HomeMy WebLinkAbout01-16-2020 Public Art Advisory CommitteePublic Art Advisory Committee
Thursday, January 16, 2020
5:30 PM
Note New Time
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 Decembers, 2019 meeting
Review Updated Famer's Market Call to Artists
Review of Draft Management Plan — Minor adjustments have been made to that
portion of the Management Plan reviewed at last month's meeting. The highlighted
sections will be reviewed at the January meeting.
Review City Facilities Inventory and Inspection Process
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 marcia-
bollinger@iowo-city.org. Early requests are strongly encouraged to allow sufficient time to meet your
access needs.
PRELIMINARY
MINUTES
PUBLIC ART ADVISORY COMMITTEE
DECEMBER 5, 2019 — 5:OOPM
LOBBY CONFERENCE ROOM — CITY HALL
MEMBERS PRESENT: Vero Rose Smith, Wendy Brown, Juli Seydell Johnson, Ron Knoche,
Andrea Truitt, Eddie Boyken, Steve Miller
STAFF PRESENT: Marcia Bollinger, Camille Soleil, Wendy Ford
CALL TO ORDER
Rose Smith called the meeting to order at 3:33 p.m.
INTRODUCTION OF WENDY FORD, IOWA CITY ECONOMIC DEVELOPMENT
COORDINATOR
Rose Smith introduced Wendy Ford, City of Iowa City Economic Development Coordinator to
the committee.
Bollinger explained that The Public Art Program will be transitioning from the Neighborhood
Services Department to the City Manager's office over the coming months. During this
transition, Bollinger will be working with Ford, who will attend PAAC meetings and get to know
the committee. Bollinger pointed out that the timing of this process is good considering the long-
range planning now taking place.
PUBLIC DISCUSSION OF ANY ITEM NOT ON THE AGENDA
There was none.
CONSIDERATION OF MINUTES OF THE NOVEMBER 11, 2019 MEETING
Brown had one change, asking that the first name "Wim" be added before last name "Murray" in
the section Public Discussion. Seydell Johnson motioned to approve the minutes with this one
change. Knoche seconded the motion. Meeting minutes were approved.
DISCUSSION OF DRAFT MANAGEMENT PLAN
Rose Smith asked for discussion on the Management Plan draft.
Bollinger explained that much work had been done on the draft since last meeting, and thanked
Brown and Truitt for their help in going through the documents and their editing expertise.
Rose Smith asked if those who had spent more time with the draft had any sections they would
like to discuss.
Bollinger asked to walk through the draft section by section. She pointed out that the index page
had been updated, and that all the highlighted sections in the index were sections that had been
addressed and were open to review.
Seydell Johnson commented that she appreciated the writing of Section 2, the Mission and
Vision, and thought that Section 3 supported that well.
Bollinger asked to the committee to hold off with review of the Executive Summary at this time,
as it was still coming together. She remarked that Section 4.0, Public Art Policy and Procedures,
needed to be rethought as to how it flows into whole context of the management plan.
There was discussion as to how to place the information defining the Public Art Advisory
Committee, its role and its structure, into an earlier part of the management plan.
Truitt suggested rearranging the sections so that the management plan flowed from the mission
and vision to the various roles of the PAAC and how that plays out, and then into the details of
acquisition policy, and Brown agreed on this general reordering. Bollinger said she would work
with that. Seydell Johnson asked if this was a restating of the public ordinance, and Bollinger
said she would look at that and assure that this was consistent.
Rose Smith asked if the committee could make the review and feedback of this Management
Plan an action item for the January meeting. She asked the committee to thoroughly read
through this draft and make suggestions and recommendations as to the flow and arrangement
of information in this document before the next meeting. Bollinger asked that comments about
the flow of the document overall be submitted to her by January 8.
Truitt asked that the committee makes sure that the management plan be consistent with the
Strategic Plan's goals and objectives, especially around the goals of performance and
temporary art. Rose Smith asked that be the case with commissioning procedures as well,
especially the inclusion of performative -based works.
Rose Smith agreed to send information to Bollinger about public art maintenance policies and
standards.
Bollinger stated that areas that still need to be addressed in the Management Plan include how
to perform the kinds of outreach, and how to reach the goals, stated in the Strategic Plan. She
also noted that since the community -initiated public art process was established 15 or so years
ago, there needed to be some guidelines for funding. Rose Smith shared that during the
discussions around the strategic plan, one of the thoughts was that there would be a set pool of
money in the budget every year dedicated towards these types of adhoc applications, once
these applications were codified a bit more. The committee has quarterly review dates for
handling applications as they come in.
REVIEW OF REVISED PUBLIC ART ADVISORY COMMITTEE BY-LAWS
Rose Smith opened the discussion about a geographic representation system on the Public Art
Committee. She reminded stated that a major goal in the Strategic Plan was moving these
resources for public art to neighborhoods and making sure that there is equitable distribution
across the city.
There was discussion of this concept, and Bollinger suggested a neighborhood representative
on PAAC. There was general consensus to make one the "at large" representatives on PAAC a
Neighborhood Council liaison seat, perhaps a member of the Neighborhood Council.
Bollinger suggested a timeline of having the Management Plan go to council for approval in
March or April, so that recruitment for new seats could start in order to have them filled by July.
Such timing, she pointed out, would help balance the vacancies that usually occur in January,
and help the committee to run uninterrupted.
Knoche suggested that in Section 7, resignations be sent to City Manager's office, as the
program would be transitioning from Neighborhood Services. Seydell Johnson suggested that
wording be changed to ask that resignations be sent the City Clerk.
Rose Smith wondered if applications for PAAC candidates could include a section for disclosure
of any conflicts of interest. Bollinger said that question is already included in the application for
boards and commissions.
There was discussion on the issues of quorum in Article V section 10, and Article IX. Bollinger
said she would get clarification from the City Clerk as to what those amended numbers would
need to be based on 9 members rather than 7.
COMMITTEE ANNOUNCEMENTS OR COMMITTEE REPORTS
Rose Smith presented Wendy Brown with a certificate of appreciation for her service, as this is
her last PAAC meeting. There were many thanks and much appreciation of her service to the
committee throughout her term.
STAFF REPORTS
Seydell Johnson reported that Snelson relocation was coming along quickly, the concrete had
just been poured and sealed, and it is looking good. Her department has been getting great
feedback on it. Bollinger said she would send a press release to Summer Wills, who had
pushed to have it relocated.
Bollinger reported that Mutable Sequences, Jason Snell's installation, is still in place. This
motion -activated, sound and light installation is located in the parking stairwell at Capitol and
Burlington. There will be a closing ceremony event on Friday, December 13. Bollinger will send
out an email with details.
Bollinger reported that Soleil was helping to get the 181h Annual Poetry in Public campaign going
and looking for more opportunities for hosting the poetry and getting it out to the public. She
shared that Summer of the Arts has committed to getting some of the poems projected at the
summer movies. There was some discussion of other possible hosts.
ADJOURNMENT
Brown made her final motion to adjourn at 4:25pm. Knoche, second the motion.
The meeting adjourned 4:25pm.
Public Art Advisory Committee
Attendance Record
2018-2019
Name
Term
12/6/18
1/10/19
3/7/19
4/4/19
5/2/19
6/6/19
7/11/19
8/1/19
915119
11/7/19
12/5/19
Expires
Wendy
1/1/2020
O/E
O/E
x
x
x
x
x
x
x
x
x
Brown
Erin
1/1/2020
--
--
--
--
--
--
Fitzgerald
on
x
x
x
K n the
x
x
x
x
x
x
x
x
Juli
x
x
Seydell-
x
x
O/E
x
x
x
x
x
x
Johnson
Vero
x
x
x
Rose
1 /1 /2021
x
x
x
O/E
x
x
x
x
Smith
Steve
2/1/2021
x
x
x
x
x
x
x
x
x
x
x
Miller
Andre
1/1/2022
x
x
x
x
x
x
X
x
x
x
Truitt
Eddie
1 /1 /2022
--
x
x
x
x
x
x
x
x
O
x
Bo ken
Key
X = Present
0 = Absent
O/E = Absent/Excused
--- = Not a member
Iowa City Farmers Market
Placemaking Art Project
Call to Artists
The Iowa City Parks and Recreation Department is soliciting proposals for the
installation of Placemaking Art to highlight the location of the Iowa City Farmers Market
at the Chauncey Swan Parking Ramp. The Iowa City Public Art Advisory Committee will
be responsible for reviewing responses to this Call and interviewing artists.
Project Description
The Iowa City Farmer's Market, which occurs annually from May through October is
located in and around the first floor of the Chauncey Swan Parking Ramp located at 414
E Washington Street. The Saturday Farmer's Market expands beyond the parking ramp
into Washington Street between Gilbert and Van Buren Streets and surrounding
grounds.
Protection from the weather in the parking ramp is an attractive feature but the area
provides little visual appeal that could enhance the general farmer's market experience.
Proposals are being accepted from artists for visually appealing enhancements for the
market. Locations available for artwork include and in order of priority:
• Entrance to parking ramp from Washington Street including exterior north wall.
• Interior of parking ramp. Existing parking restriction signage on pillars/walls
needs to remain in place or included as part of the artwork.
Project goals
• Use of the artwork to identify the space as the area where the Iowa City
Farmer's
• Market occurs and as means of wayfinding to the market for visitors already in
the parking ramp.
• To create an aesthetically pleasing, creative and original installation that makes
the parking garage a more welcoming, tranquil and friendly place to be.
• To utilize a farmer's market theme that compliments the existing mural under
the College Street bridge.
Enhancements that can be considered but are not limited to:
Artwork installed on surface of parking ramp (Note - Proposals to paint directly
on the surfaces of the parking ramp will not be considered. Proposals must be
created on a surface that will be secured to the surfaces of the parking ramp.
Two coats of anti -graffiti sealer must be applied on all painted surfaces)
• Banners/flags Installations
0 Artistic Lighting installations
Project Budget
Budget for the project is $7000 (?). All costs related to design work; food, lodging and
transportation for the artist; insurance, materials; scaffolding, site related safety
measures, labor, etc. are limited to this budget.
Project Timeline
• Deadline for responses - Friday, March 20, 2020— 5:00 PM
• Notification to applicants of finalist - Friday, March 27, 2020.
• Finalists meet with Public Art Advisory Committee - Thursday April 2,
2020, 5:30 PM
• Finalist Notification — Friday, April 10, 2020
• Completion of the Project —June?, 2020
Online Application Submittal Procedures and Requirements
Access to the online application process is found at www.icgov.org/publicart.
Information required includes:
• A one -page artist statement describing experience and interest in the
project.
• A current resume (no more than three pages).
• Colored rendering(s) of the proposed design for the artwork.
• Detailed explanation or description of installation methods and materials
to be used to ensure durability.
• Description of safety measures that will be used to the secure site both
during the project creation as well during non -working hours of the
project.
Additional Information
• Payment for the work will be made in three installments — upon
execution of artists agreement, at a mid -point in the project, and when
work is completed satisfactorily. It is the responsibility of the artist to
keep staff apprised of progress on the installation so that work can be
viewed at several stages throughout the process.
• Installation of the artwork should occur on weekday evenings, Saturday
after 1:00 PM or anytime Sunday when there is less vehicular traffic or
parking in the ramp. Parking staff can assist in blocking off areas as work
needed.
All materials submitted as part of the Call to Artist will become property of the Iowa City
Parks and Recreation Department
SUBMISSIONS MUST BE RECEIVED BY 5:00 P.M. FRIDAY, MARCH 20, 2020.
Please contact for information:
Marcia Bollinger — 319-356-5237
Marcia-Bollinger@iowa-city.org
Iowa City Public Art Program Management Plan
Table of Contents
Section Page
1.0 Introduction................................................................................................................ 1-1
3.0 Public Art Overview and Definitions..
3.1 Definition ..............................
3.2 Benefits .................................
4.0 Public Art Administrative Policies and Procedures....................................................................4-1
4.1 Role of Public Art Advisory Committee.............................................................................. 4-1
4.2 Role of Public Art Program Administration...........................................................................
4.3 Role of City Manager.............................................................................................................
4.4 Role of City Council................................................................................................................
5.0 Public Art Acquisition Policy....................................................................................................5-1
5.1
Policy and Procedures for Public Art Acquisition Committees....................................5-1
5.2
Public Art Selection Process for Permanent Acquisition .............................................
5-4
5.3
Public Art Acquisition Process for Temporary Exhibitions...........................................5-5
5.4
Public Art Policy and Procedures for Accepting Permanent Donations ........................
5-7
5.5
Public Art Policy and Procedures for Artwork as Memorials
6.0 Siting
and Displaying Works of Art .......................................................................................
6-1
6.1
Policy and Procedures for Siting and Displaying of Works of Art .................................
6-1
6.2
Site Selection Guiding Principles and General Site Selection Criteria ..........................
6-3
6.3
Site Selection Goals, Strategies, and Recommendations .............................................
6-3
7.0 Documentation, Maintenance and Conservation of Works of Art ........................................ 7-1
7.1 Policy and Procedures for Documentation, Maintenance, and Conservation of Works of
Art............................................................................................................................................ 7-1
8.0 Deaccessioning Works of Art ................................................................................................. 8-1
8.1 Policy and Procedures on Deaccessioning of Works of Art .......................................... 8-1
9.0 Funding of Public Art..
9.1 Current Fundi
......... 9-1
........... 9-1
10.0 Administration...................................................................................................................10-1
10.1 Role of Public Art Advisory Committee
10.2 Policies, Procedures and Criteria related to the allocation of annual funding for public art
10.3 Policies, Procedures and Criteria for selection of projects and public art
10.4 10.5 Administrative Staff
1
11.0 Conflict of Interest .......................................
11.1 Policy for Conflict of Interest..........
12.0 Ordinances and Resolutions...............................................................................................
12-1
12.1
Ordinance Establishing the Iowa City Public Art Advisory Committee ......................
12-1
12.2
Resolution No. 63 Establishing a Public Art Program......
12.3
Ordinance No. adopting Public Art Strategic Plan
12.4
Ordinance No. adopting Public Art Management Plan......
13.0 Appendices
...............................................................................................................13-1
13.1
Public Art Sample TimeLine.....................................................................................
13-1
13.2
Sample Task Outline.................................................................................................
13-3
13.3
Site Survey for Public Art ...........................................................................................13-7
13.4
Current Public Art Inventory ....................................................................................
13-11
13.5
Visual Artists Rights Act of 1990(VARA).................................................................
13-13
13.6
Funding Strategies and Loan Programs.....................................................................
13-22
13.7
Sample Request for Qualifications.............................................................................13-25
13.8
Sample Request for Proposal ........................
13.9
Existing Public Art Programs
1. Community Initiated Public Art[CS6]
2. Neighborhood Art Program
3. Program for Recognition of Art in non-public spaces
4. Public Art Matching Grant program
5. Performance Art Grant program
Does not include other than visual arts. Programs. processes, priorities etc. for performance, interactive,
programming.
Role of City Council/City Manager in all processes
2
1.0 Introduction
Public arthas the power to energize our public spaces and profoundly transform the places where we
live, work, and play. It generates community identity by creating a unique atmosphere and enhancing a
sense of place. In functioning both as destination and embellishment, public art plays an important role
in sustaining the local economy.
Through the strategic planning process for the 2020-2025 Public Art Strategic Plan, the Public Art
Advisory Committee has distilled the following five goals:
Goal 1: Review the existing Public Art Program. Adjust its policies, priorities and practices to
better reflect our dynamic community. Devise creative ways to deliver a wide range of art
opportunities —from performance art to permanent installations, participatory programs, and
more to stimulate a vibrant public art environment that will enrich us all.
Goal 2: Expand opportunities to use public art to enliven and enhance areas throughout Iowa
City to ensure that everyone in the community has a chance to enjoy it.
Goal 3: Secure and manage funding to ensure an ongoing vibrant, sustainable Public Art
Program as well as ensure the care and maintenance of existing public art assets.
Goal 4: Collaborate with municipal, civic, nonprofit and private sector organizations to create
opportunities for public art.
Goal 5: Build awareness and promote understanding about public art and the benefits of the
arts in general.
The Iowa City Public Art Advisory Committee (PAAC) has developed a comprehensive Public Art
Management Plan (PAMP) that provides guidelines and policies for the funding, acquisition, placement,
and maintenance of public art within the City as well as administrative procedures involving allocation
of funds, strategies to engage the public and others in the arts community and methods to effectively
works towards the goals as outlined in the Iowa City Public Art Strategic Plan 2020-2025.
2.0 Vision and Mission
2.1 Vision
The arts are at our core —they are a big part of what makes Iowa City unique. Public art brings beauty
and excitement to our surroundings. It sparks us to find wonder and inspiration in new and unexpected
places. By promoting imaginative opportunities to experience and create art together, we can build a
community that values and encourages diverse voices. We will continue to use the Public Art Program to
nurture creative placemaking, and to inspire, educate and enrich our community and its visitors. We will
work to make Iowa City the Greatest Small City for the Arts in America.
2.2 Mission
To create a stimulating public arts environment that reflects and celebrates Iowa City's rich history,
culture, diversity and character.
4
3.0 Overview
3.1 Definition
Simply put, public art is art in public spaces.
Frequently, public art is chosen through a public selection process, and is most -often commissioned,
acquired and maintained with public funds.
Public art can include murals, sculpture, photography, paintings and memorials. It can be community art,
digital new media, or integrated architectural- or landscape architectural work, permanent, temporary,
two-dimensional, three-dimensional, and multi -dimensional -- public art can include performances and
festivals.
Many cities now require that public art be incorporated into new developments, both municipal and
private. And while the term "public art" may have conjured images of historic bronze statues of soldiers
on horseback in the past, today public art takes on a wide range of forms, sizes, and scales.
3.2 Benefits
Public art instills meaning —a greater sense of identity and understanding of where we live, work, and
visit. It suggests a common memory, and creates memorable experiences, connections, and conscious
interactions. Public art humanizes the built environment and makes it relatable.
Through public art, our communities gain cultural, social, and economic value. It helps creative
communities thrive on many levels:
ECONOMIC GROWTH AND SUSTAINABILITY
• By engaging in public art as a tool for growth and sustainability, communities can thrive
economically. Public art boosts cultural tourism, creates jobs, and increases revenue of
local businesses.
• Arts, culture, and creativity can improve a community's competitive edge, attract new
and visiting populations, and integrate the visions of both community and business
leaders.
ATTACHMENT AND CULTURAL IDENTITY
• Public art directly influences how people see and connect with a place.
• Public art encourages attachment to a location for residents through cultural and
historical understanding, and by highlighting what is unique about the places where
people live, work, and play.
/11 A 16'f &IFIVI 191011:1I all [e1:Rl
• Providing a public art ecosystem supports artists and other creatives by validating them
as important contributors to the community. In most communities, large portions of the
public arts budget are redistributed into the local economy through the creation,
installation and maintenance of public art.
SOCIAL COHESION AND CULTURAL UNDERSTANDING
• Public art provides a visual mechanism for understanding other cultures and
perspectives, reinforcing social connectivity with others.
PUBLIC HEALTH AND BELONGING
• Public art has been shown to have clear public health impacts including decreased
stress, eliciting awe, developing shared identity, reinforcing self -efficacy, and promoting
positive health behaviors.
4.0 Public Art Administrative Policies and Procedures
4.1 Role of Public Art Advisory Committee (PAAQ
The PAAC was established by Resolution ---- and operates within By -Laws dated _that are
attached in the Appendix
PAAC is responsible for implementing the Public Art Program in accordance with those By-laws
and according to the guidelines established in this PAMP, including but not limited to:
• Evaluating public art opportunities and needs every five years and updating policies as
needed
• Preparing an annual budget of proposed projects for the upcoming funding year
• Maintaining an inventory of art assets including: documents transferring
title, artist's contracts, reports, invoices, and other pertinent material.
• Acquiring, commissioning, funding of public art to ensure the collection remains vibrant
and relevant to the community.
• Evaluating public art installations on or in public property by entities other than the City
• Removal of public art as necessary
• Siting and displaying works of art
• Evaluating offers of donations of public art or funds
• Ensuring opportunities for input by the general public in art installations and programs
• Providing opportunities for installation of temporary art exhibits
• Pursuing funding options and opportunities as available
• Ensuring public art is available and accessible to all segments of Iowa City's population
• Implementing the annual Poetry in Public program
• Hosting the annual Kidztent at the Iowa City Arts Festival
• Collaborating with community organizations to create opportunities for public art
• Building awareness and promoting understanding about public art and the benefits of
public art in general
• Providing an annual report to the City Council and community
4.2 Role of Public Art Program Coordinator
4.3 Role of City Manager
4.4 Role of City Council
Policies, Procedures and Criteria Related to the Allocation of Annual Funding for Public Art
Monthly schedule for regularly occurring programs/projects/activities/events (See Appendix)
5.0 Public Art Selection, Acquisition and Commission Policies and Procedures
5.1 Selection Guidelines
When selecting or commissioning works of art, the PAAC shall ensure that the following factors are
considered:
1. Artistic merit: Does the work have strong artistic merit? Criteria include but are not limited to:
• Strength of the concept, vision, and enduring value of the work
• Durability and craftsmanship in fabrication
• Appropriateness of artwork scale to the proposed site
• Appropriateness of artwork to other aspects of its surroundings
• Artist's credentials and recognition
• Potential enrichment of the architectural, historical, geographical and/or cultural context
of the site
• Compatibility includes a consideration of media, as well as integration of the work of art
into the design or function of the proposed site. All art forms will be considered.
2. Site: What type of site is proposed for the artwork? Siting criteria include, but are not limited to:
Written evidence that location of artwork on the proposed site has been approved by the City
department that oversees that site.
If an artwork is designated in a neighborhood plan, is the proposed artwork consistent with the
plan recommendations?
If the artwork is proposed for a site of regional significance (e.g. a regional park, an arterial
route, a major civic building), does its scale and aesthetic quality merit a prominent location?
3. Relationship to the City's existing art collection. How well does the proposed artwork fit with the
City's current holdings? Criteria for compatibility include but are not limited to:
• Does the artwork contribute to the diversity and breadth of the City's collection?
• Is the artist's work already adequately represented in the City's collection?
• Does the style or form of the art contribute to balance in the City's collection?
4. Safety and maintainability: Artworks on City property must be structurally sound, durable and
resistant to vandalism, weathering, and excessive maintenance/repair costs, and should not pose a
threat to the safety of the public.
5. Feasibility: The ability of the artist to successfully complete all aspects of the proposed work.
6. Cost: Whether the price is fair and there are available funds to cover the cost of purchase,
transportation, documentation, conservation and storage of the work of art. The cost should be
commensurate with the importance of the work to the public art collection.
7. Local art community benefit: All things being equal, preference will be given to Iowa City/Iowa
artists.
5.2 Placement Guidelines
When considering initial installations and/or determining placement of a work of art, the PAAC will
address these questions as guidelines:
• If the artwork is site -specific, is the proposed location likely to remain unneeded for other public
purposes in the foreseeable future?
• Will the work enhance the site?
• Does the site allow good vantage points for viewing the work?
• Does the site provide safety for the work and the public?
• Can installation at the proposed site be undertaken within budget and on time?
• What maintenance will be required for the art work and any other related costs?
• What benefits - physical, social, and economic - will this installation bring to the community?
5.3 Title to Artwork
Title to artwork acquired through the Iowa City Public Art Program shall be in the name of the City.
Acquisition of artwork shall be accompanied by an assignment of copyright to the artwork; however, the
artist may retain a non-exclusive right to make reproductions of the artwork for professional
advertisement and promotional purposes. Unless otherwise agreed, in writing, by the City Manager, no
artist or artist's representative shall be deemed to have reserved any rights to the artwork acquired by
the City or Agency, or to the continued placement of the artwork in any specific location,
notwithstanding the fact that the artwork may have been created as "site -specific."
5.4 Acquisition Procedures
When selecting or commissioning artwork for the City's public art collection, the PAAC shall use the
following procedures:
1. Determine Need
The PAAC identifies a need to acquire artwork for the public art collection based on one or more
of the following factors:
• The Public Art Program has funds provided through the annual budget process that are
not required to be used to purchase artwork in connection with the construction of a
specific capital project. These funds will be used to create artwork prioritized through
the strategic plan process.
• A specific capital project is proposed that requires the purchase of art.
• The City has obtained funds by donation, grant, bequest, or other means, with the
stipulation that the money be used for the purchase of art.
2. Determine Selection Method
The PAAC determines which of the following methods to use for the acquisition of the work of
art:
• Open Competition: The PAAC will agree by consensus that an open competition is the
best way to acquire the artwork. Public announcement is made of the intent to purchase
or commission artwork. Any artist (or team of artists) may submit proposals. Selection
factors and/or criteria are included in the announcement. The announcement may allow
for the submission of models, proposals, or pre-existing works of art. The submissions
will be reviewed by the PAAC or a selection panel designated by the PAAC. The decision
will be based on the selection factors and/or criteria.
• Invitational: The PAAC will agree by consensus that one or more artists (or teams of
artists) are particularly well -qualified to provide the artwork. The PAAC or a selection
panel designated by the PAAC will create a list of artists and invite them to submit
proposals, models, or pre-existing artwork. Selection factors and/or criteria are included
in the invitation. If the budget allows, the PAAC may authorize reimbursement of some
or all of invitees' expenses incurred in the submission. The submissions will be reviewed
by the PAAC or a selection panel designated by the PAAC. The decision will be based on
the selection factors and/or criteria.
• Direct Selection: The PAAC will agree by consensus that an identified artist (or team of
artists) is uniquely qualified to provide the work or works of art. The artist or team is
invited to submit a proposal, model, or a pre-existing artwork. Selection factors and/or
criteria are included in the invitation. Alternatively, a pre-existing artwork by the artist
that meets the selection factors and/or criteria may be acquired directly from the artist
or the artist's representative. The submission will be reviewed by the PAAC, and the
decision will be based on the selection factors and/or criteria.
3. Determine Selection Panel
The PAAC generally acts as the selection panel for artwork. If the PAAC determines that
additional artistic, design, installation, or other specific expertise is needed, the committee may
designate an expanded selection panel to participate in the selection process. An expanded
selection panel will be comprised of one or more members of the PAAC as well as one or more
additional people who have the expertise needed to evaluate a specific purchase.
4. Evaluation and Recommendation
Using the selection factors and/or criteria, the PAAC or expanded selection panel will evaluate
artwork for acquisition/commission, and, where appropriate, narrow the
acquisition/commission to selected artists or artworks. An expanded selection panel will make a
recommendation to the full PAAC.
S. Selection
10
The PAAC will make the final selection by majority vote of a quorum. The PAAC has the option to
reject all submissions, and to reopen the selection process using the same or a different
selection method and the same or different selection criteria.
6. Contract Requirement
A contract approved by the City Attorney is required between the City and the artist or team of
artists.
Role of City Council?
5.5 Donation Guidelines
Private individuals and agencies can offer artwork as donations or loans to the City of Iowa City or desire
to display art owned by those individuals or agencies on public property. Similarly, individuals or groups
may also wish to propose a public art project that would be temporarily or permanently installed on City
property. These gifts and exhibitions are an important part of the City's growing art collection and
presence in the public realm. The Iowa City Public Art Program has established policies and procedures
for any unsolicited donations, loans, or exhibition proposals in order to:
• Maintain the quality of the public art collection
• Ensure that artworks are sited to the most suitable locations
• Establish that there will be funds to protect, maintain, preserve, and conserve works of art on
public property
• Evaluate works for quality, safety, durability, and maintainability
The Public Art Advisory Committee (PAAC) is responsible for reviewing all gifts, loans, and public art
exhibitions proposed by individuals, organizations, and neighborhood and community groups.
Definitions
Artwork Donations/Gifts/Loans:
• Unrestricted Donation/Gift—The donation of a work of art to the City without any restrictions
placed on where it is sited.
• Restricted Donation/Gift— The donation of a site -specific work of art to the City.
• Loan —The loan of a work of art to the City, with or without restrictions placed on where it is
sited.
Exhibitions/Artwork:
• Temporary Exhibition/Artwork—A proposed exhibition or work of public art installed temporarily
on City property. Proposals may be site -specific or not.
• Permanent Exhibition/Artwork — A proposed exhibition or work of public art installed
permanently on City property. Proposals may be site -specific or not.
11
• Exhibition of Privately -Owned Art on Public Property —A proposed exhibition of art not owned
by the City but located outside the business or building of the art owner on City property.
Public Art Donation Procedures
1. Proposed donations, loans, and exhibitions should first be referred to the Iowa City Public
Art Coordinator. Staff will then assist individuals in identifying the appropriate application that
must be submitted for review. Any questions regarding the application should be referred to the
staff of the Iowa City Public Art Program.
2. Completed applications and supporting materials, including images, a maquette, or
rendering of artwork(s), should be submitted to the Iowa City Public Art Program staff for review.
3. The PAAC will review applications and supporting materials according to the criteria
outlined above in Section 5.1 and determine whether they will recommend to accept or reject
the proposal. PAAC may attach conditions to its recommendations.
4. If a specific site is recommended for placement of the donated or loaned work or exhibition
of private art on public property, the PAAC will review the proposed site and seek approval from
the City department that oversees the site. If a site has not been proposed, PAAC will work with
the applicant to identify an appropriate location for the work of art or exhibition.
If PAAC chooses to accept a proposal, the Iowa City Public Art Program staff will work with
individuals or groups on contracts, timelines, and installation of artwork(s).
6. If the work or exhibition has yet to be fabricated, PAAC must be informed of the creation
process through progress updates and scheduled studio visits.
7. If the PAAC approves the exhibition of private art on public property, the owner of the
private art must execute an agreement with the City whereby, among other things, the owner
assumes liability for personal or property damage arising from the exhibition of that private art
on public property.
8. If artwork is commissioned, the PAAC will review and approve any subsequent changes in
concept or media that are proposed during the execution phase of the contract. If an expanded
selection panel was used to choose the artwork, the PAAC has the option of including the
expanded selection panel in the review and approval.
Dedication of Donated Public Art to Individuals
From time to time there may be individuals to whom the dedication of a public art piece is warranted.
Those individuals should be persons noted for their significant contribution to the culture of Iowa City.
Public art pieces may be dedicated to an individual, provided one of the following procedures is
followed:
12
At the time the public art project is conceived by the Public Art Advisory Committee, dedication
to an individual is made part of the project concept. The proposed concept is then subject to the
approval of the City Council pursuant to the Acquisition Procedures included herein.
An individual or group presents a dedication proposal to the Public Art Advisory Committee. The
proposal may pertain to either an existing or a proposed art installation. All proposals must
include:
--documentation of the individual's contribution to the culture of Iowa City
--endorsements for the dedication from other groups or individuals
Proposals will be considered by the Public Art Advisory Committee who will advise the City Council. The
Council will make the final determination as to the appropriateness of the dedication.
Maintenance of Donated Works
Iowa City Public Art Program maintains records of all works on City property and oversees their
maintenance. However, funds to maintain artworks in the City's collection are limited. Therefore, donors
may be required to sign a maintenance agreement or establish a maintenance endowment to ensure
that artworks can be cared for adequately. Typically, a maintenance fund consists of 10% of the value of
the work.
Monetary Gifts
Donors may contribute monetary gifts to the Public Art Fund. These funds can go to the general fund for
maintenance of the collection or towards the acquisition of a work of art at the discretion of the PAAC. If
the donor proposes a specific project or commission, the above procedures must be followed.
13
6.0 Policy and Procedures for Siting and Displaying Works of Art
6.1 Site Selection Guiding Principles and General Site Selection Criteria
Public art will be placed in suitable locations broadly dispersed throughout the City of Iowa City.
Installation of artworks will give meaning and enjoyment to these public spaces by:
1. Creating a sense of place
2. Generating neighborhood and community identity
3. Creating a spot for people to gather
4. Enhancing the environment
5. Transforming the landscape for greater enjoyment
6. Providing public access to this creative expression
6.2 Siting Policies
1. To ensure public enjoyment of the artwork in the City's public art collection, the PAAC will
assure that artwork shall be placed in, on, or about any municipal building or other
municipally owned, leased, or rented property. These locations for public art will be
accessible to the general public as well as to persons with special needs.
2. The PAAC will develop an artwork site plan that identifies and prioritizes locations on City
property for placement of public art.
3. The artwork site plan shall address permanent locations, as well as provide for the
planned movement of appropriate works of art to various locations in the City.
4. The artwork site plan shall be updated every three years.
5. No work of art in the City collection may be moved without the written approval of the
PAAC.
6.3 Siting Procedures
Evaluation of the location should include the impact of a public art installation on the current
environment or properties and usage of the space. The site or location priorities shall be based on
specific criteria that include, but are not limited to:
• Maximum visibility and public benefit. The location must also be accessible to persons with
special needs
• Public safety
• Integration with formal City plans
• Integration and coordination with proposed or potential private sector projects
• Permanence or ease of relocation, if appropriate
• Consideration of the possibility of future public or private development plans or potential
changes to the built environment or the natural environment.
• Compatibility with the type, scale, and scope of potential public projects
• Security
14
• Protection from improper or unnecessary physical contact
• Protection from heat, air conditioning, direct sunlight, water or other potentially harmful
elements, unless the work is designed for such exposure
• Ease of maintenance of artwork
• Avoidance of interfering with vehicular or pedestrian sight lines or traffic patterns
• Avoidance of interference with City operational functions (i.e., lawn mowing, irrigation, snow
removal, etc.)
• Locations for public art should create a secure, supportive setting for the artwork and not be
filled with other visual distractions, activities or movement that would compete with the artwork
• The activities or usage of the site do not diminish or interfere with the enjoyment of the artwork
as intended
6.4 Site Selection Procedures, Strategies and Recommendations
1: Identify and prioritize sites in parks and recreation areas, Cityfacilities and other public spaces
for which artwork can be acquired by commission, direct purchase or temporary loan to
enhance these environments for our community and visitors.
Strategy: Survey, analyze, and rank the options for placement of public artwork. Possible
locations for public art could include but are not limited to:
• Parks and open space areas
• Trails
• Public buildings to which the public has access both interior and exterior sites
• Traffic circles and medians
• Bridges and overpasses
• Sidewalks near benches that are functional and decorative
• Street corners or other public spaces
Recommendation: Review site inventory annually and reprioritize these options as
conditions change or as resources become available.
2: Identify and prioritize gateways and commercial centers for public art that can highlight areas
or serve as landmarks to emphasize Iowa City as a unique and vibrant community
Strategy: Survey, analyze, and rank options for placement of public artwork in primary
gateways.
Recommendation:
The gateways associated with 1-80 and Hwys 1 and 6 offer significant
opportunities to herald Iowa City as a vital community. Wayfinding and safety
should be the priorities in these dynamic traffic areas. Artwork should be
located in places that are easily viewed and accessible by the public. Both the
pace of traffic and spaces available in these areas do not encourage placement
of public artworks.
15
• The gateways on Melrose, Rochester, Scott Blvd and others would be desirable
locations for more prominent signage welcoming people to Iowa City.
3: Incorporate public art in areas of new development in Iowa City to make these places livable
and appealing.
Strategy: Cultivate relationships and form partnerships to secure support and potential
funding for public art projects in existing community commercial centers and those
planned for future development.
Recommendation: Each of the future community commercial centers appears to
present excellent opportunities for incorporating public art to heighten the image and
value of the project and increase its income -producing potential. Public art can help
create an identity for the City and help define the character of a mixed -use
development.
• Prioritize these projects according to the potential for public art, the timeline,
and the availability of funding sources.
• Develop a collaborative process with City departments and development
interests to identify and track progress on these efforts to advocate for public art
to enhance these developments, as appropriate.
• Initiate collaborative dialogue with commercial interests about the potential and
the benefits as well as the responsibilities associated with public art at these
sites. Explore the possibility of financial participation in the cost of the public art
and secure that support, if feasible. For example, supporting the arts through
private development can be a way for the developer to give back to the
community. Involve the collaborators in the process for selecting the artwork.
• Negotiate agreements for the ongoing expenses of insurance and maintenance
of publicly funded artwork on private property, in advance.
4: Seek and implement additional opportunities for art to enhance and define the City's image
through temporary displays in civic facilities and/or sculpture -on -loan projects.
Strategy: Inventory possible locations for temporary exhibitions. Develop procedures, a
timeline, and a budget for selecting artwork for temporary display at these locations.
Solicit proposals and conduct a selection process consistent with the guidelines and
criteria for public art.
Strategy: Explore sculpture -on -loan options for prominent locations, particularly in new
developments, to highlight the arts and attract attention to these areas. Work with loca
businesses to sponsor annual installations of sculpture on their properties. Promote
through such avenues as social media and "People's Choice' awards.
16
Recommendation: The PAAC may organize temporary exhibitions of public art or display
art -on -loan for a specified period of time. Guidelines for these exhibitions will be
consistent with the criteria for public art set forth in this Plan.
17
7.0 Documentation, Maintenance and Conservation of Public Art
7.1 Definitions
• Maintenance: Regular routine inspection and care of public art, such as cleaning and applying
protective surface coatings. A conservator usually carries out maintenance, though a skilled City
employee can be trained by a conservator to carry out routine maintenance.
• Treatment or Conservation Treatment: Repair is done when needed to return public art to its
original condition and integrity, which may be the result of flaws, neglect, aging, damage or
vandalism. A professional conservator usually carries out treatments, often in collaboration with
artists or other experts.
• Condition Assessments: Inspections of public art include information on the present location,
the current condition and the treatment or maintenance needed. Inspections may be carried out
by City staff, but thorough assessments should occasionally be conducted by a professional
conservator.
• Public Art Definition, Scope and Maintenance Specifications: A detailed description of each
public art work shall be created by the artist(s) and shall be reflected in all agreements. The
description should include all specifications of the artwork designed, created and/or installed by
the artist and may include bases, lighting and landscape elements. Maintenance specifications
must be provided detailing suggested methods of maintenance including schedule and
suggested products to be used .
7.2 Objectives
• To inspect the condition of City -owned public artwork on a regular basis;
• To clean and provide other appropriate routine maintenance to public artwork;
• To insure timely conservation of public artwork;
• To integrate longevity and maintenance considerations into artist's planning, and City approval
processes for artwork;
• To establish a treatment and maintenance program for public art with regular procedures,
agreements and documentation;
• To educate public employees about public art and its important role in public City of Iowa City
Public Art Policies and Procedures 28 infrastructure and planning
• To use public funds wisely by avoiding costly conservation expenses resulting from neglect; and
• To leverage private and volunteer support for maintenance of public art, whenever possible.
7.3 General Policies for Conservation Treatment and Maintenance
Purpose: Art works shall be efficiently maintained and preserved in the best possible condition as
understood by the Art in Public Places program and consistent with the artist's original intention.
• Integrity of Artworks: The Public Art Program seek to insure the ongoing integrity of the artwork
and the sites for which they were created, to the greatest extent feasible, in accordance with the
artist's original intentions, and consistent with the rights afforded by the 1990 Visual Artists
Rights Act. (see appendix)
IN
Access to Artworks: The City shall seek to assure continuing access to public art by the public,
although the City may limit availability due to circumstances such as funding, public safety,
display space and deaccession.
• Responsibility: The City Manager shall have the final authority in decisions regarding
conservation of public art.
• Oversight: The PAAC and staff shall oversee the condition assessment, treatment, maintenance,
disposition and relocation of public art, working in collaboration with the following partners:
• Experts: Arts professionals, professional arts conservators, city staff, and other
individuals familiar with art materials, fabrication methods, and the artistic intent shall
inspect and evaluate artwork.
• Artists: Artists shall develop public art with maintenance requirements that can be
realistically maintained bythe City. Artist's specifications may be taken into account in
maintaining public art along with applicable conservation standards. Artists (if possible)
shall be notified of all repairs and may be involved in conducting treatments and
maintenance.
City Departments : PAAC may work with the Department of Public Works or Parks and
Recreation as appropriate, to implement these policies.
7.4 Maintenance Planning and Documentation for Existing Works
Assessing Repair and Maintenance Needs of Existing Works; Public art shall be inventoried and
receive cursory inspections once a year during a year end physical inventory process. Artwork
shall receive regular, thorough, condition examinations, which include the present locations and
conditions of the public art, as well as cost estimates for treatment and maintenance. These
thorough examinations shall occur every 1-5 years, depending upon the needs of individual
works. They shall also occur when required by reports of damage.
• Maintenance Plans for Existing Works: Treatment and maintenance plans for existing public art
shall be developed by the responsible department or agency as treatments and repairs are
applied. A maintenance plan shall include detailed specifications for monthly maintenance,
winter maintenance, maintenance of plantings (if applicable), annual routine maintenance,
other periodic maintenance and a long-term prognosis.
19
8.0 Deaccession/Relocation
After due consideration, the PAAC may recommend, and the City Manager) may authorize, the removal
of work from the City's art collection. It is Iowa City's policy to remove a piece only if one or more of the
following situations exist:
• the artwork in its present state poses a safety hazard to the public or the environment
• restoration of the work aesthetically and/or structurally is not feasible, or the expense of such
restoration would be disproportionate to the value of the work
• the architectural support (building, wall, streetscape) is to be destroyed and relocation of the
work is not feasible
• prolonged protest of the work persists to the extent that the work detracts rather than enhances
the site and the community
• the work acts as an encumbrance to the use of public property
• the public use of the site has changed or is proposed to change in a manner that is no longer
compatible with the artwork.
If a work is to be moved/modified, the artist must be notified before the change, if at all possible. In the
instance that a work must be removed from the City's collection, the artist must be notified and given
the opportunity to purchase the art from the City. In all situations, the rights of the artist will be
respected as defined in the Visual Artists Rights Act of 1990, unless waived by the artist.
20
9.0 Funding of Public Art
9.1 Opportunities
• HOTEL/MOTELTAX SET -ASIDE
• PRIVATE DEVELOPMENT PERCENT FOR ART- Enables development bonus (density/height/etc.)
if private developers provide a percent of total development costs to be utilized for the arts.
Currently available in the Riverfront Crossings Redevelopment Area.
• 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
• ENDOWMENT FUND (Community Foundation of Johnson County)
• GRANTS
• PRIVATE FUNDRAISING a. Evaluate options, develop recommendation, and propose to the City
Council b. Continue to evaluate supplementary funding sources an/or partnerships as they
become available c. Evaluate funding annually and incorporate strategic increases as necessary
Orjust include in appendices -13.6?
21
11.0 Conflict of Interest
11.1 Policy for Conflict of Interest
In order to ensure that the public art selection process conducted by the Public Art Advisory Committee
(PAAC) is and is perceived to be open, accessible, and fair, it will implement the following policy with
respect to conflicts of interest:
1) No artist sitting on the Iowa City Public Art Advisory Committee, or member of their
household, may compete during their tenure for public art commissions/purchases over which
the PAAC has approval authority or administrative responsibility.
2) No member of a selection committee or task force, or of their household, may compete for
public art projects for which the PAAC has approval authority. Individual artists who serve on the
Commission or its committees may participate in and/or receive benefit from projects in the City
if they do not participate in the review and decision -making process on such projects.
3) No member of a project architect or landscape architect's firm may apply for a public art
project being designed by that firm.
4) No artist sitting on a Selection Panel may compete for a commission/purchase for which the
panel was formed. PAAC members must declare a conflict of interest if a project comes before
the panel with which they are involved.
5) PAAC members must also declare a conflict of interest if a person with whom they share a
household or whom they professionally represent has a matter before the commission.
6) Any Selection Panel member who is an artist representative or person sharing a household
with an artist must declare a conflict of interest in the event that an artist that he/she represents
or shares a household with is being considered for a commission/purchase.
7) If a conflict of interest exists, the commission member or selection panel member will leave
the discussions and abstain from voting.
8) A member of the PAAC or its committees may not participate in deliberation and
recommendation on any application with respect to which the member feels he/she cannot
bring an unbiased judgment, even if not otherwise required to do so by this policy.
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12.0 Ordinances and Resolutions...............................................................................................
12-1
12.1
Ordinance Establishing the Iowa City Public Art Advisory Committee ......................
12-1
12.2
Resolution No. 63 Establishing a Public Art Program......
12.3
Ordinance No. adopting Public Art Strategic Plan
12.4
Ordinance No. adopting Public Art Management Plan......
13.0 Appendices...............................................................................................................13-1
13.1
Public Art Sample TimeLine...................................................................................
13-1
13.2
Sample Task Outline...............................................................................................
13-3
13.3
Site Survey for Public Art ........................................................................................
13-7
13.4
Current Public Art Inventory.................................................................................
13-11
13.5
Visual Artists Rights Act of 1990(VARA).................................................................
13-13
13.6
Funding Strategies and Loan Programs.................................................................
13-22
13.7
Sample Request for Qualifications.............................................................................
13-25
13.8
Sample Request for Proposal ........................
13.9
Existing Public Art Programs
A.
Community Initiated Public Art
B.
Neighborhood Art Program
C.
Program for Recognition of Art in non-public spaces
D.
Public Art Matching Grant program
E.
Performance Art Grant program
F.
Temporary Art Installation Program and Policy
23
PUBLIC ART SPECIFICATIONS AND MAINTENANCE REPORT
To be completed by artist and submitted before final payment
Artist:
Title of Work:
Project Address:
PART I - FABRICATION AND INSTALLATION INFORMATION
MATERIALS
1. Material(s) used (be specific, include also source or manufacturer, life expectancy of
material according to manufacturer; attach manufacturer's technical data sheets, if
available):
2. Material finish (e.g., natural, paint color and type, glaze, patina, sealer, fire retardant,
etc.; be specific, include also brand or manufacturer):
3. Materials used in the presentation of the artwork (e.g., composition of base or
backing, framing, type of hanging fixtures, etc.):
FABRICATION
1. Fabricator:
Name:
Address:
Phone Number:
2. Fabrication technique or method (attach diagrams or drawings, if necessary):
INSTALLATION
1. Installation executed by:
Name:
Address:
Phone Number:
2. Installation method (attach plans showing footing and/or key installation details):
24
IXII:1:1L1/_ 0VITOr$13+
1. Describe physical positioning of the artwork (e.g., measured distances from relative
objects or points in the environment):
2. Describe existing environmental factors which may affect the condition of the artwork
and any precautionary measures (e.g., direct sunlight, extremes of annual rain,
temperature, air moisture or dryness, acidity of rainfall, flooding, wind, erosion,
vibrations, air pollutants, vehicular and/or pedestrian traffic; animal interaction --bird
droppings, potential for nesting, burrowing; human interaction with artwork --touching,
sitting, climbing, vandalism):
DESIRED APPEARANCE
1. Describe the desired appearance in specific terms including the physical qualities
such as matte rather than glossy luster; color of patina etc., for which the agency should
strive in order to maintain the artist's intent. Describe what may be acceptable
alterations in form surface, texture and coloration as related to natural aging of
materials. Include drawings or photographs which show the condition of the
artwork upon installation:
2. If the work is site -specific, describe in detail the particular relationship of the work to
its site, including any significant physical aspects of the site, which, if altered, would
significantly alter the artist's intended meaning and/or appearance for the work (attach
drawings as appropriate):
PACKING AND SHIPPING INSTRUCTIONS
1. Please explain how the art should be packed and shipped should the artwork ever
need to be transported (be specific, attach diagrams if necessary):
PART II - CONSERVATION INSTRUCTIONS
The Artist should provide detailed instructions regarding the methods and frequency of maintenance for
the artwork as follows (attach additional information as appropriate):
1. Routine maintenance (e.g., removal of dust, dirt; maintenance of protective surfaces;
tightening, adjusting, oiling; trimming of plant materials, etc.):
2. Cyclic maintenance (less frequent and more extensive preventive measures, e.g., disassembly
and inspection; reapplication of protective sealers; repainting; cleaning of textiles, etc.):
3. Who should be considered competent to perform cyclic maintenance? Describe any special
training, materials, tools, or procedures required.
4. Who should be considered competent to perform significant repairs?
25
5. Describe any special training, materials, tools, or procedures required for refitting, replacing,
or reconstructing portions of the artwork damaged by vandalism, accidents, disasters, or
weathering:
26
Public Art Program
Sample Monthly Schedule
January July
Convene Local Artists/Organizations - Update and
Planning
Annual Report to City Council
Evaluate Progress
February August
Election of Chair/Vice Chair
Designee for Poetry In Public
Review Committee
March September
Determine proposed programs for upcoming
Fiscal Year
Determine Funding Request for upcoming Fiscal
Year Budget
Solicit Public Input on Proposed Projects
April October
Promote Public Art in Private Upcoming PAAC membervacancies
Spaces
27
May
November
Develop Opportunities to Begin Poetry In Public Promotion
Promote local artists
June
Artsfest Kidztent
Annual Inspection process
Review Budget Recommendation
December
m
Location
Address
Size
Current Art Installations
City Parks
Central Parks
Chauncey Swan Park
Washington Street
0.6 acres
Dorothy, 2020
College Green Park
600 E. College Street
2.4 acres
StairSteps (deteriorating)
Northeast Parks
Calder Park (formerly Hickory Trail Park)
2831 Hickory Trail
3.2 acres
Cardigan Park
500 Huntington Drive
3 acres
Frauenholtz-Miller Park
4329 St. Patrick Drive
3 acres
Glendale Park
Glendale Road and East Ralston Creek
0.8 acres
Happy Hollow Park
800 Brown Street
3.3 acres
Hickory Hill Park
North entrance: 800 Conklin Street
185 acres
South entrance: 1439 Bloomington Street
North Market Square Park
Fairchild Street and Johnson Street
1.5 acres
Pheasant Hill Park
9 Green Mountain Drive
3.3 acres
Woodlands Walkway, 2011 (deteriorating)
Reno Street Park
Reno Street and Fairchild Street
1.3 acres
Northwest Parks
Black Springs Circle Park
Dill Street and Rider Street
0.9 acres
City Park
200 E. Park Road
107.3 acres
Triaxial Hemicylindrical, 1974
Crandic Park
Rocky Shore Drive and Dill Street
5.2 acres
Peninsula Park
West end of Foster Road
140 acres
Simple Flight, 2009
Skateboard Park
Dubuque Street/Taft Speedway
Terrell Mill Park
1201 N. Dubuque Street
17.6 acres
Thornberry Off -leash Dog Park
Peninsula Park
Dog Sculpture'
Waterworks Prairie Park
Near 1-80 and Dubuque Street
200 acres
Southeast Parks
Chadek Green Park
1920 Friendship Street
5.02 acres
Three Sisters, 2019
Court Hill Park
2825 Friendship Street
8.6 acres
Creekside Park
1858 7th Avenue Court
2.3 acres
Scheduled 2020
Fairmeadows Park
2500 Miami Drive
4.9 acres
Underwater Scene Mural, 2014
Highland Park
750 Highland Ave.
0.4 acres
I.C. Kickers Soccer Park
4400 Soccer Park Road
108 acres
Just for Kicks, 2006
Mercer Park
2701 Bradford Drive
30.5 acres
Step Up Mural, 2014
Mural, older shelter (SE students)
Napoleon Park
2501 S. Gilbert Street
28.8 acres
Oak Grove Park
Page Street and Dodge Street
1.6 acres
Rita's Ranch Dog Park
Located in Scott Park, 640 S. Scott Blvd.
Scott Park
Scott Boulevard Court Street Muscatine Ave
43 acres
Terry Trueblood Recreation Area
579 McCollister Blvd.
152 acres
Herky on Parade, 2014
Wetherby Park
2400 Taylor Drive
24.3 acres
Globe Reliefs and Sign, Mural 2006
Whispering Meadows Wetland Park
Lakeside Drive and Whis erin Prairie Avenue
17.8 acres
Windsor Ridge Park
American Legion Road and Arlington Drive
23 acres
Southwest Parks
Benton Hill Park
Benton Hill and Miller Avenue
3.5 acres
Walk in Beauty, 2005
Brookland Park
Myrtle Avenue and Melrose Court
2.86 acres
Harlocke Hill Park
Harlocke Street
0.9 acres
Hunters Run Park
Duck Creek Drive
26.6 acres
Kiwanis Park
Aber Avenue and Teg Drive
14 acres
Ned Ashton Park
Benton Street and Iowa River
0.6 acres
Ryerson's Woods Park
Old HighwaV 218 South
49.2 acres
Sturgis Ferry Park
South Riverside Drive
37.9 acres
Riverfront Crossings
1101 S. Clinton Street
17 Acres
Four Modular Piece, 2019
Tower Court Park
Tower Court and George Street
0.4 acres
Villa Park
Westgate Street and MacBride Drive
6.5 acres
Willow Creek Park
1117 Teg Drive
27.2 acres
Kovalec Wooden Sculptures (4), 2010
Love is Strange, 2005
Trails
Sycamore Greenway Trail
S.of Lakeside to Soccer Park
Birds in Flight, 2006
Neighborhood of Seasons, 2013
Longfellow Trail
S. of Sheridan to RR tracks
Wing's Return, 2004
Iowa River Trail
TerryTrueblood Recreation Area/Waterworks
Park
Court Hill Trail
Seventh Ave. Ct. to Windsor Ridge
Willow Creek Trail
Melrose Ave to Melrose
Hwy 6/1 sidepaths
Hollywood Blvd to Mormon Trek
Pennisula Park Trail
Penninsula Park
City Right of Way
Downtown Ped Mall
College and Dubuque Streets
Weatherdance Fountain, 1999
Ties that Bind, 2001
Jazz, 2001
Balance and Solar Market, 2000
Iowa Avenue
Between Clinton/Gilbert
Iowa Avenue Literary Walk, 2001
Irving Weber, 2003
North Market Place
Linn Street between Market/Bloomington
NMP Literary Walk, 2011
Goosetown Neighborhood
Governnor, Brown Reno, Rochester
Goosetown Geese Street Markers (28)
Northside Neighborhood
Gilbert, Kimball, Governor, Jefferson
Northside Houses Street Markers (35)
Longfellow Neighborhood
Lucas, College, 7th, RR tracks
Longfellow Historic Markers, 2004
Longfellow Pedestrian Tunnel
Under RR btwn Sheridann and Kirkwood
Annual Mural SE Junior Hi Students
Iowa Avenue
Iowa Avenue/6 Ave ped circular wallwau
Impermenance is Inevitable, 2008
College Street
Under College Street Bridge
Whole, 2014
Other?
Structures
Parking Ramps
Dubugue St Parking Ramp 220 S Dubugue Solidarity, 2012
Capitol St Parking Ramp 220 S Capitol
Tower Place Parkiing Ramp 335 Iowa Ave
Chauncey Swan Parking Ramp 414 E Washington er's Market artwork
Harrison St Parking Ramp 175 E Harrison
Court Street Transportation Cente Steel Garde, 2005
Nature's Way, 200
City Buildings
Robert A Lee Recreation Center 220 S Gilbert Street Dancing Waters, 2008
Renewable Energy Sources, 20
Mercer Aquatic Center. 2701 Bradford Driv Playful Investigation, 20
City Hall E Washington Komorebi, 2
Airport* 1801 S Riverside Drive
Animal Services 3910 Napoleon Lane
Ashton House
Cemetary` 1000 Brown Street
Eastside Recycling Center* 2401 Scott Blvd.
Equipment Building (to be redeveloped)
1200 S Riverside
One's Reality, 1982/relocate
Fire Station #1 410 E Washington
#2 301 Emerald St
#3 2001 Lower Muscatine
#4 2008 N Dubugue Rd
Parks and Forestry 2275 S Gilbert
Landfill and Recycling* 3900 Hebl Ave
Library 123 S Linn
Streets and Traffic Engineering 3800 Napoleon L
SeAFenter 28 S Linn St
Terry Trueblood Lodge 579 McCollister
Transit Building 1200 S Riverside
Wastewater Treatment Plant 4366 Napoleon Lane
Water Treatment Plant 89 Stephen Atkins Drive
* Multiple buildings
Frequent Public Visitors
Less Frequent Public Visitors
Artwork in place