] I sometimes think it is unfair for any one to be as happy as I am. Charles and I are just as much in love now as when we married. To me he is just the dearest man in the world. MAGGIE: [passionately] My John is. I love him so much I could die for him. I'm going through hunger and want to make him great and he loves me. He worships me! MARGARET: [leisurely to HARRIET] I should like to meet Mr. Goodrich. Bring him to our studio. John has some sketches to show. Not many, because all the portraits have been purchased by the subjects. He gets as much as four thousand dollars now. HETTY: [to HARRIET] Don't pay that much. HARRIET: [to MARGARET] As much as that? MARGARET: It is not really too much when one considers that John is in the foremost rank of artists to -day. A picture painted by him now will double and treble in value. MAGGIE: It's all a lie. He is growing weak with despair. HARRIET: Does he paint all day long? MAGGIE: No, he draws advertisements for our bread. MARGARET: [to HARRIET] When you and your husband come to see us, telephone first -- MAGGIE: Yes, so he can get the advertisements out of the way. MARGARET: Otherwise you might arrive while he has a sitter, and John refuses to let me disturb him then. HETTY: Make her ask for an order. HARRIET: [to MARGARET] Le Grange offered to paint me for a thousand. MARGARET: Louis Le Grange's reputation isn't worth more than that. HARRIET: Well, I've heard his work well mentioned. MAGGIE: Yes, he is doing splendid work. MARGARET: Oh, dear me, no. He is only praised by the masses. He is accepted not at all by artists themselves. HETTY: [anxiously] Must I really pay the full price? HARRIET: Le Grange thought I would make a good subject. MAGGIE: [to MARGARET]. Let her fish for it. MARGARET: Of course you would. Why don't you let Le Grange paint you, if you trust him? HETTY: She doesn't seem anxious to have John do it. HARRIET: But if Le Grange isn't accepted by artists, it would be a waste of time to pose for him, wouldn't it? MARGARET: Yes, I think it would. MAGGIE: [passionately to HETTY across back of table] Give us the order. John is so despondent he can't endure much longer. Help us! Help me! Save us! HETTY: [to HARRIET] Don't seem too eager. HARRIET: And yet if he charges only a thousand one might consider it. MARGARET. If you really wish to be painted, why don't you give a little more and have a portrait really worth while? John might be induced to do you for a little below his usual price considering that you used to be such good friends. HETTY: [in glee] Hurrah! HARRIET: [quietly to MARGARET] That's very nice of you to suggest -- of course I don't know -- MAGGIE: [in fear]. For God's sake, say yes. MARGARET: [quietly to HARRIET] Of course, I don't know whether John would. He is very peculiar in these matters. He sets his value on his work and thinks it beneath him to discuss price. HETTY: [to MAGGIE] You needn't try to make us feel small. MARGARET: Still, I might quite delicately mention to him that inasmuch as you have many influential friends you would be very glad to -- to -- MAGGIE: [to HETTY] Finish what I don't want to say. HETTY: [to HARRIET] Help her out. HARRIET: Oh, yes, introductions will follow the exhibition of my portrait. No doubt I -- HETTY: [to HARRIET] Be patronizing. HARRIET: No doubt I shall be able to introduce your husband to his advantage. MAGGIE: [relieved] Saved. MARGARET: If I find John in a propitious mood I shall take pleasure, for your sake, in telling him about your beauty. Just as you are sitting now would be a lovely pose. MAGGIE: [to MARGARET] We can go now. HETTY: [to HARRIET] Don't let her think she is doing us a favor. HARRIET: It will give me pleasure to add my name to your husband's list of patronesses. MAGGIE: [excitedly to MARGARET] Run home and tell John the good news. MARGARET: [leisurely to HARRIET] I little guessed when I came for a pleasant chat about old times that it would develop into business arrangements. I had no idea, Harriet, that you had any intention of being painted. By Le Grange, too. Well, I came just in time to rescue you. MAGGIE: [to MARGARET] Run home and tell John. Hurry, hurry! HETTY: [to HARRIET] You managed the order very neatly. She doesn't suspect that you wanted it. HARRIET: Now if I am not satisfied with my portrait I shall blame you, Margaret, dear. I am relying upon your opinion of John's talent. MAGGIE: [to MARGARET] She doesn't suspect what you came for. Run home and tell John! HARRIET: You always had a brilliant mind, Margaret. MARGARET: Ah, it is you who flatter, now. MAGGIE: [to MARGARET] You don't have to stay so long. Hurry home! HARRIET: Ali, one does not flatter when one tells the truth. MARGARET: [smiles] I must be going or you will have me completely under your spell. HETTY: [looks at clock] Yes, do go. I have to dress for dinner. HARRIET: [to MARGARET] Oh, don't hurry. MAGGIE: [to HETTY] I hate you! MARGARET: [to HARRIET] No, really I must, but I hope we shall see each other often at the studio. I find you so stimulating. HETTY: [to MAGGIE] I hate you! HARRIET: [to MARGARET] It is indeed gratifying to find a kindred spirit. MAGGIE: [to HETTY] I came for your gold. MARGARET: [to HARRIET] How delightful it is to know you again. HETTY: [to MAGGIE] I am going to make you and your husband suffer. HARRIET: My kind regards to John. MAGGIE: [to HETTY] He has forgotten all about you. MARGARET: [rises] He will be so happy to receive them. HETTY: [to MAGGIE] I can hardly wait to talk to him again. HARRIET: I shall wait, then, until you send me word? MARGARET: [offering her hand] I'll speak to John about it as soon as I can and tell you when to come. [HARRIET takes MARGARET'S hand affectionately. HETTY and MAGGIE rush at each other, throw back their veils, and fling their speeches fiercely at each other.] HETTY: I love him -- I love him -- MAGGIE: He's starving -- I'm starving -- HETTY: I'm going to take him away from you -- MAGGIE: I want your money -- and your influence. HETTY and MAGGIE: I'm going to rob you -- rob you. [There is a cymbal crash, the lights go out and come up again slowly, leaving only MARGARET and HARRIET visible.] MARGARET: [quietly to HARRIET] I've had such a delightful afternoon. HARRIET: [offering her hand] It has been a joy to see you. MARGARET: [sweetly to HARRIET] Good-bye. HARRIET: [sweetly to MARGARET as she kisses her] Good-bye, my dear. CURTAIN SUPPRESSED DESIRES by SUSAN GLASPELL (In Collaboration with George Cram Cook) A COMEDY IN TWO SCENES ORIGINAL CAST Henrietta Brewster .... Susan Glaspell Stephen Brewster .... George Cram Cook Mabel .... Mary Pyne Scene I : A studio apartment in an upper story, Washington Square South. Through an immense north window in the back wall appear tree tops and the upper part of the Washington Arch. Beyond it you look up Fifth Avenue. Near the window is a big table, loaded at one end with serious -looking books and austere scientific periodicals. At the other end are architect's drawings, blue prints, dividing compasses, square, ruler, etc. At the left is a door leading to the rest of the apartment; at the right the outer door. 'A breakfast table is set for three, but only two are seated at it— Henrietta and Stephen Brewster. As the curtains withdraw Steve pushes back his coffee cup and sits dejected. HENRIETTA: It isn't the coffee, Steve dear. There's nothing the matter with the coffee. There's something the matter with you. SIEVE: [Doggedly.] There may be something the matter with my stomach. HENRIETTA: [Scornfully.] Your stomach! The trouble is not with your stomach but in your subconscious mind. STEVE: Subconscious piffle! [Takes morning paper and tries to read.] HENRIETTA: Steve, you never used to be so disagreeable. You certainly have got some sort of a complex. You're all inhibited. You're no longer open to new ideas. You won't listen to a word about psychoanalysis. STEVE: A word ! I've listened to volumes! HENRIETTA: You've ceased to be creative in architecture —your work isn't going well. You're not sleeping well— STEVE: How can I sleep, Henrietta, when you're always waking me up to find out what I'm dreaming? HENRIETTA: But dreams are so important, Steve. If you'd tell yours to Dr. Russell he'd find out exactly what's wrong with you. STEVE: There's nothing wrong with me. HENRIETTA: You don't even talk as well as you used to. STEVE: Talk? I can't say a thing without you looking at me in that dark fashion you have when you're on the trail of a complex. HENRIETTA: This very irritability indicates that you're suffering from some suppressed desire. STEVE: I'm suffering from a suppressed desire for a little peace. HENRIETTA: Dr. Russell is doing simply wonderful things with nervous cases. Won't you go to him, Steve? STEVE: [Slamming down his newspaper.] No, Henrietta, I won't! HENRIETTA: But, Stephen—! STEVE: Tst! I hear Mabel coming. Let's not be at each other's throats the first day of her visit. [He takes out cigarettes. Mabel comes in from door left, the side opposite Steve, so that he is facing her. She is wearing a rather fussy negligee in contrast to Henrietta, who wears "radical" clothes. Mabel is what is called plump.] MABEL: Good morning. HENRIETTA: Oh, here you are, little sister. STEVE: Good morning, Mabel. [Mabel nods to him and turns, her face lighting up, to Henrietta.] HENRIETTA: [Giving Mabel a hug as she leans against her.] It's so good to have you here. I was going to let you sleep, thinking you'd be tired after the long trip. Sit down. There'll be fresh toast in a minute and [Rising] will you have — MABEL: Oh, I ought to have told you, Henrietta. Don't get anything for me. I'm not eating breakfast. HENRIETTA: [At first in mere surprise.] Not eating breakfast? [She sits down, then leans toward Mabel who is seated now, and scrutinizes her.] STEVE: [Half to himself.] The psychoanalytical look! HENRIETTA: Mabel, why are you not eating breakfast? MABEL: [A little startled.] Why, no particular reason. I just don't care much for breakfast, and they say it keeps down— [A hand on her hip — the gesture of one who is "reducing"] that is, it's a good thing to go without it. HENRIETTA: Don't you sleep well ? Did you sleep well last night ? MABEL: Oh, yes, I slept all right. Yes, I slept fine last night, only [Laughing] I did have the funniest dream! STEVE: S-h! S-t! HENRIETTA: [Moving closer.] And what did you dream, Mabel? STEVE: Look -a -here, Mabel, I feel it's my duty to put you on. Don't tell Henrietta your dreams. If you do she'll find out that you have an underground desire to kill your father and marry your mother— HENRIETTA: Don't be absurd, Stephen Brewster. [Sweetly to Mabel.] What was your dream, dear? MABEL: [Laughing.] Well, I dreamed I was a hen. HENRIETTA: A hen? MABEL: Yes; and I was pushing along through a crowd as fast as I could, but being a hen I couldn't walk very fast — it was like having a tight skirt, you know ; and there was some sort of creature in a blue cap —you know how mixed up dreams are — and it kept shouting after me, "Step, Hen ! Step, Hen!" until I got all excited and just couldn't move at all. HENRIETTA: [Resting chin in palm and peering.] You say you became much excited? MABEL: [Laughing.] Oh, yes; I was in a terrible state. HENRIETTA: [Leaning back, murmurs.] This is significant. STEVE: She dreams she's a hen. She is told to step lively. She becomes violently agitated. What can it mean? HENRIETTA: [Turning impatiently from him.] Mabel, do you know anything aoout psychoanalysis? MABEL: [Feebly.] Oh —not much. No — I — [Brightening.] It's something about the war, isn't it? STEVE: Not that kind of war. MABEL: [Abashed.] I thought it might be the name of a new explosive. STEVE: It is. MABEL: [Apologetically to Henrietta, who is frowning.] You see, Henrietta, I —we do not live in touch with intellectual things, as you do. Bob being a dentist— somehow our friends—. STEVE: [Softly.] Oh, to be a dentist! [Goes to window and stands looking out. HENRIETTA: Don't you see anything more of that editorial writer — what was his name? MABEL: Lyman Eggleston? HENRIETTA: Yes, Eggleston. He was in touch with things. Don't you see him? MABEL: Yes, I see him once in a while. Bob doesn't like him very well. HENRIETTA: Your husband does not like Lyman Eggleston? [Mysteriously.] Mabel, are you perfectly happy with your husband? STEVE: [Sharply.] Oh, come now, Henrietta — that's going a little strong! HENRIETTA: Are you perfectly happy with him, Mabel ? [Steve goes to work -table.] MABEL: Why — yes — I guess so. Why — of course I am! HENRIETTA: Are you happy? Or do you only think you are? Or do you only think you ought to be? MABEL: Why, Henrietta, I don't know what you mean! STEVE: [Seizes stack of books and magazines and dumps them on the breakfast table.] This is what she means, Mabel. Psychoanalysis. My work -table groans with it. Books by Freud, the new Messiah; books by Jung, the new St. Paul; the Psychoanalytical Review — back numbers two -fifty per. MABEL: But what's it all about? STEVE: All about your sub-un-non-conscious mind and desires you know not of. They may be doing you a great deal of harm. You may go crazy with them. Oh, yes ! People are doing it right and left. Your dreaming you're a hen — [Shakes his head darkly.] HENRIETTA: Any fool can ridicule anything. MABEL: [Hastily, to avert a quarrel.] But what do you say it is, Henrietta? STEVE: [Looking at his watch.] Oh, if Henrietta's going to start that! [During Henrietta's next speech settles himself at work -table and sharpens a lead pencil.] HENRIETTA: It's like this, Mabel. You want something. You think you can't have it. You think it's wrong. So you try to think you don't want it. Your mind protects you — avoids pain — by refusing to think the forbidden thing. But it's there just the same. It stays there shut up in your unconscious mind, and it festers. STEVE: Sort of an ingrowing mental toenail. HENRIETTA: Precisely. The forbidden impulse is there full of energy which has simply got to do something. It breaks into your consciousness in disguise, masks itself in dreams, makes all sorts of trouble. In extreme cases it drives you insane. MABEL: [With a gesture of horror.] Oh! HENRIETTA: [Reassuring.] But psychoanalysis has found out how to save us from that. It brings into consciousness the suppressed desire that was making all the trouble. Psychoanalysis is simply the latest scientific method of preventing and curing insanity. STEVE: [From his table.] It is also the latest scientific method of separating families. HENRIETTA: [Mildly.] Families that ought to be separated. STEVE: The Dwights, for instance. You must have met them, Mabel, when you were here before. Helen was living, apparently, in peace and happiness with good old Joe. Well — she went to this psychoanalyzer— she was "psyched," and biff ! — bang ! — home she comes with an unsuppressed desire to leave her husband. [He starts work, drawing lines on a drawing board with a T-square.] MABEL: How terrible! Yes, I remember Helen Dwight. But —but did she have such a desire ? STEVE: First she'd known of it. MABEL: And she left him ? HENRIETTA: [Coolly.] Yes, she did. MABEL: Wasn't he kind to her? HENRIETTA: Why yes, good enough. MABEL: Wasn't he kind to her. HENRIETTA: Oh, yes —kind to her. MABEL: And she left her good kind husband—! HENRIETTA: Oh, Mabel! "Left her good, kind husband!" How naive — forgive me, dear, but how bourgeoise you are! She came to know herself. And she had the courage! MABEL: I may be very naive and — bourgeoise —but I don't see the good of a new science that breaks up homes. [Steve applauds. STEVE: In enlightening Mabel, we mustn't neglect to mention the case of Art Holden's private secretary, Mary Snow, who has just been informed of her suppressed desire for her employer. MABEL: Why, I think it is terrible, Henrietta! It would be better if we didn't know such things about ourselves. HENRIETTA: No, Mabel, that is the old way. MABEL: But —but her employer? Is he married? STEVE: [Grunts.] Wife and four children. MABEL: Well, then, what good does it do the girl to be told she has a desire for him? There's nothing can be done about it. HENRIETTA: Old institutions will have to be reshaped so that something can be done in such cases. It happens, Mabel, that this suppressed desire was on the point of landing Mary Snow in the insane asylum. Are you so tight -minded that you'd rather have her in the insane asylum than break the conventions? MABEL: But —but have people always had these aw'ful suppressed desires? HENRIETTA: Always. STEVE: But they've just been discovered, HENRIETTA: The harm they do has just been discovered. And free, sane people must face the fact that they have to be dealt with. MABEL: [Stoutly.] I don't believe they have them in Chicago. HENRIETTA: [Business of giving Mabel up.] People "have them" wherever the living Libido — the center of the soul's energy — is in conflict with petrified moral codes. That means everywhere in civilization. Psychoanalysis — STEVE: Good God! I've got the roof in the cellar! HENRIETTA: The roof in the cellar! STEVE: [Holding plan at arm's length.] That's what psychoanalysis does! HENRIETTA: That's what psychoanalysis could un-do. Is it any wonder I'm concerned about Steve? He dreamed the other night that the walls of his room melted away and he found himself alone in a forest. Don't you see how significant it is for an architect to have walls slip away from him ? It symbolizes his loss of grip in his work. There's some suppressed desire— STEVE: [Hurling his ruined plan viciously to the floor.] Suppressed hell! HENRIETTA: You speak more truly than you know. It is through suppressions that hells are formed in us. MABEL: [Looking at Steve, who is tearing his hair.] Don't you think it would be a good thing, Henrietta, if we went somewhere else? [They rise and begin to pick up the dishes. Mabel drops a plate which breaks. Henrietta draws up short and looks at her — the psychoanalytic look.] I'm sorry, Henrietta. One of the Spode plates, too. [Surprised and resentful as Henrietta continues to peer at her.] Don't take it so to heart, Henrietta. HENRIETTA: I can't help taking it to heart. MABEL: I'll get you another. [Pause. More sharply as Henrietta does not answer.] I said I'll get you another plate, Henrietta. HENRIETTA: It's not the plate. MABEL: For heaven's sake, what is it then? HENRIETTA: It's the significant little false movement that made you drop it. MABEL: Well, I suppose everyone makes a false movement once in a while. HENRIETTA: Yes, Mabel, but these false movements all mean something. MABEL: [About to cry.] I don't think that's very nice! It was just because I happened to think of that Mabel Snow you were talking about — HENRIETTA: Mabel Snow! MABEL: Snow — Snow —well, what was her name, then ? HENRIETTA: Her name is Mary. You substituted your own name for hers. MABEL: Well, Mary Snow, then; Mary Snow. I never heard her name but once. I don't see anything to make such a fuss about. HENRIETTA: [Gently.] Mabel dear —mistakes like that in names — MABEL: [Desperately.] They don't mean something, too, do they? HENRIETTA: [Gently.] I am song, dear, but they do. MABEL: But I'm always doing that! HENRIETTA: [After a start of horror.] My poor little sister, tell me about it. MABEL: About what? HENRIETTA: About your not being happy. About your longing for another sort of life. MABEL: But I don't. HENRIETTA: Ah, I understand these things, dear. You feel Bob is limiting you to a life in which you do not feel free— MABEL: Henrietta ! When did I ever say such a thing ? HENRIETTA: You said you are not in touch with things intellectual. You showed your feeling that it is Bob's profession — that has engendered a resentment which has colored your whole life with him. MABEL: Why —Henrietta ! HENRIETTA: Don't be afraid of me, little sister. There's nothing can shock me or turn me from you. I am not like that. I wanted you to come for this visit because I had a feeling that you needed more from life than you were getting. No one of these things I have seen would excite my suspicion. It's the combination. You don't eat breakfast [Enumerating on her fingers]; you make false moves; you substitute your own name for the name of another whose love is misdirected. You're nervous; you look queer; in your eyes there's a frightened look that is. most unlike you. And this dream. A hen. Come with me this afternoon to Dr. Russell! Your whole life may be at stake, Mabel. MABEL: [Gasping.] Henrietta, I — you — you always were the smartest in the family, and all that, but — this is terrible! I don't think we ought to think such things. [Brightening.] Why, I'll tell you why I dreamed I was a hen. It was because last night, telling about that time in Chicago, you said I was as mad as a wet hen. HENRIETTA: [Superior.] Did you dream you were a wet hen? MABEL: [Forced to admit it.] No. HENRIETTA: No. You dreamed you were a dry hen. And why, being a hen, were you urged to step ? MABEL: Maybe it's because when I am getting on a street car it always irritates me to have them call " Step lively." HENRIETTA: No, Mabel, that is only a child's view of it — if you will forgive me. You see merely the elements used in the dream. You do not see into the dream; you do not see its meaning. This dream of the hen— STEVE: Hen — hen— wet hen — dry hen — mad hen! [Jumps up in a rage.] Let me out of this! HENRIETTA: [Hastily picking up dishes, speaks soothingly.] Just a minute, dear, and we'll have things so you can work in quiet. Mabel and I are going to sit in my room. [She goes out left, carrying dishes.] STEVE: [Seizing hat and coat from an alcove near the outside door.] I'm going to be psychoanalyzed. I'm going now! I'm going straight to that infallible doctor of hers — that priest of this new religion. If he's got honesty enough to tell Henrietta there's nothing the matter with my unconscious mind, perhaps I can be let alone about it, and then I will be all right. [From the door in a low voice.] Don't tell Henrietta I'm going. It might take weeks, and I couldn't stand all the talk. [He hurries out.] HENRIETTA: [Returning.] Where's Steve? Gone? [With a hopeless gesture.] You see how impatient he is — how unlike himself! I tell you, Mabel, I'm nearly distracted about Steve. MABEL: I think he's a little distracted, too. HENRIETTA: Well, if he's gone — you might as well stay here. I have a committee meeting at the book -shop, and will have to leave you to yourself for an hour or two. [As she puts her hat on, taking it from the alcove where Steve found his, her eye, lighting up almost carnivorously, falls on an enormous volume on the floor beside the work table. The book has been half hidden by the wastebasket. She picks it up and carries it around the table toward Mabel.] Here, dear, is one of the simplest statements of psychoanalysis. You just read this and then we can talk more intelligently. [Mabel takes volume and staggers back under its weight to chair rear center, Henrietta goes to outer door, stops and asks abruptly.] How old is Lyman Eggleston ? MABEL: [Promptly.] He isn't forty yet. Why, what made you ask that, Henrietta? [As she turns her head to look at Henrietta her hands move toward the upper corners of the book balanced on her knees.] HENRIETTA: Oh, nothing. Au revoir. [She goes out. Mabel stares at the ceiling. The book slides to the floor. She starts; looks at the book, then at the broken plate on the table.] The plate! The book! [She lifts her eyes, leans forward elbow on knee, chin on knuckles and plaintively queries] Am I unhappy? (Curtain) Scene II: Two weeks later. The stage is as in Scene I, except that the breakfast table has been removed. During the first few minutes the dusk of a winter afternoon deepens. Out of the darkness spring rows of double street- lights almost meeting in the distance. Henrietta is at the psychoanalytical end of Steve's work -table, surrounded by open books and periodicals, writing. Steve enters briskly. STEVE: What are you doing, my dear? HENRIETTA: My paper for the Liberal Club. STEVE: Your paper on — ? HENRIETTA: On a subject which does not have your sympathy. STEVE: Oh, I'm not sure I'm wholly out of sympathy with psychoanalysis, Henrietta. You worked it so hard. I couldn't even take a bath without it's meaning something. HENRIETTA: [Loftily.] I talked it because I knew you needed it. STEVE: You haven't said much about it these last two weeks. Uh — your faith in it hasn't weakened any? HENRIETTA: Weakened? It's grown stronger with each new thing I've come to know. And Mabel. She is with Dr. Russell now. Dr. Russell is wonderful I From what Mabel tells me I believe his analysis is going to prove that I was right. Today I discovered a remarkable confirmation of my theory in the hen -dream. STEVE: What is your theory? HENRIETTA: Well, you know about Lyman Eggleston. I've wondered about him. I've never seen him, but I know he's less bourgeois than Mabel's other friends— more intellectual: — and [Significantly] she doesn't see much of him because Bob doesn't like him. STEVE: But what's the confirmation? HENRIETTA: Today I noticed the first syllable of his name. STEVE:Ly? HENRIETTA: No — egg. STEVE: Egg? HENRIETTA: [Patiently.] Mabel dreamed she was a hen. [Steve laughs.] You wouldn't laugh if you knew how important names are in interpreting dreams. Freud is full of just such cases in which a whole hidden complex is revealed by a single significant syllable — like this egg. STEVE: Doesn't the traditional relation of hen and egg suggest rather a maternal feeling? HENRIETTA: There is something maternal In Mabel's love, of course, but that':: only one element. STEVE: Well, suppose Mabel hasn't a suppressed desire to be this gentleman's mother, but his beloved. What's to be done about it? What about Bob? Don't you think it's going to be a little rough on him? HENRIETTA: That can't be helped. Bob, like everyone else, must face the facts of life. If Dr. Russell should arrive independently at this same interpretation I shall not hesitate to advise Mabel to leave her present husband. STEVE: Um —hum! [The lights go up on Fifth Avenue. Steve goes to the window and looks out.] How long is it we've lived here, Henrietta? HENRIETTA: Why, this is the third year, Steve. STEVE: I — we— one would miss this view if one went away, wouldn't one? HENRIETTA: How strangely you speak! Oh, Stephen, I wish you'd go to Dr. Russell. Don't think my fears have abated because I've been able to restrain myself. I had to on account of Mabel. But now, dear — won't you go? STEVE: I — [He breaks off, turns on the light, then comes and sits beside Henrietta.] How long have we been married, Henrietta? HENRIETTA: Stephen, I don't understand you! You must go to Dr. Russell. STEVE: I have gone. HENRIETTA: You — what? STEVE: [Jauntily.] Yes, Henrietta, I've been psyched. HENRIETTA: You went to Dr. Russell? STEVE: The same. HENRIETTA: And what did he say? STEVE: He said — I — I was a little surprised by what he said, Henrietta. HENRIETTA: [Breathlessly.] Of course --one can so seldom anticipate. But tell me — your dream, Stephen ? It means — ? STEVE: It means I was considerably surprised by what it means. HENRIETTA: Don't be so exasperating! STEVE: It means — you really want to know, Henrietta? HENRIETTA: Stephen, you'll drive me mad! STEVE: He said — of course he may be wrong in what he said. HENRIETTA: He isn't wrong. Tell me! STEVE: He said my dream of the walls receding and leaving me alone in a forest indicates a suppressed desire HENRIETTA: Yes — yes! STEVE: To be freed from — HENRIETTA: Yes — freed from — ? STEVE: Marriage. HENRIETTA: [Crumples. Stares.] Marriage! STEVE: He — he may be mistaken, you know. HENRIETTA: May be mistaken? STEVE: I — well, of course, I hadn't taken any stock in it myself. It was only your great confidence— HENRIETTA: Stephen, are you telling me that Dr. Russell —Dr. A. E. Russell —told you this? [Steve nods.] Told you you have a suppressed desire to separate from me? STEVE: That's what he said. HENRIETTA: Did he know who you were ? STEVE: Yes. HENRIETTA: That you were married to me ? STEVE: Yes, he knew that. HENRIETTA: And he told you to leave me? STEVE: It seems he must be wrong, Henrietta. HENRIETTA: [Rising.] And I've sent him more patients — ! [Catches herself and resumes coldly.] What reason did he give for this analysis? STEVE: He says the confining walls are a symbol of my feeling about marriage and that their fading away is a wish -fulfillment. HENRIETTA: [Gulping.] Well, is it ? Do you want our marriage to end? STEVE: It was a great surprise to me that I did. You see I hadn't known what was in my unconscious mind. HENRIETTA: [Flaming.] What did you tell Dr. Russell about me to make him think you weren't happy ? STEVE: I never told him a thing, Henrietta. He got it all from his confounded clever inferences. I — I tried to refute them, but he said that was only part of my self -protective lying. HENRIETTA: And that's why you were so — happy — when you came in just now! STEVE: Why, Henrietta, how can you say such a thing? I was sad. Didn't I speak sadly of — of the view? Didn't I ask how long we had been married? HENRIETTA: [Rising.] Stephen Brewster, have you no sense of the seriousness of this? Dr. Russell doesn't know what our marriage has been. You do. You should have laughed him down! Confined — in life with me? Did you tell him that I believe in freedom? STEVE: I very emphatically told him that his results were a great surprise to me. HENRIETTA: But you accepted them. STEVE: Oh, not at all. I merely couldn't refute his arguments. I'm not a psychologist. I came home to talk it over with you. You being a disciple of psychoanalysis — HENRIETTA: If you are going, I wish you would go tonight! STEVE: Oh, my dear! I — surely I couldn't do that! Think of my feelings. And my laundry hasn't come home. HENRIETTA: I ask you to go tonight. Some women would falter at this, Steve, but I am not such a woman. I leave you free. I do not repudiate psychoanalysis; I say again that it has done great things. It has also made mistakes, of course. But since you accept this analysis — [She sits down and pretends to begin work.] I have to finish this paper. I wish you would leave me. STEVE: [Scratches his head, goes to the inner door.] I'm sorry, Henrietta, about my unconscious mind. [Alone, Henrietta's face betrays her outraged state of mind — disconcerted, resentful, trying to pull herself together. She attains an air of bravely bearing an outrageous thing. The outer door opens and Mabel enters in great excitement.] MABEL: [Breathless.] Henrietta, I'm so glad you're here. And alone? [Looks toward the inner door.] Are you alone, Henrietta ? HENRIETTA: [With reproving dignity.] Very much so. MABEL: [Rushing to her.] Henrietta, he's found it! HENRIETTA: [Aloof.] Who has found what? MABEL: Who has found what? Dr. Russell has found my suppressed desire! HENRIETTA: That is interesting. MABEL: He finished with me today —he got hold of my complex —in the most amazing way ! But, oh, Henrietta— it is so terrible! HENRIETTA: Do calm yourself, Mabel. Surely there's no occasion for all this agitation. MABEL: But there is! And when you think of the lives that are affected — the readjustments that must be made in order to bring the suppressed hell out of me and save me from the insane asylum — ! HENRIETTA: The insane asylum! MABEL: You said that's where these complexes brought people! HENRIETTA: What did the doctor tell you, Mabel ? MABEL: Oh, I don't know how I can tell you —it is so awful — so unbelievable. HENRIETTA: I rather have my hand in at hearing the unbelievable. MABEL: Henrietta, who would ever have thought it? How can it be true? But the doctor is perfectly certain that I have a suppressed desire for - [Looks at Henrietta, is unable to continue.] HENRIETTA: Oh, go on, Mabel. I'm not unprepared for what you have to say. MABEL: Not unprepared ? You mean you have suspected it ? HENRIETTA: From the first. It's been my theory all along. MABEL: But, Henrietta, I didn't know myself that I had this secret desire for Stephen. HENRIETTA: [Jumps up.] Stephen! MABEL: My brother-in-law! My own sister's husband! HENRIETTA: You have a suppressed desire for Stephen! MABEL: Oh, Henrietta, aren't these unconscious selves terrible? They seem so unlike us! HENRIETTA: What insane thing are you driving at? MABEL: [Blubbering.] Henrietta, don't you use that word to me. I don't want to go to the insane asylum. HENRIETTA: What did Dr, Russell say? MABEL: Well, you see — oh, it's the strangest thing! But you know the voice in my dream that called "Step, Hen!" Dr. Russell found out today that when I was a little girl I had a story -book in words of one syllable and I read the name Stephen wrong. I used to read it S-t-e-p, step, h-e-n, hen. [Dramatically.] Step Hen is Stephen. [Enter Stephen, his head bent over a time -table.] Stephen is Step Hen! STEVE: I? Step Hen?— MABEL: [Triumphantly.] S-t-e-p, step, H-e-n, hen, Stephen! HENRIETTA: [Exploding.] Well, what if Stephen is Step Hen? [Scornfully.] Step Hen! Step Hen! For that ridiculous coincidence — MABEL: Coincidence! But it's childish to look at the mere elements of a dream. You have to look into it— you have to see what it means! HENRIETTA: On account of that trivial, meaningless play on syllables — on that flimsy basis — you are ready — [Wails.] O-h! STEVE: What on earth's the matter? What has happened? Suppose I am Step Hen? What about it? What does it mean? MABEL: [Crying.] It means —that I — have a suppressed desire for you! STEVE: For me! The deuce you have! [Feebly.] What — er— makes you think so ? MABEL: Dr. Russell has worked it out scientifically. HENRIETTA: Yes. Through the amazing discovery that Step Hen equals Stephen! MABEL: [Tearfully.] Oh, that isn't all — that isn't near all. Henrietta won't give me a chance to tell it. She'd rather I'd go to the insane asylum than be unconventional. HENRIETTA: We'll all go there if you can't control yourself. We are still waiting for some rational report. MABEL: [Drying her eyes.] Oh, there's such a lot about names. [With some pride.] I don't see how I ever did it. It all works in together. I dreamed I was a hen because that's the first syllable of Hen-rietta's name, and when I dreamed I was a hen, I was putting myself in Henrietta's place. HENRIETTA: With Stephen? MABEL: With Stephen. HENRIETTA: [Outraged.] Oh! [Turns in rage upon Stephen, who is fanning himself with the time -table.] What are you doing with that time -table? STEVE: Why — I thought — you were so keen to have me go tonight — I thought I'd just take a run up to Canada, and join Billy — a little shooting —but — MABEL: But there's more about the names. HENRIETTA: Mabel, have you thought of Bob— dear old Bob — your good, kind husband ? MABEL: Oh, Henrietta, "my good, kind husband!" HENRIETTA: Think of him, Mabel, out there alone in Chicago, working his head off, fixing people's teeth — for you! MABEL: Yes, but think of the living Libido — in conflict with petrified moral codes! And think of the perfectly wonderful way the names all prove it. Dr. Russell said he's never seen anything more convincing. Just look at Stephen's last name — Brewster. I dream I'm a hen, and the name Brewster — you have to say its first letter by itself— and then the hen, that's me, she says to him: "Stephen, Be Rooster!" [Henrietta and Stephen collapse into the nearest chairs.] MABEL:I think it's perfectly wonderful ! Why, if it wasn't for psychoanalysis you'd never find out how wonderful your own mind is! STEVE: [Begins to chuckle.] Be Rooster! Stephen, Be Rooster! HENRIETTA: You think it's funny, do you? STEVE: Well, what's to be done about it? Does Mabel have to go away with me? HENRIETTA: Do you want Mabel to go away with you? STEVE: Well, but Mabel herself— her complex — her suppressed desire — ! HENRIETTA: [Going to her.] Mabel, are you going to insist on going away with Stephen? MABEL: I'd rather go with Stephen than go to the insane asylum! HENRIETTA: For heaven's sake, Mabel, drop that insane asylum! If you did have a suppressed desire for Stephen hidden away in you — God knows it isn't hidden now. Dr. Russell has brought it into your consciousness —with a vengeance. That's all that's necessary to break up a complex. Psychoanalysis doesn't say you have to gratify every suppressed desire. STEVE: [Softly.] Unless it's for Lyman Eggleston. HENRIETTA: [Turning on him.] Well, if it comes to that, Stephen Brewster, I'd like to know why that interpretation of mine isn't as good as this one? Step, Hen! STEVE: But Be Rooster! [He pauses, chuckling to himself.] Step -Hen B-rooster. And Henrietta. Pshaw, my dear, Doc Russell's got you beat a mile! [He turns away and chuckles.] Be rooster! MABEL: What has Lyman Eggleston got to do with it? STEVE: According to Henrietta, you, the hen, have a suppressed desire for Eggleston, the egg. MABEL: Henrietta, I think that's indecent of you! He is bald as an egg and little and fat —the idea of you thinking such a thing of me I HENRIETTA: Well, Bob isn't little and bald and fat! Why don't you stick to your own husband? [To Stephen.] What if Dr. Russell's interpretation has got mine "beat a mile"? [Resentful look at him.] It would only mean that Mabel doesn't want Eggleston and does want you. Does that mean she has to have you? MABEL: But you said Mabel Snow — HENRIETTA: Mary Snow! You're not as much like her as you think — substituting your name for hers! The cases are entirely different. Oh, I wouldn't have believed this of you, Mabel. [Beginning to cry.] I brought you here for a pleasant visit — thought you needed brightening up — wanted to be nice to you — and now you — my husband — you insist — [In fumbling her way to her chair she brushes to the floor some sheets from the psychoanalytical table.] STEVE: [With solicitude.] Careful, dear. Your paper on psychoanalysis! [Gathers up sheets and offers them to her.] HENRIETTA: I don't want my paper on psychoanalysis! I'm sick of psychoanalysis! STEVE: [Eagerly.] Do you mean that, Henrietta? HENRIETTA: Why shouldn't I mean it? Look at all I've done for psychoanalysis — and — [Raising a tear - stained face] what has psychoanalysis done for me? STEVE: Do you mean, Henrietta, that you're going to stop talking psychoanalysis? HENRIETTA: Why shouldn't I stop talking it? Haven't I seen what it does to people? Mabel has gone crazy about psychoanalysis! [At the word "crazy" with a moan Mabel sinks to chair and buries her face in her hands.] STEVE: [Solemnly.] Do you swear never to wake me up in the night to find out what I'm dreaming? HENRIETTA: Dream what you please — I don't care what you're dreaming. STEVE: Will you clear off my work -table so the Journal of Morbid Psychology doesn't stare me in the face when I'm trying to plan a house? HENRIETTA: [Pushing a stack of periodicals off the table.] I'll bum the Journal of Morbid Psychology! STEVE: My dear Henrietta, if you're going to separate from psychoanalysis, there's no reason why I should separate from you. [They embrace ardently. Mabel lifts her head and looks at them woefully.] MABEL: [Jumping up and going toward them.] But what about me? What am I to do with my suppressed desire? STEVE: [With one arm still around Henrietta, gives Mabel a brotherly hug.] Mabel, you just keep right on suppressing it! (Curtain) Submissions must be received by: Friday, July 19th 5 00om Poview of submissions by the Public Art Advisory Committee (PAAC): Thursday, August list. 3.30pm (Applicants should be present.) h:otification of PAAC decision: No later than Friday, August 9th Performance Completion: W !afar thar. October 31 at, 2019 Name* Melissa Airy Address* SIP.I Adr.l. s 221 River St. Address Unn, 2 Apt 2 CRY Iowa City Poste_/T;t Cude 52246 Phone Number* 319-671-0270 Finail * meussaairy@gmail com Project Name Emanation Proposed Start Date 9/2712019 Proposed End Date* 9/27/2019 Description of Proposed Project* :-dei Fi?rvs.s l'�y"on IA L: miry USA This project proposal, "Emanation," is a collaborative performance art happening that will draw in participants and observers throughout various locations in Iowa City to join together in a communal procession and gathering. The performance will be created by Iowa City artist, Melissa Fury, :n collaboration witn 4-5 other local performance artists "Emanation" will largory speak about the importance of community ano how individuals can come together to create something mach bigger than ever imaginable on their own. it will highlight the straggles of living in an individualistic society wfuie focusing on the determination to give of ourselves to the communities we a. a apart of. With the participation of Iowa City citizens. ote are calling tnern to take action and to empower :he communities in which they bolong Throughout the performance. 5 artists will :ndividually aria uniquely process from the-r designated starting location to a central destination, of which all the artists wil! he traveling and processing too The publ,c wall be .rvited to begir at any of the designated staring locations and process with the artist, following behind their. As the artists and processions travel through the ciy, they will be walking amongst populated streets, by restaurants and shops and silertly interrupting the normal flowof the city. Any observer tc the processions are welcomed to join in the communal action Each artist and their procession through differing portions of Iowa City will be filmed and live -streamed either by a cameraman or bodycam. At the central location, all five live - steam videos of each artist and their procession will be projected on screens. Audience members will be invited to watch the projections, seeing the series of parades coming toward them. Once the artists arrive in the central location, they will enter into the space surrounded by the projections and create a collaborative series of actions incorporating the items each artist carried in their procession. Each of the five artists will process in a unique manner or with an Individualized action. The first artist, will silently walk while carrying a'.arge write flag, representing a sur-eroering of self. As an act of sacrifice, the second artist will push and roll a section of a large tree trunk, exertirg much physical stamina, and deliver trio wood to the end location. The third artist will march while chanting a series of mantras. Tie chantng will either take place between two artists, or invite the public to join in a call and response spoken word piece The fourth artist will carry on their shoulders a revolving light source acting as a movirg beacon of light The fifth and final artist wall walk on top of a red capet that they will roll out in front of themselves. Never stepping foot on the pavement beneath them, the artist will continue to roll up the carpet behind them, and again unravel the material in front of them, always stepping on the material Once all five artists have processed to the central performance location, they wall collectively create a performance highlighting the power and strength of community The exact series of actions are yet to be determined ahc will be created through collaboration with each artist involved. 3400 characters renaming !^rho Is the intanded audience for this project?* r lease dsscrta the r-tcvWd audie-a fo tins prryei a. d trr-eforis ya wF. zke :o ire zFm z orcc der i wa; N rmrrv-uiy This performance wilt be created for any and all members of the Iowa City community. We hope to be joined by adults, children, families and students at the University of awa. The performance can be seen and experienced through a variety of ways in hopes to engage as many people as possible. Iowa City citizens well be invited to be active participants and join in the walking processions as the artist move throughout the city. If audience members do not wish to join in the processions, they can watch the five videos of each artist from the central performance location in which each procession will end Lastly, the iivestream videos will be available for viewing via an online platform so that anyone throughout the world can join in the watching of processions. it is the goal of the performance to simply bring people together as community and allow the collective actions to inspire and promote a sense of unity amongst all those present. 1400 characters remaining What promotion and mar:teting are you planning for the event?* We will take a variety of approaches to promote the performance Among these will include reaching out to L,ttle Wiage, 'uolic Space One and the Iowa Arts Council to heip share the details of the event with their networks of people We further plan to post flyers throughout the Iowa City area and on the University of Iowa's campus. Lastly, we believe that word of mouth and sharing the event amongst the communities we are a part of Is the best way Ito get genuine interaction. 1400 characters renmiing :-'or., trill you gauge a successful outcome for this project?* The most evident way to note the success of the event will he based on the number of people who choose to attend and part.cipate. Ideally, we will have people from the community join in the actually wallung procession. I'owever, evea through simply walking through various parts of town, we are creating art for people as they go about their datiy lives. Success can be seen by those who watch as as they drive by, are eating at a cafe or simply walking as our paths cross. All of these mteractior!s draw attention to the altered way we are !=teraGting with klwa City. Beyond the number of people who witness the performance, we hope that the uitimate success is seen through the way the observers choose to create and empower the communities that they are a part of 1400 characters tenertti g Project Location SUeo4 Add.3ss TBD Mdresc one z CRY Poste /.To Qx:a Slate / a cvinoa / rk9on lbrntiy Project Location Details* ::--ssc Pov:da dittos assocmted to Je kx:aty, of U e av at/r..*,o rE^a: peila:.., ; w..are t �s. rxry s -pen and freray avc Wk to tie garerd a:ac. The date and exact location of the performance are still flexible The performance will ideally take place on a Friday or Saturday evening throughout September or early October. The overall duraton will likely test one hoar Once the date is set, and the roster of performance artists have officially been created, I will take further steps to find the exact location. The cent: al location in which all of the artists will orocess too, Mere the final performance take place, wilt be open and accessible to the public. Arrong spaces that ! am considering for the central location include Old Brick, Public Space One, IMU River Amphitheater, City Park, or College Green Pat k Regardless of the central location, the performance will start at five separate locations throughout Iowa City (each roughly f mile away from the central performance location), and the artists will travel throughout the town, ultimately ending at the designated location. 3400 characters , straining Is this public or private property?* public Describe your partners (if any) for this project and what roie they will play (financial assistance, providing space, technical assistance, etc.). Partners Partner * Contribution * Caitlin Mary Margarett performance artist Mandey Lund performance artist -.quipment $ 1,000 00 7rofessional S_rvices (artist) $ 1,000.00 Supplies ood and Leverage O:ner Other Other Total ?ro)ect cost $ 2,000.00 Letters of support and/ur other documents M -Y'UR.s • '� Y�LJ R ��•. _: � YOU R �i • -r City of Iowa ity Strategic Art Plan 2020-2025 Iowa City Strategic Art Plan Table of Contents Executive Summary History of the Iowa City Public Art Program Purpose of the Public Art Strategic Plan Vision Mission Process for creating the Strategic Plan Process Timeline Survey Results Summary Demographics Survey Responses Art Location Maps General Write In Comments Goals, Action Steps and Tasks 3 2 5 7 8-13 F1121=f-] Map of Current Public Art 19 Iowa City Strategic Art Plan 2 Executive Summary Strategic Plan Goals 1. Review the existing Public Art Program; its policies, priorities and practices and adjust to better reflect our community of 2020. Devise creative ways to more effectively provide art opportunities; permanent, temporary and performance/programming, etc. that cultivates a vibrant public art environment, engages the input and resources of our community and reflects Iowa City's cur- rent diversity, talents and vitality. 2. Expand opportunities to enliven and enhance spaces throughout Iowa City to ensure that all the community and its visitors can enjoy public art and arts activities. 3. Secure and manage funding to ensure an ongoing vibrant, sustainable Public Art Program as well as ensure the care and mainte- nance of existing public art assets. 4. Collaborate with municipal, civic, nonprofit and private sector organizations to create opportunities for public art. 5. Build awareness and promote understanding about public art and the benefits of the arts in general. Iowa City Strategic Art Plan 3 HISTORY OF THE IOWA CITY PUBLIC ART PROGRAM Iowa City is defined by its flourishing arts and culture scene. $120,000 $100,000 The Public art program was established by the City Council in 1997, its purpose to enhance our public spaces, to capitalize on Iowa City's reputation as a cultural cen- $so,000 ter, and to build on Iowa City's image as a vital place to live and work. $60,000 The Public Art Advisory Committee (PAAC) was established at the same time to over- see the operations and budget, determines potential sites, oversees the proposals $ao,000 process and curates the city's public art collection. The current collection of perma- $20,000 nent artwork is valued over $1,000,000 and is sited throughout the community. I $0 1999-2001 (Downtown Focus) Weatherdance Fountain Five Pedestrian Mall Sculptures Iowa Avenue Literacy Walk 2002-2006 (Neighborhood Parks) Goosetown and Northside Street Markers Longfellow Historic Markers Wetherby Park Shelter Project Pheasant Hill Park Mosiac Bench and Plinth Grantwood neighborhood of Seasons Mosaic Column 2007-2012 (Downtown, City Buildings, and Near Neighborhoods) Irving Webber Downtown sculpture Dancing Water Glass Panels in the Rec Center Northside Literary Walk Woodland Walkway Court Street Transportation Center Wayfinding 2013-2019 (Downtown, City Buildings, and Neighborhood Parks) Whole Mural Goosetown Mural Co -Exist Mural Step up Statue in the Ped Mall Underwater Scene Mural in Grantwood City Hall Metal Sculpture FY99 FY01 FY03 FY05 FY07 FY09 FY11 FY13 FY15 FY17 FY19 The Iowa City Public Art Program has sustained activity over the past 20 years despite regular adjustments to the funding levels. Since 1999, Matching Funds totaling approximately $24,000 have been allocated to local artists to assist in arts programming, installations and activities. Spon- sored programs such as the annual Poetry in Public program have expanded op- portunities to our local literary talent to have their work featured in buses, City facilities and other public venues. Kidztent, an annual Iowa Artsfest favorite host- ed by PAAC offers donated original artwork from Artsfest artists for sale to youth for $5 or less. Iowa City Strategic Art Plan 4 PURPOSE OF THE PUBLIC ART STRATEGIC PLAN The purpose of this Strategic Plan is to outline a broader approach to be completed over the next 5 years that creates a sustainable, robust public art program designed to meet the interest and the needs of our growing community as well as secure the necessary funding to ena- ble the program to continue to meet those interest and needs. The plan will also align with and provide a more deliberate action plan that move towards reaching the goals and strategies for Arts and Culture as outlined in the IC2030: Comprehensive Plan and Strategic Plan Up- date Adopted May 14, 2013. Mission The mission of the Public Art Advisory Committee (PAAC) is to advise and as- sist the City Council with the selection, promotion, and integration of Public Art within the city's physical environment and public spaces. Our objective is to create a stimulating environment that reflects and cele- brates Iowa City's distinctive history, culture, diversity and character. Vision We recognize the important role that arts and culture play in engaging our increasingly diverse pop- ulation. We value how the arts can help build that community by providing opportunities to partici- pate in experiencing and creating art, both visual and experiential that will enhance the environ- ment, nurture creative placemaking and engage our community. By promoting the arts, maintain- ing an ongoing dialogue within our community about the fundamental nature of art and developing programs and projects that educate, entertain, and inspire the public, we will work towards pre- serving our cultural heritage, and inspire, educate and enlighten our community and its visitors. Iowa City Strategic Art Plan This Public Art Strategic Plan was developed to align with the goals and strategies outlined in the Iowa City Comprehensive Plan. • "Explore new funding sources for Arts and Culture projects and programs such as Hotel/Motel tax revenue, crowd -funding, a "percent for art" ordinance, and new grant funding." • "Seek the participation of diverse populations (e.g. young and old) when developing cultural programs." • "Increase visibility and awareness of Arts and Culture programs." • "Explore opportunities for new Arts and Culture venues that will attractvisitors to Iowa City." • "Seek representation of diverse populations on the Public Arts Committee." • "Develop an Arts and Culture plan that includes all neighborhoods." • "Continue to provide opportunities for Neighborhood Art." The Process The Public Art Advisory Committee began the process for development of this plan in January, 2019. A series of community engagement opportuni- ties were developed the occurred over the next 6 months. Arts Professional Steering Committee Meetings The Public Art Advisory Committee con- vened a group of local arts professionals to act as a steering committee to help guide the process for developing the Public Art Strategic Plan. The Steering Committee met twice. At the first meeting, the group helped fine tune the mechanisms used to solicit ideas and feedback from the public. At the second meeting, members helped evaluate the public input received. They also reviewed proposed goals and action plans and pro- vided insights and suggestions of addi- tional areas to be considered for inclu- sion in the strategic plan. Public Meetings The Public Art Advisory Committee hosted two public Input meetings. The first meeting provided opportunities for general feedback regarding topics such as: Where should public art be located? What should public art do? What form should public art take? What other types of art would you like to see. At the second meeting, the PAAC solicited comments on the results of the public sur- vey outlined below. In addition to many general comments regarding the survey results, there was extensive discussion regarding the potential role of the City in assisting in the creation of a public art cen- ter in Iowa City. Online Survey The feedback received at the public meetings was used to guide develop- ment of a Public Art Survey that was made available online for public re- sponses over a three-week period in April 2019. A public display was also placed in the Iowa City Public Library that provided the opportunity for visi- tors to respond. Members of the Public Art Advisory Committee also participat- ed in one-on-one canvasing of visitors to the Iowa City Pedestrian Mall one Saturday afternoon. Iowa City Strategic Art Plan 6 December 2018 Request from the City Council to draft a strategic plan Timeline from passage to Implementation April 2019 March 81 2019 Compiled the First Public Input Survey Results May 15th 2019 Meeting Second Public Meeting March 20 - April 212019 Public Art Survey is open to members of the public May 5th 2019 First Art Professionals Meeting to review Survey Results and review draft of goals June 21, 2019 Sent the Second Draft to the Arts Professionals Group June 6th 2019 PAAC Meeting to Review Goals and Art Professional Notes — Create a Second Draft July 11th, 2019 PAAC Meeting to Review the second draft and make changes to the Tasks and Action steps coming from the goals Iowa City Strategic Art Plan 7 The amount of input and enthusiasm that was exhibited in the responses to the survey demon- strates that the citizens of Iowa City consider public art to be an important, if not critical com- ponent to the quality of life in the community. My Relationship to Public Art Who Participated? 8� 86,. 70% 60% Overall response rate and interest in the survey so% process was excellent. 500 responses were re- 40% ceived to the online survey with almost 100% 30% completion of each survey. Visitors to the li- 20 7% brary completed 22 surveys and pedestrian mall 10% visitors completed another 23 surveys. 0% I like it I make it Where do you live in Iowa City? 30% 28% 25% 20% 14% 15% 11% 10% 8% 6% 10% I 1 1 1 1 . ■ — `�r`ya� oo`raah` ot�ea5� Fr�aaw \Q�aa�. ��r 0 + -aayc 5°Jr c9�\aot �L`c�a� tao �oatir Qo c �oJwr x a r o� o 6% 1Y I am neutral Idislike it Idon't understand it Age of Respondents 35% 29'' 30% 25% 21% 20% 15% 15% 10% 6% 5% ,0% 0% Under 18 18-24 25-34 35-44 45-54 Age Categories of Survey Participants Iowa City Strategic Art Plan 8 Most Favorite and Least Fa- vorite Public Art Installations in Iowa City Write-in comments included the Pedestrian Mall Bench- marks project and murals in general. Least Favorite Example of Public Art 60% 54% 50% 40% 30 % 20 % Favorite Example of Public Art 45% 41% 40% 35% 30% 25% 20% 16% 15% 14% 15% 10% 4% 3% 5% 2% 2% 2% 1% 0% papa aaa 03 �a�Ya a�` °oaa °40 C.a lea ¢ �+� She a+� Q� \ Q e �aa` Yy6 o40J ��o ��`zJy a dae `08 Fa 'A oa`rz 14% 10% 10% 5% 5% 4% 4% ' . . ■ ■ 29° — — aF aa�, �`Ja 2�-aas a`Eah a`aa 1,a�`E oaa\ oaa\ a��¢ e eee vat ep¢ P` �� . oao Lo `r, 4ea .Sao o Voo Croaa m`ie Z�aa \`03li P�rJ F �o oati �o The Four Modular Piece by Kenneth Snelson is currently located in Terrill Mill Park. The sculpture will soon be relo- cated to Riverfront Crossings Park —a settingthat will better showcase the work which is one of the more valuable piec- es of the Public Art inventory. Write-in comments included a dislike of the Iowa Avenue Literary Walk- respondents said the bronze plaques were slippery in the winter and on rainy days. Iowa City Strategic Art Plan 9 The Role of Public Art 70% 64% What is the Role of 50% 54% 42% 40% 34% Public Art? 30% 27% 22% 22% 20% I I 1 1 10% 10% 10% 4% 0% aJ,cl� �,¢ ¢a¢\oQ c cre want to see Public Art in this Location ` Other (please specify) L 5% Buses/Bus stops 14% Vacant lots 15% Along the river 16% My neighborhood - 19% Public buildings 29% Parka 38% Pedestrian walkways and trails 43% Unexpected places 52% Downtown streets and alleys 65% 0% 10% 20% 30% 40% 50% 60% 70% Where should Public Art be located? Iowa City Strategic Art Plan 10 Participants in the Steering Committee and Public Meetings were also asked to locate where they would like to see Public Art installations • IOWA CM C.. m,.A� I ..-_ _, .v.. _... im Pubirc ArtMap • A ' -r ` ° • age I r; Arts Professional Steering Committee -- - Via.- ft4cr..� 3i�19 Iowa OW Public Art Map ` • A� �:� I16 y -• I Vo � ems` .,..... •Y.. Public Meeting Iowa City Strategic Art Plan 11 The Type of Public Art I Most Enjoy 13% ■ M L `00 ¢aF ¢� C Q¢ Qco\ a y¢s Qoc� y�Q`aa General Write -In Comments If Iowa City were to commission a large/monumental, iconic public artwork, where should it be located? Other (please specify( ` 55. Nowhere. Iowa City doesn't need a 14Y large iconic pudic artwork Ina park ch a uncey Swan, College 15% Green, Hickory Hill, etc( Gateways or major entrances to I[ 21% (Dubuque St., North Dodge, HlghwaV..- Downtown 44% I would like to see Public Art in Iowa City reflect HighTech = 6% Other (please specify) M ]% Political ]% H i4ory/Monumental MMM"M f ] Landscape/Nature Cultural symbols and traditbm 6% Beauty 57% Playfulness and whimsy 67% 0% 20% 40% 6m 80% 0% 10% 20% 30% 40% 50% The survey provided an opportunity for people to make any comment they wished related to public art. Over 150 people -approximately 30%of the respondents- provided comments. These comments were compiled into common themes and provide an even broader sense of how people feel about public art in Iowa City. The top 10 topics/comments included: 1. More public art outside of downtown/in neighborhoods — 26 2. More engaging/interactive public art -13 3. More art by local artists — 13 4. More public art in Iowa City's marginalized/lower income neighborhoods — 12 5. Public Art should reflect a community's cultural diversity - 11 6. Concern over cost of public art — particularly if taxes are used to fund it — 10 7. Concern over a large "iconic" piece of public art — 10 8. More murals — 10 9. Involve community members/kids in creation of art — 10 10. Creation of a community art center — 8 Iowa City Strategic Art Plan 12 90% 80% 70% 60% 50% 40% 30% 20% 10% 0% 81% 57% The Type of Public Art I Most Enjoy 41% 27/ 23% 15% 13% 13% If Iowa City were to commission a large/monumental, iconic public artwork, where should it be located? Other (please specify) = 5% Nowhere. Iowa City doesn't need a 14% large iconic public artwork In a park (Chauncey5wan, College 15% Green, Hickory Hill, etc) Gateways or major entrancesto IC (Dubuque St., North Dodge, Highway...- 21% Downtown II 1 1 1 � ■ ■ ■ � aFa�\ vi�y ezt� a�`oo ea�yi �� \�F 3 `aeaa. �� `eF.�p tr co,. Rac` yay�e �-e 0 ��c a� \ Q i 0 oq ° `aa `o e•�C c\'uJ Q011 �F O 0% 10% 20% 30% 4( Iowa City Strategic Art Plan 13 Goal 1: Review the existing Public Art Program; its policies, priorities and practices and adjust to better reflect our community of 2020. Devise creative ways to more effectively provide art op- portunities; permanent, temporary and performance/programming, etc. that cultivates a vi- brant public art environment, engages the input and resources of our community and reflects Iowa City's current diversity, talents and vitality. Action Steps Tasks Timeline for Completion A Review and update existing policies and procedures for se- • Review existing Policies and Procedures - update as necessary November 2019 lection, installation, maintenance and conservation of art- • PAAC adoption and City Council presentation December 2019 works in public spaces and civic facilities. B Evaluate structure, size, practices and accessibility of the • Review existing By -Laws November 2019 Public Art Advisory Committee • Consider expansion of membership of committee December 2019 • Consider meetingtime outside of standard work hours to encourage more public participa- tion • Reevaluate location of meeting C Encourage people to see art in new ways, in unexpected • Develop projects/programs/criteria that encourages these opportunities Ongoing places and spaces. • Expand opportunities to create functional art installations • Expand opportunities to engage public in unexpected ephemeral art experiences D Encourage innovative projects and public arts activities that • Incorporate opportunities that encourage fresh ideas/creative interpretation Ongoing make Iowa City a public art destination particularly by col- • Ensure programming draws new audiences and generates helpful feedback laborating with other arts entities in the community. E Develop a method by which the public can provide ongoing • Evaluate digital media opportunities to solicit feedback January 2020 input • Incorporate audience feedback for programs/project where possible • Conduct annual survey for general public input • Incorporate annual arts organizations/professionals gathering to optimize coordination among partners F Seek opportunities to prioritize the involvement by our large • Determine geographic area for the term local artists Ongoing pool of talented, local artist. • Develop a baseline of information about activities in which local artists have participated • Determine needs of local artists that can be addressed by public art programs and activities • Ensure that programs that respond to these needs are developed and involve local artists G Develop criteria to define what determines progress; quan- • Programming outcomes are reviewed annually and this information is used to refine pro- January 2020/ titative and qualitative. Review annually. gramming for the year ongoing Iowa City Strategic Art Plan 14 Goal 2: Expand opportunities to enliven and enhance spaces throughout Iowa City to ensure that all the community and its visitors can enjoy public art and arts activities. Action Steps Tasks Timeline for Completion A Conduct an inventory and prioritize potential areas for • Sites identified and prioritized including interior and exterior February 2020/ongoing future consideration of public art and arts activities • Seek out non-traditional locations throughout Iowa City, particularly underserved areas; • Each site/location evaluated for arts options encouraging fresh ideas for opportu- update annually. nities • Information used to refine projects and activities for next year. B Create a framework by which these locations can be • Revisit draft of Temporary Art Installation Policy. Incorporate as appropriate, ad- February 2020/ongoing made available for temporary art exhibits as well as an just as necessary evaluation process by which artist can propose a project • Research Art on loan program and determine how or if to pursue this option in an undiscovered public location. C Generate community involvement with art projects. • Review existing Neighborhood Art program guidelines, adjust as necessary. March 2020/ongoing 1. Reinstitute the annual Neighborhood Art Program • Determine method of implementation/level of funding which enables neighborhoods to work with local artists to • Develop program/methods for expanding interactive/performing arts/events develop a public art installation/s that best reflects their • Determined method of implementation/level of funding energy and identity in their neighborhoods. • Evaluate existing Public Art in Private Places program to encourage private invest- 2. Encourage interactive or performance arts activities or ment in visual arts on private property. Evaluate incentives/ Consider funding pro - workshops in various locations for all ages. grams to encourage involvement 3. Encourage private property owners to incorporate art • Evaluate opportunities for hosting private artist exhibits/events including City on their own property for public enjoyment. facilities, parks, coordination opportunities with existing programming, etc. Consid- 4. Promote our local artist talent by providing opportuni- er funding directed towards coordination/administration costs ties to showcase their work through studio tours, neigh- borhood art festivals, opportunities to use facility space for the display of artwork, etc. D Expand the concept of public art with spontaneous arts • Develop special arts experiences in unique settings designed and/or organized Ongoing experiences in non-traditional settings. when feasible. E Develop and implement a policy for soliciting and ac- • Review existing policies, amend/add as necessary. February 2020/ongoing cepting donations, memorial gifts or loans of artwork and • Promote opportunities on regular basis. memorials. F Continue to seek opportunities for temporary exhibitions • Develop program/process that encourages these opportunities February 2020/ongoing of artwork throughout the community both in public and • Promote on a regular basis private locations. • Consider establishment of sculpture garden , annual rotating art exhibit or other Iowa City Strategic Art Plan 15 GOAL 3: Secure and manage funding for the public art program and the care and maintenance of public art assets. Action Steps Tasks Timeline for Completion A Develop a staffing and resource model to ensure that the • Develop public art program goals and outcomes July 2020 goals of the Public Art Program are achieved. • Determine programming priorities for five year period • Determine estimate of administrative requirements • Determine funding sources/opportunities for administrative costs B Identify and secure funding sources that will provide for • Evaluate options, develop recommendation and propose to the City Council March 2020 a sustainable, reliable resource to ensure the realization • Continue to evaluate supplementary funding sources an/or partnerships as they be - of the Public Art Strategic Plan. Options could include: come available • HOTEL/MOTEL TAX SET -ASIDE • Evaluate funding annually and incorporate strategic increases as necessary • PRIVATE DEVELOPMENT PERCENT FOR ART- Enables development bonus (density/height/etc.) if private de- velopers provide a percent of total development costs to be utilized for the arts. Currently available in the River - front Crossings Redevelopment Area. • PUBLIC CAPITAL PROJECTS - PERCENT FOR PUBLIC ART — Consider including percent of capital project costs to project to install public art as part of the project (bridges, streetscapes, etc.) if deemed appropriate. • GENERAL FUND ANNUAL ALLOCATION • ENDOWMENT FUND (Community Foundation of Johnson County) • GRANTS • PRIVATE FUNDRAISING C Identify strategies to cover maintenance and conserva- • Conduct a regular condition assessment of all the artworks in the city's public art Ongoing tion of public art. collection to determine which pieces need maintenance or conservation, or should be evaluated for deaccessioning. • Prioritize conservation needs. • Identify and secure funding to provide the necessary treatment and secure those funds in a revolving fund accessible when needed. • Secure the services of a professional conservator for assessment and/or conservation if necessary. Conditional assessments of the entire public art collection conducted and priorities developed Iowa City Strategic Art Plan 16 GOAL 4: Collaborate with municipal, civic, nonprofit and private sector organizations to create opportunities for public art. Action Steps Tasks Timeline for Completion A Develop a process to incorporate public art program staff, • Inform and involve City departments about the plans and potential for imple- April 2020/ongoing the PAAC and/or artists into early design discussions and mentation of the Public Art Master Plan and the Guidelines and Procedures for planning for capital projects including infrastructure, public Public Art facilities and open spaces. • Identify and meet with key departments where public art partnerships and col- laborations can be developed, and identify opportunities for partnerships and collaboration on public art projects at the time of construction or later • Work with existing City departments/committees considering wayfinding pro- jects that may incorporate artwork. g Cultivate partnerships in all sectors of the community • Determine all potential partners January 2020/ongoing (Artifactory, Public Space One, Summer of the Arts, Iowa • Include in all meeting notifications and planning processes City Downtown District, Stanley Art Museum University of • Consider annual joint meeting to share projects/ideas/etc. Iowa School of Art, University of Iowa Hospital and Clinics Project Art, etc.) to assist with acquisition of artwork and spaces for artwork and/or arts activities. C Support efforts by local arts organizations to create a com- • Encourage and maintain ongoing communication with involved entities Ongoing munity art center that provides a place for the public to • Evaluate and seek out funding opportunities as available learn, practice, and exhibit fine arts and crafts by continuing • Act as resource/advocate as appropriate engagement and providing resources as available. D Promote incorporation of public art in private develop- • Encourage city staff to work with private developers on the potential value of March 2020/ongoing ment. public art and possible opportunities to include art as part of their developments • Explore the feasibility for an ordinance requiring public art in private develop- ment; provide incentives as possible Iowa City Strategic Art Plan 17 GOAL 5: Build awareness and promote understanding about public art and the benefits of the arts in general. AL Action Steps Tasks Timeline for Completion A Develop a promotional campaign about the City's public art • Develop promotional campaign, identify targets for media and population; and March 2020/Ongoing collection that targets all available media and that will reach launch campaign. all segments of the population. 1. Identify and implement • Develop community awareness strategies and implemented for all public art community awareness strategies for every public art project project. installed. 2. Identify and widely publicize events and/or • Capture and utilize other promotional opportunities Identify and widely publi- opportunities associated with or in proximity to artworks cize events and/or opportunities associated with or in proximity to artworks and and highlight the artwork, its unique history and the artist. highlight the artwork, its unique history and the artist. 3. Explore using digital media application to create a self- • Explore digital media opportunities that would enable the public to learn about guided tour of the City's public art including the opportunity public art through a self -guided tour application to crowd source feedback by the public regarding other art installations. B Assemble and maintain a variety of communication and/or • Identify various communication and/ or media networks and cultivate and March 2020/Ongoing media networks to target audiences of all ages and back- activate for promotional efforts. grounds for these messages. C Coordinate with other arts organizations to sponsor regular • Develop artists database to feature local artists and their work. Make publicly June 2020/Ongoing events to showcase art projects / Programs / Opportunities available • Create an e-source bank of programming opportunities, networks and contact information developed for communities to access if desired. 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