HomeMy WebLinkAbout03-05-2020 Public Art Advisory CommitteePublic Art Advisory Committee
Thursday, March 5, 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 February 6, 2020 meeting
Review of Draft Management Plan — Adjustments have been made to the Management
Plan suggested at last month's meeting and some additional items includes. The highlighted
sections will be reviewed at the March meeting.
Develop Policies and Procedures Related to the Allocation of Annual Funding for
Public Art - Discussion should include establishing categories of projects to be considered for
annual funding, a structure for allocating annual funding for these catagories as well as
providing for ongoing maintenance funding. This process would become Item 4.5 in the
Management Plan.
Iowa City Pride 501h Anniversary Art Project - Iowa City Pride is celebrating its 501h
Anniversary the weekend of June 19 and 20. The planning committee has asked that the
PAAC consider hosting a public art project to commemorate this event, either as part of the
festivities or in place by the time of the event. Consideration of providing funding has also been
requested.
Committee announcements or Committee reports
Staff reports
• Creekside Park Art Project — Neighborhood Meeting — Thursday, March 12 — 5:30 PM —
Creekside Park
Dorothy Relocation
Poetry in Public PAAC representation on Review Committee
US Census Information
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
FEBRUARY 6, 2020 5:30PM
HELLING LOBBY CONFERENCE ROOM — CITY HALL
MEMBERS PRESENT: Vero Rose Smith, Nancy Purington, Andrea Truitt, Eddie Boyken, Steve
Miller, Juli Seydell Johnson, Ron Knoche
STAFF PRESENT: Marcia Bollinger, Wendy Ford, Camille Soleil
CALL TO ORDER
Rose Smith called the meeting to order at 5:30 p.m.
PUBLIC DISCUSSION OF ANY ITEM NOT ON THE AGENDA
There was none.
CONSIDERATION OF MINUTES OF THE JANUARY 16, 2020 MEETING
Miller made a motion to accept the minutes as presented. Seydell Johnson seconded the
motion. Meeting minutes were approved.
NOMINATION AND ELECTION OF OFFICERS
Rose Smith announced that she will be moving to Chicago this summer and will be resigning
from PAAC in May. She stated that she is willing to serve in any capacity until that time.
Miller nominated Rose Smith to remain as PAAC Chair until she leaves in May. Seydell Johnson
seconded. There were no other nominations for Chair. Rose Smith was elected unanimously.
Seydell Johnson nominated Miller to serve as Vice Chair. Pruitt seconded. There were no other
nominations for Vice Chair. Miller was elected unanimously.
There was discussion as to when the PAAC would submit the revised By-laws to the City
Council for approval, as well as PAAC approving the final revised Management Plan. Rose
Smith assured that she would like to help see those through before April, and that there will be a
new election for Vice Chair in May.
Rose Smith urged the members of PAAC to start recruiting now for the open position(s) on the
committee by the May meeting. Knoche asked for clarity on the timing of Rose Smith's
departure, as the Council would have to approved new members before the June meeting.
DISCUSSION OF ARTIST REGISTRY DATABASE
Bollinger presented that staff had been in preliminary communication with the City technology
department about the creation of a city -hosted Artist Registry. PAAC has talked about doing this
for years, and it is mentioned as part of the Strategic Plan. Purington recently wrote an email to
members of the committee asking for PAAC to look into this, and Bollinger stated that the City
now has the software to do a simple on-line database without having to hire an outside web
development agency.
There was discussion as to how to keep the database current, as well as what types of
information would be included.
Purington asked Bollinger to forward the web link to the Pittsburgh Artists Registry that Bollinger
showed as an example of a city -sponsored site.
There was discussion related to the geographic areas to be included, and the committee
supported the idea of limiting the registry to Johnson County. Also, expansion of several
categories, including "level of work" and "fields of work." Rose Smith and Purington both favored
having a place for artists to upload their vitae if possible.
Rose Smith asked the committee members to send feedback related to the categories and
parameters of this database to Bollinger by the next meeting.
REVIEW OF DRAFT MANAGEMENT PLAN
Bollinger asked to committee to review the areas highlighted in yellow on the handout.
Ford shared that she had taken the time to pull out and differentiate items that were appropriate
for coordinator/city staff responsibilities versus items within PAAC purview.
Rose Smith asked that the language on be revised and suggested using the words "evaluating
removal of or "offering guidance in" in reference to PAAC member responsibilities, and
Bollinger agreed to make another review through the document and clean up language
particularly for consistency.
There was discussion about the KidzTent that was mentioned in the Management Plan, as
some new members were not familiar with the event.
Knoche suggested changing the verbiage to "hosting a public event to showcase public art,"
rather than specifically mentioning the KidzTent, which may be too specific for the function of
this document. It was agreed to remove reference to specific events by saying something to the
effect of "provide activities at community events to raise awareness of the PAAC."
On page 20, section 9 — Funding of Public Art-- there was discussion about what to include, and
it was agreed to keep the section about grants and public funding, and remove the sections
about developer fees, as it is the responsibility of Council to decide funding.
The Conflict of Interest section was revised and Bollinger stated that the City attorney said this
language is acceptable.
Purington asked if Bollinger had had an opportunity to ask the City Attorney about an alternative
phrase to the sentence "all things being equal" in the section on selecting art, and Bollinger said
that she had not yet.
Bollinger added that she had adjusted the section about PAAC member terms so that they will
be staggered, with new members added in July rather than January to avoid several new
members being added at any one time.
Rose Smith asked that any suggested edits be sent to Bollinger prior to next month's meeting
and thanked Bollinger for her hard work on this important document.
Bollinger reported that the City Information Technology department is helping put together a
database for art inspections which can include photos, notes, attach documents and
agreements that all the staff can access.
Rose Smith suggested that the staff member in charge of this looks towards accreditation
standards in museology, particularly the American Alliance of Art Museums. She shared that the
Getty has stringent language about conservation evaluation, as well terminology about how to
assess artworks that would be helpful as keywords in the City's database.
Purington thanked Bollinger for putting in page 30, the original City Council Resolution
establishing the Public Art program. Purington asked if the committee could start a discussion to
urge the Council to change this resolution to an ordinance, which was the original intent.
Bollinger noted that many public art programs do have ordinances. Rose Smith asked if it would
be appropriate to try to reformat this resolution as an ordinance in time to submit to Council with
the By -Laws in April. Seydell Johnson said that would probably be a question for legal staff and
Bollinger agreed and said that staff could do further exploration of that. Rose Smith asked
Bollinger to find out more by the March meeting.
PRELIMINARY DISCUSSION REGARDING ALLOCATION OF FY2020 FUNDING
Seydell Johnson updated on the Famers Market art. The artist who was originally contracted
had finally responded to the final letter which gave her 30 days to respond, and she is
scheduled to install it tomorrow (December 7). Thus, there will be no new Call to Artists.
Purington asked about the piece being installed, and Seydell Johnson reported that local artist,
Sara Montgomery will be installing a graphic sign above the entrance of ramp which says "Iowa
City Farmers Market" and includes a coffee cup, art, a strawberry, and there will be a large fork
and spoon on either side of the entrance, as well as an interactive photo frame.
The committee had reallocated $9000 from existing projects at the last meeting for the
upgraded Farmer's Market Call to Artists that was no longer needed. Bollinger reported that she
had just heard back from the artist of one of those existing projects and that artist would not be
able to execute the trail painting project "Hit the Ground." Bollinger said the committee could
either hire another artist to do a similar project or reallocate those funds.
Purington asked if this was one of those projects the committee created because there was
such as small budget and if so, since the budget has been increased, do we need to do those
tiny things so often now and can we focus on larger projects? Bollinger responded that those
funds were from FY2019 and needed to be used. Seydell Johnson said that the project also
supported the other community goals and tied into a number of community initiatives.
There was discussion on funding for the paint the trails project, and the roles of different
departments. Seydell Johnson said that part of the incentive for the project was to get art out to
the community, for kids and families to enjoy. Rose Smith noted that during the public input
sessions for the Strategic Plan many people in the public said they wanted to see more art in
community. $3,000 from the Hit the Ground project is available, the $6,000 for the Creekside
project will still be used for that project.
Purington shared some history of past projects and her concern that the public art funding has
dwindled so drastically, and that PAAC is spreading money into other departments.
Rose Smith appreciated the ideas that Purington shared, saying that as PAAC is working with a
larger budget now --and what a robust public art program that spends that budget looks like --is
something that the committee needs to redesign and have these conversations.
Bollinger pulled together this list of projects from past years as a starting point for this year.
Seydell Johnson suggested talking about it with percentage allocations, and Rose Smith and
Miller pointed out that such allocation is not part of the strategic plan or management plan.
Bollinger shared that over the years the matching funds have been popular. Rose Smith noted
that people said that they liked art in public places.
Miller asked for details on how last year's funds were spent, and Bollinger will put together a
sheet showing that by next meeting, as PAAC will have to decide by April how it would like to
distribute the funds.
Rose Smith asked for an annual report of our last year's expenditures, and asked Bollinger to
provide that to the committee a couple of weeks before our next meeting, that would be helpful.
Bollinger asked Seydell Johnson for help with prioritizing parks and trails.
Rose Smith added that it would be helpful for the committee to get a description of some of
these programs — for example, she is not fully aware of what the neighborhood art program is --
in preparation for the next meeting.
Rose Smith also asked that with the reporting out of how we spent funds last year, she would
also like to see the report of the public art matching grants with attendance, as well as numbers
of applicants of those programs.
Miller said that he would love to see that as a living document that the committee refers to every
meeting.
Rose Smith pointed out that in the Strategic Plan, PAAC says it will produce an annual report at
end of year, so having data available and publicly accessible.
Seydell Johnson encouraged the committee to prioritize types and locations of projects. Does
committee want to focus on smaller matching grants, one larger installation, projects for kids --
make it more of a policy discussion. Bollinger pointed out that the management plan calls out
policies and procedures and criteria related to the allocation of the annual funding.
Rose Smith said that it would be helpful for city staff to identify the top 5 locations where they
would like to see public art in the coming year — by next month. Miller said that this committee
could contribute to this list.
Bollinger and Seydell Johnson informed the committee about the Ashton House — a city -owned
property on the river that might be a potential venue for temporary presentations of 2D and
performance art, as well as tie it in with special events. Rose Smith reminded the committee
that there are environmental factors to consider — temperature, humidity when considering what
types of exhibits as well as the length of those exhibits.
COMMITTEE ANNOUNCEMENTS OR COMMITTEE REPORTS
None
STAFF REPORTS
Bollinger reported that staff is working with the artist about refurbishing the Dorothy sculpture for
placement across from City Hall.
Purington pointed out that that sculpture was the result of a grant written by local artists in
response to the city spending most of its money with non -local artists, and that the Dorothy
sculpture was the symbol for the epicenter cultural district that they had been developing at that
time and that she was excited to see it return.
ADJOURNMENT
Knoche motioned to adjourn. Seydell Johnson seconded. Adjourned at 6:57pm.
Public Art Advisory Committee
Attendance Record
2019-2020
Name
Term
317119
414119
512119
6/6/19
7/11/19
811119
915119
1117119
1215/19
1/16/20
2/6120
Expires
Nancy
1/1/2021
--
--
--
--
--
--
--
--
--
x
x
Purin ton
Ron
x
x
x
the
Knoche
x
x
x
x
x
x
x
x
Juli
x
x
Seydell-
O/E
x
x
x
x
x
x
x
x
Johnson
Vero
x
x
x
Rose
1 /1 /2021
x
O/E
x
x
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
O
x
x
x
Bo ken
Key:
X = Present
0 = Absent
O/E = Absent/Excused
--- = Not a member
Review Needs Work
Iowa City Public Art Program Management Plan
Table of Contents
>ection Page
1.0 Introduction........................................................................................................................... 1-1
2.0 Vision and Mission....................................................................................................... 2-1
2.1 Vision................................................................................................................2-1
2.2 Mission........................................................................................................... 2-1
3.0 Public Art Overview and Definitions........................................................................................3.1
3.1 Definition........................................................................................................................3-1
3.2 Benefits...........................................................................................................................3-2
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................................................................................................................
4.5 Policies and Procedures Related to the Allocation of Annual Funding for Public Art
4.6 Policies and Procedures to determine successful completion of goals and objectives
5.0 Public Art Selection, Acquisition and Commission Policies and Procedures ...........................
5-1
5.1
Selection Guidelines........................................................................................................
5-1
5.2
Placement Guidelines.......................................................................................................
5-4
5.3
Title to Artwork...................................................................................................................
5-5
5.4
Acquisition Procedures........................................................................................................
5-7
5.5
Donation Guidelines.............................................................................................................
6.0 Policy and Procedures for Siting and Displaying Public Art ................................................... 6-1
6.1 Guiding Principles and General Site Selection Criteria ................................................ 6-1
6.2 Siting Policies..................................................................................................................... 6-3
6.3 Siting Procedures............................................................................................................6-3
6.4 Site Selection Recommendations
7.0 Documentation, Maintenance and Conservation of Works of Art ........................................ 7-1
7.1 Definitions.................................................................................................................7-1
7.2 Objectives.....................................................................................................................
7.3 Conservation, Treatment and Maintenance Policies ............................
7.4 Maintenance Planning and Documentation ..........................................
8.0 Deaccessioning/Relocation/Temporary Storage.................................................................. 8-1
8.1 Policy and Procedures on Deaccessioning of Works of Art .......................................... 8-1
9.0 Funding of Public Art ............................................................................................................. 9-1
9.1 Opportunities............................................................................................................. 9-1
1
10.0 Conflict of Interest............................................................................................................ 10-1
10.1 Policy for Conflict of Interest.................................................................................. 10-1
11.0 Resolutions...............................................................................................11-1
11.1 Resolution Establishing a Public Art Program....
11-1 Resolution approving the Bylaws of the Iowa City Public Art Advisory Committee
11.2 Resolution adopting Public Art Strategic Plan
12.0 Appendices...............................................................................................................................12.0
12.1
Public Art Program Monthly Schedule......................................................................
12-1
12.2
Sample Schedule for Public Art Projects...............................................................12.2
12.3
Sample Task Outline for Projects........................................................................
12-3
12.4
Current Public Art Inventory .............................................................................................12.4
12.5
City Parks/Facility Survey...........................................................................................12.5
12.6
Visual Artists Rights Act of 1990(VARA)......................................................................12.6
12.7
Request for Qualifications, Request for Proposals or Call to Artists Components....
12.7
12.8
Public Art Specifications and Maintenance Report
12.9
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
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 enable everyone in the community a chance to enjoy it.
Goal 3: Secure and manage funding to create an ongoing vibrant, sustainable Public Art Program
as well as plan for 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.
ARTISTS AS CONTRIBUTORS
• 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.
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• Public art provides a visual mechanism for understanding other cultures and
perspectives, reinforcing social connectivity with others.
19911-1114:W_149:I_101111g0]0Eel lLIN
• 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 (PAAC)
The PAAC was established by Resolution ---- and operates within by-laws dated _that are
attached in the Appendix
PAAC is responsible for overseeing the implementation of 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
• Hosting a public event to raise awareness of the Public Art Program and the Public Art
Advisory Committee.
• Acquiring, commissioning, funding of public art to encourage that the collection remains
vibrant and relevant to the community.
• Evaluating public art installations on or in public property by entities other than the City
• Evaluating removal of public art as necessary
• Providing guidance in the siting and display of public art
• Evaluating offers of donations of public art or funds
• Providing opportunities for input by the general public in art installations and programs
• Providing opportunities for installation of temporary art exhibits
• Assuring public art is available and accessible to all segments of Iowa City's population
4.2 Role of Public Art Program Coordinator/City staff
• Maintaining an inventory of art assets including documents transferring
title, artist's contracts, reports, invoices, and other pertinent material.
• Pursuing funding options and opportunities as available
• Implementing the annual Poetry in Public program
• Maintaining accurate records regarding expenditures and budget
• 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
• Assuring PAAC implements and oversees the Public Art Program in an efficient and
timely manner
• Providing an annual report to the City Council and community
4.3 Role of City Manager
■ Role of City Council
Policies, Procedures and Criteria Related to the Allocation of Annual Funding for Public Art
Policies, Procedures and Criteria for determining successful completion of goals and objective
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 consider the following factors:
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
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
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A contract approved by the City Attorney is required between the City and the artist or team of
artists.
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
• Site the artworks 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.
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.
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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 are
followed:
• 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
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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 allow for
the ongoing maintenance of the artworks. 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.
6.0 Policy and Procedures for Siting and Displaying Public Art
6.1 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 Public Art will give meaning and enjoyment to these public spaces by:
1. Creating a sense of place
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2. Generating neighborhood and community identity
3. Creating a spot for people to gather
4. Enhancingthe environment
5. Transforming the landscape for greater enjoyment
6. Providing public access to this creative expression
6.2 Siting Policies
1. To encourage public enjoyment of the City's public art collection, the PAAC will place
artwork 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 maybe 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
• 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
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The activities or usage of the site do not diminish or interfere with the enjoyment of the artwork
as intended
6.4 Site Selection Recommendations
1: Identify and prioritize sites in parks and recreation areas, City facilities 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.
• 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.
15
Recommendation: Future community commercial centers 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 public facilities and/or temporary exhibitions.
Strategy: Inventory possible locations for temporary exhibitions. Solicit proposals and
conduct a selection process consistent with the guidelines and criteria for public art.
Strategy: Explore temporary exhibition options for prominent locations, particularly in
new developments, to highlight the arts and attract attention to these areas. Work with
local businesses to sponsor annual installations on their properties. Promote through
such avenues as social media and "People's Choice' awards.
Recommendation: The PAAC may organize temporary exhibitions of public art or display
temporary exhibitions for a specified period of time. Guidelines for these exhibitions will
be consistent with the criteria for public art set forth in this Plan.
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 qualified professional 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
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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
• 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 Conservation Treatment and Maintenance Policies
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 seeks 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)
• 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 ortheir designee shall have the final authority in decisions
regarding conservation of public art.
• Oversight: The PAAC and staff shall provide advise on the assessment, treatment, maintenance,
disposition and relocation of public art, working in collaboration with the following partners:
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• Qualified professionals: 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 by the 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
• Staff shall conduct Repair Assessment and Maintenance Needs; 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 as stated in the maintenance report.
They shall also occur when required by reports of damage.
• Staff shall develop 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.
m
8.0 Deaccession/Relocation/Temporary Storage
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. If the
artwork is to be placed in temporary storage, the Public Art Administrator shall be given the opportunity
to inspect the storage location and methods used to protect the artwork. 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.
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9.0 Funding of Public Art
9.1 Public Funding
The City of Iowa City City Council will be responsible for the annual allocation of funding as part of their
budgetary process. The Public Art Advisory Committee should evaluate funding annually and incorporate
strategic increases as necessary and submit those requests as part of the annual budgetary process.
9.2 Other Funding Opportunities
Grants
a. Evaluate opportunities available through state and federal arts organizations and develop
recommendation for potential projects
b. Continue to evaluate grants sources and/or partnerships as they become available
c. As available and appropriate, funding outside of City of Iowa City Funding shall be considered. Possible
opportunities might include grant funding through federal and state arts organizations.
Private Fundraising
a. Consider establishing an Endowment Fund with the Community Foundation of Johnson County to be
the depository for monetary donations to the Iowa City PUblic Art Program.
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10.0 Conflict of Interest
10.1 Policy for Conflict of Interest
A member who believes they have a conflict of interest on a matter about to come before the
Committee shall state the reason for the conflict of interest, leave the room before the discussion
begins, and return after the vote. If there is a question of whether or not a conflict exists, the City
Attorney or City Attorney's designee will decide. All questions should be referred to the City Attorney
or designee. Decisions of the City Attorney or designee are binding.
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11.0 Resolutions
11.1 Resolution Establishing a Public Art Program
Prepared by, Karin Franklin, Director, PCD, 410 E, Washington St., Iowa City, IA (319) 350-5232
RESOLUTION NO. 97-326
RESOLUTION ESTABLISHING A PUBLIC ART PROGRAM
WHEREAS, public art expresses a community's spirit and improves a community's image; and
WHEREAS, the public welfare is furthered by the presence of art in public places; and
WHEREAS, the City Council has determined that financial and technical support for a public art
program is in the best interest of the people of Iowa City; and
WHEREAS, such a program should enhance public spaces, promote Iowa olty's reputation as a
cultural center, and build Iowa City's image as a vital place to live and work.
NOW, THEREFORE, BE IT RESOLVED BY THE CITY COUNCIL OF IOWA CITY, IOWA:
1. Each fiscal year, a minimum of $100,000 will be allocated In the Capital Improvements
Program for public art.
2. A Public Art Advisory Committee will be appointed by the City Council to develop the Iowa
City Public Art Program including, but not limited to, by-laws for the Committee, and
procedures for the commissioning, procurement, maintenance, and deaccessioning of
public art.
3. This resolution shall be in effect until amended or rescinded by an action of the City Council,
after public hearing on the amendment or recision.
Passed and approved this 23rd day of September ry/ , 1,r997.
MAYOR
A r ved by
ATTEST:17
CI CLERK City Attorney'sOffice
pptladmin4eMpubiiamdoc
� 4®9
22
11.2 Resolution approving the Bylaws of the Iowa City Public Art Advisory Committee
(to be added when adopted)
Public Art Advisory Committee
By -Laws
ARTICLE I. AUTHORITY
The Public Art Advisory Committee shall have that authority as established by Resolution 97-326
passed by the City Council of Iowa City, Iowa and through the adoption of these by-laws stated
herein.
ARTICLE II. PURPOSE
The purpose of the by-laws stated herein is to provide for the administration of a public art
program by establishing a Public Art Advisory Committee to develop the Iowa City Public Art
Program and to administer said program.
ARTICLE III. MEMBERSHIP
Section 1. Qualifications. The Public Art Advisory Committee shall consist of nine (9) members,
seven (7) of whom shall be appointed by the City Council. Of the seven appointees, at least
three (3) shall be art or design professionals. Two (2) members shall be ex officio and shall be
one (1) staff representative from each of the Departments of Public Works and Parks &
Recreation. All appointed members of the Committee shall be qualified electors of the City of
Iowa City, Iowa.
Section 2. Compensation. Members shall serve without compensation
Section 3. Orientation for New Members. Prior to the first regular meeting following their
appointment, new members shall be given an orientation briefing by the City staff and the
Committee as is deemed appropriate.
Section 4. Absences. Three consecutive unexplained absences of a Committee member from
regular meetings may result in a recommendation to the City Council from the Committee to
discharge said member and appoint a new Committee member.
Section 5. Vacancies. Any vacancy among the appointees on the Committee because of death,
resignation, long-term illness, disqualification or removal shall be filled by the City Council after
at least 30 days public notice of the vacancy. Any vacancy of an ex-officio member shall be filled
by the appropriate agency within 30 days.
23
Section 6. Terms. Appointed members shall be appointed for terms of three years, with five
(5)terms expiring on January 1 and two (2) terms expiring July L. No more than one-third of
the terms may expire in any one year. If a position becomes vacant by reason of resignation or
otherwise, and results in an unexpired term of six months or less, the City Council may choose
to fill the unexpired term in such a manner that the appointee shall continue in the position not
only through the unexpired term, but also through a subsequent regular term. Ex-officio
members shall serve for a term of one year; such terms shall be renewable, at the discretion of
the appropriate agency.
Section 7. Resignation. Resignations shall be submitted in writing to the Mayor with a copy to
the City Manager's Office, and Chairperson of the Public Art Advisory Committee at least 60
days prior to the date of intended departure.
ARTICLE IV. OFFICERS
Section 1. Number. The officers of this Committee shall be a Chairperson and a Vice
Chairperson, each of whom shall be elected by a majority vote of all members of the Committee
from those Committee members appointed by the City Council
Section 2. Election and Term of Office. Officers of the Committee shall be elected annually at the
first regular meeting in February each year; if the election of officers shall not be held at such
meeting, such election shall be held as soon thereafter as is convenient.
Section 3. Vacancies. A vacancy in any office because of death, resignation, removal,
disqualification, or other cause shall be filled by the Committee for the unexpired portion of the
term, except as provided in Article III, Section 6, above.
Section 4. Chairperson. The Chairperson shall when present, preside at all meetings, appoint
committees, call special meetings and in general perform all duties incident to the office of the
Chairperson, and such other duties as may be prescribed by the members from time to time.
Section 5. Vice -Chairperson. In the absence of the Chairperson, or in the event of death,
inability or refusal to act, the Vice -Chairperson shall perform the duties of the Chairperson and
when so acting, shall have all powers of and be subject to all the restrictions upon the
Chairperson.
ARTICLE V. MEETINGS
Section 1. Regular Meetings. Regular meetings of this Committee shall be held monthly.
Section 2. Special Meetings. Special meetings of the members may be called by the Chairperson
and shall be called by the Chairperson or Vice -Chairperson at the request of three or more
members of the Committee.
Section 3. Place of Meetings. Regular meetings shall be in a place serviced by public
transportation and accessible to persons with disabilities.
24
Section 4. Notice of Meetings. Notice of regular and special meetings shall be required.
Meetings may be called upon notice not less than twenty-four (241 hours before the meeting.
Section 5. Quorum. A majority of all the members of the Committee shall constitute a quorum
at any meeting
Section 6. Proxies. There shall be no vote by proxy.
Section 7. Public Discussion. Time shall be made available during all regular meetings for open
public discussion.
Section 8. Motions. Motions may be made or seconded by any member of the Committee
except the Chairperson.
Section 9. Conflict of Interest. A member who believes they have a conflict of interest on a
matter about to come before the Committee shall state the reason for the conflict of interest,
leave the room before the discussion begins, and return after the vote. If there is a question of
whether or not a conflict exists, the City Attorney or City Attorney's designee will decide. All
questions should be referred to the City Attorney or designee. Decisions of the City Attorney or
designee are binding.
Section 10. Voting. A majority of (but not less than five) votes cast at any meeting at which a
quorum is present shall be decisive of any motion or election. Upon request of any Committee
member, voting will be by roll call and will be recorded by "ayes" and "nays". Every member of
the Committee, including the Chairperson, is required to cast a vote upon each motion. A
member who abstains shall state the reason for abstention.
Section 11. Roberts Rules of Order. Except as otherwise provided herein, Roberts Rules of Order
as amended shall be used where applicable.
ARTICLE VI. POWERS AND DUTIES
The Public Art Advisory Committee possesses the following powers, all being subject to final
approval by the City Council:
Section 1. To develop by-laws and procedures for the Iowa City Public Art Program.
Section 2. To determine the location of public art and the type of art to be used in a specific
project.
Section 3. To review proposals funded with other than Pubic Art Program funds for both
permanent and temporary art installations on/in City owned property.
Section 4. To commission artists or to purchase art works, as appropriate.
Section 5. To accept or reject gifts and loans of art.
25
Section 6. To provide and oversee funding to local artist to host art exhibits or experiences in
Iowa City.
Section 7. To develop policies and procedures for the maintenance and disposition of public art.
Section 8. To determine and oversee expenditures of the Public Art Program budget.
Section 9. To develop a Public Art Plan for the City of Iowa City.
Section 10.. To develop and maintain an inventory of public art.
ARTICLE VII. CONDUCT OF COMMITTEE BUSINESS
Section 1. Agenda. The Chairperson, or a designated representative, together with the staff
assistant, shall prepare an agenda for all regular Committee meetings. Agendas are to be posted
at least 24 hours before the meeting and shall be sent to Committee members and the media
prior to regular meetings. Copies will be available to the public at the meeting.
Section 2. Minutes. Minutes of all meetings are to be prepared, reviewed by the Chairperson,
and distributed to the Committee and City Council Members. Specific recommendations
requiring Council action are to be set off from the main body of the minutes and appropriately
identified.
Section 3. Review Policy. The Committee shall review all policies and programs of the City,
relating to the Committee's duties as stated herein, and make such recommendations to the
City Council as are deemed appropriate.
Section 4. Annual Report. An annual report detailing the activities of the Committee shall be
prepared by the Chairperson, approved by the Committee and submitted to the City Council at
the end of each calendar year.
ARTICLE Vill. SUBCOMMITTEES
The subcommittees of this Committee including composition, duties, and terms shall be
designated by the Chairperson in consultation with the Committee.
ARTICLE IX. AMENDMENTS
These by-laws may be altered, amended or repealed, and new by-laws adopted by an
affirmative vote of not less than five (5) members of the Committee at any regular meeting or
at any special meeting called for that purpose. Amendments shall be approved by the City
Council to become effective.
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11.2 Resolution adopting the Public Art Strategic Plan
IS•
Prepared by Marcia Bollinger, Public Art Coordinator, 410 E Washington St. Iowa City IA 52240 (319)
356.5237
RESO_OTION NO. 19-269
Resolution Adopting the Iowa City Public Art Strategic Plan 2020-2025
Whereas, the Iowa City City Council established the Iowa Clty Public Art Program in September
1997 with the goal of creating a program that enhanced public spaces, prorated Iowa City's
reputation as a cultural center and built Iowa City's image as a vital place to live and work: and
Whereas, since 1997. the Public Art Program has funded and commissioned over $1 million
dollars In public art installations throughout Iowa City resulting ir. over 35 permanent artwork
installations throughout the community; and
Whereas, a lack of a consistent, sustainable source of funding has impacted the ability of the
program to effectively plan for and implement a comprehensive approach to meeting the interest
and need to maintain and expand public art projects and programs; and
Whereas, the City Council has requested that a Public Art Strategic Plan be developed in order
that a process is established for pursing those long term goals including evaluating various
funding options, future direction and opportunities for expanding public art In the community,
and a process by which the current artwork Inventory can be maintained for the future; and
Whomas, Ilia process for developing the Strategic Plan was implemented with the goal to
encourage participation by all segments of Ilia Iowa Gty population over Ina past 10 months of
its development.
Now, therefore. be it resolved that the Iowa City City Council hereby adopts the attached Iowa
City Public Art Strategic Plan 2020-2025 in order to Implement the Plan to meet the long-term
objectives and goals for the Iowa City Public Art Program.
Passed and Approved thrs I rh of kovemhnr .-- , 2019.
Attest:
Ci GeAt
Approved:`'
City Attomey's Office
27
Resolution No. _ -0- 269
Page _9
It was moved by sa11h and seconded by _Mims
Resolution be adopted, and upon roll call there were
AYES: NAYS: ABSENT:
Cole
Mims
Salih
Taylor
Teague
Thomas
Throgmorton
the
m
12.0 Appendices
12.1 Public Art Program Month Schedule
January
February
Election of Chair/Vice Chair
Designee for Poetry In Public
Review Committee
March
Upcoming PAAC vacancies (July)
April
Promote Public Art in Private
Spaces
July
Convene Local Artists/Organizations - Update and
Planning
Annual Report to City Council
Evaluate Progress
August
September
Determine proposed programs for upcoming
Fiscal Year
Determine Funding Request for upcoming Fiscal
Year Budget
Solicit Public Input on Proposed Projects
October
Upcoming PAAC member vacancies (January)
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May
Develop Opportunities to
Promote local artists
June
Artsfest Kidztent
Annual Inspection process
November
Begin Poetry In Public Promotion
Review Budget Recommendation
December
Develop proposed projects for upcoming FY
Determine if additional funding should be
requested
30
12.2 Sample Schedule for Public Art Projects
MONTH #1
Public Art Advisory Commissions meets to:
Identify project site(s), type of artwork, materials.
Recommend funding allocation(s)
Determine whether the project will be commission, direct purchase and/or solicitation of
donation
Determine who should be included on the review committee in addition to PAAC (if
applicable)
Determine geographical area from which artists may apply; Iowa City, Johnson County,
Iowa, beyond
Determine if site visit is necessary. If so, Go to Month #2. If not, go to Month #3
MONTH #2
• Visit and confirm site for artwork
• Identify specific criteria for project:
1. media
2. size
3. theme (if appropriate)
4. budget July
MONTH #3
Draft Request for Qualifications and distribute to the Public Art Committee for approval.
Determine deadline for applications
Disseminate Request for Qualifications
MONTH #5 until completion
31
Deadline for Applications
Assemble applications, images, and materials
PAAC Review
Recommend 3-5 finalists or make final selection
Notify finalists
If RFQ process, require final proposal by Month #6
If RFP, develop agreement and commence work
Make payments as specified by terms of agreement.
Work with artist and staff as necessary to facilitate installation
Ensure fulfillment of contract requirements (e.g., maintenance instructions, narrative
description, photo documentation, and identification plaque);
Final payment; and Dedication.
32
12.3 Sample Task Outline for projects
Process for Selecting Public Art
• Identify opportunity for placing artwork to animate, enhance or define a space to and/or
through which the public has access.
• Recruit and convene an art selection committee that is composed of key interests present in
the opportunity area and appropriate art expertise.
Meeting #1 (Approximately 2 hours)
• Visit the site and develop a full description of the opportunity.
• Define the scope, criteria, range of media, budget, and time line of the project.
• Determine the type of selection process that will result in a successful product.
Commissions:
1. Request for Qualifications: seek qualified artists for commission or to inform the design of
the site.
2. Call for Entry/Request for Proposal: seek proposals for the site.
Invitational:
1. Identify and contact a small number of artists (10-15) whose work would be uniquely
appropriate for the site.
2. Review their work and interview them.
3. Request proposals from two or three whose work seems most suitable for the project. They
should be paid a design fee for preparing a formal proposal including a model/maquette.
Direct Purchase:
1. Solicit specific artwork to install and/or display at the site.
2. Have artists submit images of existing work for the art acquisition committee to review and
select.
• Determine the application materials you want (letter of intent, resume/CV, number and
format of images, artist statement, references, etc.)
33
• Decide the universe of artists to whom you want to distribute this information and the
deadline.
Issue Call (Allow 3-4 Weeks)
• Select mechanism for application [(e.g., Internet, Web based application system, CaFE, U.S.
mail or other mechanism).
• Publicize to the appropriate universe in print and electronically. Receive and Organize
Responses • Assemble equipment necessary to view the images submitted.
• Prepare ballots.
• Schedule a prescreening meeting of the full committee or a subcommittee if you receive
more than 50 responses (3 hours). Apply Conflict of Interest policy.
Meeting #2 (Schedule approximately 2 weeks following the deadline.) (Approximately 3-4
hours)
• Apply Conflict of Interest policy.
• Review images (all images submitted or those remaining from the prescreening).
• Discuss constructively in relation to criteria established.
• Reach "short list" of 10-15 applicants and review application materials.
• Continue review to identify up to 5 finalists (usually 3). If commission, notify artists of
selection, provide design fee and, if appropriate, travel stipend for preparation and
presentation of a proposal (allow 6-8 weeks).
• Notify remaining applicants no longer under consideration.
• Arrange and conduct a site visit for all the finalists
• Request contact information for at least three references that can speak to the artist's
professional work and work habits. If direct purchase, notify artists of selection. Arrange for
transportation of artwork. Note: the purchase contract must stipulate that if the artwork is
not as represented in the digital images, the client has the option to reject the piece. The
client may want to negotiate with the artist for a similar piece or simply cancel the sale with
no penalty.
• Notify remaining applicants no longer under consideration.
34
• Check artists' references.
• Notify the Wheat Ridge Cultural Commission of the art selection committee's selection of
finalists.
Meeting #3 (Allow 1 hour per finalist plus final deliberation and selection).
• Apply Conflict of Interest Policy.
• Interview each finalist and inspect each model/maquette and proposal materials.
• Discuss the proposals in relation to established criteria. Select a finalist for this commission.
• Convene the Wheat Ridge Cultural Commission to introduce the artist and present the
proposal for review.
• Notify all finalists of the selection and return materials to finalists not selected.
• Contract with the winning finalist.
• Monitor progress on the artwork and fulfillment of the terms of the contract.
• Monitor installation.
• Arrange for dedication.
• Provide documentation, specifications, and a comprehensive maintenance plan to the
Wheat Ridge Cultural Commission to be included in the Collections Management Plan.
35
P ermartert Irlstalabons Tun dedlsponsored by the bwa City Pubic Art Program
Name
DewnpitloWAtbat
Looaeon
Ao uisibw Co•
Fq Module Piece. 1968
Sculpue
Rbsfnont Crasng Patk 2019
3 60.000
Alonnun and s taiNs s steel
Karnath Sneko�
ArtesimnCY
Traxiel Hernioyindrioal 1574
Swlpure
city Pack
5 20.000
Ca -ten s ted
Rrhaio Field
Arraaon - late
Aeahadanre 1999
Farman
Cry Raz a Pros Van Mal
5 101.230
Dante and li a WWI. 5~
laminar jets
AMaa Myk labia t 8 Stanton Seats
Arwran - Mnrasva
Soar Klan& ad Belame 2000
Sarlplvn
Da tmn Peaesuw Mal
5 36,480
Gronteandgless
5 36,480
Chris toph Spath
Gw"WAunerioan -flew Jw
Jazz 2001
Salpnre
Dantown Pede Vtan Mall
3 50,000
Bwo a
Gary Arun
Arterimn - Colorado
Tim Net and 2001
Swltpae
Dawi t n Piedeskrn Mall
3 35.000
Brace
Jena Novae,
(Arran-Cobrado)
Dorothy. 2001
Salplve
Cm1Jneey S%an PM 2019
S 6,000
Stanins steel and alminu wit
Jatneziff e
IAr n - Iowa C11)
Iowa Peanut Utwwy W sk. 2001
Simet M
k wa Aw
3 120.000
B,=* ple s" and stamlad mna4t•
G egg Lef` re
IAm n - Nee Yak)
Irvig Weber. 2003
SGllpaa
Iawe Aw a(Lnn SU"
3 25.000
&ace
Stec llaam d Dore Paps
Art n - Iowa
Walk in Beauty Arch 2005
Sadpve
S4 W HA Pan
3 30.000
Brace and mmata s wped
s ryww
dot Pmchar
An Maw
Geese SVeet Mantas. 2004
Salpae-28 makaa
Ci fawn sva •gm @ interseaims
3 11.110
B act
.btn Coyne
iAmaiitamlciovai
Hong a SVea Mark as. 2005
Selpae-35 mark
Nadsife s beet sips Q rites ectloss
3 14.884
Alannun
Join C.OJM
Arter now
Wiry) Retvn 2004
swptwe
Lal(feloa Vail
5 5.200
Steel
Will Than"on
Amarinn4m
La *lbw Hstaic Markets. 20D4
Mued itetia
Longfelm Neipnbuhmd
3 8.300
Stow
WE 7harpson
IAmereaMov
Ju t for Kicks. 2L06
scupure
VKkars Socoar Park
3 35.000
Histre gth abimun
Dm Michal
IArrer®nCobwdo
Steel Carts. 2005
Fwm
Caret SVeat Tiara patron Caner
5 87,500
Pondar-mated stow sro
David DaNquist
AmMiOnlaw
36
Included m pen d
Nattns Way. 2105
Wyfn3rsg
fano p!*,:t
Crirrdo We
D&M D*dquist
IArrnrionlawa)
Birds InFlight. 2000
Salpp"
Syorrore Grerwsy Trei l
S 35.000
StorVAlurantm
k rk L"Ir
(Marion- Mssoei
Rainy & Gloats. 20M
Sdptue
W etherby Pet
S 15,000
Cut Akminum
John Coyne
n - Iowa
Lase a Strange. 2005
Salptws
W illo C100 Pah
S 3,000
Steel ream and cernent
Seth Godard
(Ammon -lows)
Inp3Tervince is Ineble 2008
Salpture
Hwy 6 lmva Abe petlESSlm Q.^-da Aalf
Donstiof
Cta akrnnun
&sn Fritz
Inter®r,cokredo
Robert A Lw Reveetion tarter pool
Dancing Wa .2008
Wall Sorpurc22glms Panes
room
S 98.000
BJ Katz - Meltdown GIEs s M &
Drign
Mia icon - Arizom
Sirrple F light, 2009
Satlptire
Peninsula Part
S 5.000
Panted Stwl
Jason Lkss is
Amrio♦ri- lays
Caned wooden sccptues @1992
Sdprsw -Sawed wooden
Willow Cre90 Perk
=Cnatir
Dwwted by M Snw1. Howad
Haan, Steptwn
Vd my KOMYO
Dewey and Khristopbr
ssssindisn
Ras Ion
Wocdlena Wakwy, 2011
CmaeM old tea lip
Pheasant Hill Put
S 28.0Y
7 burchsrd'IDpFWs cased in
mashso
31 Harper end sttdents
North Mark etplece Lierary W'ak .
Linn S7eet between Mmicet arrd
2011
ScWptu
SloomtVon
S '0.03;
8 rDams, 5 pedestas/podkms
with backs. 5 plagts, 2tree
rstw and As itapairs
Treasue s laM 2111
Fderglus Boot - pehied
Swage
=Cnt-
Tam Bodkin Bryk
Amr Kan - Iawe
Neighborhood of Segos, 2013
Mosiaccoandpirs
Symrnore Tral entrance - Lakeside Or
S 15,00C
A Harper r1d sttdwb at Grad Wood
rd Cky High School
Whole 2014
Mrab
Under College Street Bridge
S 3,000
Broth Mkririeh
Msrimn-lava
Uncrwete Scene, 2014
Moak
Fsimaadom Park
S 3,000
Taylor Ras
Msrimn- Io wis
Step UP, 2014
Mknak
k1st r Pak
S 3,000
Ass Townsend
Msrimn- Netede
PI&OU knestgetion 2017
Plrtiglus
M ssw Apatic Cwtr
S 0,000
.c Myeo Wake
Anleion-Iowa
Exporng sores Rerrwble
Energy Smoes, 2017
Misted r a3e
Robert A Lee Reaemon Center
S 7,00C
Urwersey of kstr Joint Faaity
Amrkan- Iowa
Kornorebi, 2119
Almni=
Iowa Cry City Hal
S 9.000
Tm Adam
Amrltart- Iowa
Three S's tens, 2019
A►mni=
Charles Green Pack
S 5.000
Cam Brgps Fisimrs
An rion- lawn
Total
$ 97131CA
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12.6 12.5 Visual Artists Rights Act of 1990 (VARA)
(a)Rights of Attribution and Integrity. —Subject to section 107 and independent of the
exclusive rights provided in section 106, the author of a work of visual art—
(1)shall have the right—
(A)to claim authorship of that work, and
(B)to prevent the use of his or her name as the author of any work of visual art which he
or she did not create;
(2)shall have the right to prevent the use of his or her name as the author of the work of
visual art in the event of a distortion, mutilation, or other modification of the work which
would be prejudicial to his or her honor or reputation; and
(3)subject to the limitations set forth in section 113(d), shall have the right—
(A)to prevent any intentional distortion, mutilation, or other modification of that work
which would be prejudicial to his or her honor or reputation, and any intentional
distortion, mutilation, or modification of that work is a violation of that right, and
(B)to prevent any destruction of a work of recognized stature, and any intentional or
grossly negligent destruction of that work is a violation of that right.
(b)Scope and Exercise of Rights. —
Only the author of a work of visual art has the rights conferred by subsection (a) in that work,
whether or not the author is the copyright owner. The authors of a joint work of visual art are
coowners of the rights conferred by subsection (a) in that work.
(c)Exceptions.—
(1)The modification of a work of visual art which is a result of the passage of time or the
inherent nature of the materials is not a distortion, mutilation, or other modification
described in subsection (a)(3)(A).
(2)The modification of a work of visual art which is the result of conservation, or of the
public presentation, including lighting and placement, of the work is not a destruction,
distortion, mutilation, or other modification described in subsection (a)(3) unless the
modification is caused by gross negligence.
(3)The rights described in paragraphs (1) and (2) of subsection (a) shall not apply to any
reproduction, depiction, portrayal, or other use of a work in, upon, or in any connection
with any item described in subparagraph (A) or (B) of the definition of "work of visual art"
in section 101, and any such reproduction, depiction, portrayal, or other use of a work is
not a destruction, distortion, mutilation, or other modification described in paragraph (3)
of subsection (a).
(d)Duration of Rights.-
44
(1)With respect to works of visual art created on or after the effective date set forth in
section 610(a) of the Visual Artists Rights Act of 1990, the rights conferred by subsection
(a) shall endure for a term consisting of the life of the author.
(2)With respect to works of visual art created before the effective date set forth in section
610(a) of the Visual Artists Rights Act of 1990, but title to which has not, as of such
effective date, been transferred from the author, the rights conferred by subsection (a)
shall be coextensive with, and shall expire at the same time as, the rights conferred by
section 106.
(3)ln the case of a joint work prepared by two or more authors, the rights conferred by
subsection (a) shall endure for a term consisting of the life of the last surviving author.
(4)AII terms of the rights conferred by subsection (a) run to the end of the calendar year in
which they would otherwise expire.
(e)Transfer and Waiver.—
(1)The rights conferred by subsection (a) may not be transferred, but those rights may be
waived if the author expressly agrees to such waiver in a written instrument signed by the
author. Such instrument shall specifically identify the work, and uses of that work, to which
the waiver applies, and the waiver shall apply only to the work and uses so identified. In
the case of a joint work prepared by two or more authors, a waiver of rights under this
paragraph made by one such author waives such rights for all such authors.
(2)Ownership of the rights conferred by subsection (a) with respect to a work of visual art
is distinct from ownership of any copy of that work, or of a copyright or any exclusive right
under a copyright in that work. Transfer of ownership of any copy of a work of visual art, or
of a copyright or any exclusive right under a copyright, shall not constitute a waiver of the
rights conferred by subsection (a). Except as may otherwise be agreed by the author in a
written instrument signed by the author, a waiver of the rights conferred by subsection (a)
with respect to a work of visual art shall not constitute a transfer of ownership of any copy
of that work, or of ownership of a copyright or of any exclusive right under a copyright in
that work.
45
12.7 Request for Qualifications (RFQ), Request for Proposal or Call to Artists
Requests or calls for art projects should include the following information:
1. Project Description
2. Site Description: Location, activities present or anticipated, significance to the
community
3. Budget available for the project
4. Eligibility (who is eligible to apply)
5. Timeline for selection process
6. Deadline for application
7. Notification procedure
8. Information and materials required for application
9. Information about the City of Iowa City and its public art program
10. Contact information if there are questions
m
12.8 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):
47
EXTERNAL FACTORS
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):
IP1:611JaDL1»7_1:L101Ma
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):
L1:1■I Q41910 M aIft%1 I Is] 01101411:i1141Is] 0 M
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?
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.
M