HomeMy WebLinkAbout04-02-2020 Public Art Advisory CommitteePublic Art Advisory Committee
Thursday, April 2, 2020
5:30 PM
ZOOM Meeting Platform
AGENDA
Electronic Meeting
(Pursuant to Iowa Code section 21.8)
An electronic meeting is being held because a meeting in person is impossible or
impractical due to concerns for the health and safety of Commission members, staff and
the public presented by COVID-19.
You can participate in the meeting and can comment on an agenda item by joining the
Zoom meeting via the internet by going to https://zoom.us/i/956317699. If you are
asked for a meeting ID, enter 956 317 699 to enter a 'Waiting Room' for the meeting.
If you have no computer or smartphone, or a computer without a microphone, you can
call in by phone by dialing (312) 626-6799 and entering the meeting ID when prompted.
Providing comment in person is not an option.
Call to order
Public discussion of any item not on the agenda
Consideration of minutes of the March 6, 2020 meeting
Creekside Park Art Project — Cara Briggs Farmer will be available to present her
concept for the project. A meeting was hosted with the neighborhood on March 12,
2020 and incorporates that input.
Review of Management Plan — Adjustments have been made to the Management Plan
suggested at last month's meeting as well as formatting and other terminology adjustments.
Committee announcements or Committee reports
Staff reports
• Poetry in Public PAAC representation on Review Committee
• Pride Celebration Art Project
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.
FINAL
MINUTES
PUBLIC ART ADVISORY COMMITTEE
MARCH 5, 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, Joe Welter (for Ron Knoche, Public Works)
STAFF PRESENT: Marcia Bollinger, Wendy Ford, Camille Soleil
PUBLIC PRESENT: Nancy Bird, Iowa City Downtown District
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 FEBRUARY 6, 2020 MEETING
Seydell Johnson made a motion to accept the minutes as presented. Purington seconded the
motion. Meeting minutes were approved.
REVIEW OF DRAFT MANAGEMENT PLAN
Bollinger asked the committee for help in reviewing the items highlighted in yellow. She also
pointed out that the language on the existing programs had been cleaned up, and that Truitt,
who was unable to attend today's meeting, emailed feedback that the timeline needed more
editing. Bolinger clarified that Section 12.2, the sample schedule for Public Art projects,
represents the process and timelines for implementing a new project.
Bollinger shared that she would have the final draft of the Management Plan finished by the
April 2 PAAC meeting. At that time she would like the committee to adopt the Management Plan
so she could get time scheduled with City Council to review the by-laws and let them know that
the management plan is completed.
Purington asked if Bollinger would like comments in writing by then. Bollinger responded that
yes.
Bollinger attached the Public Art inventory form at the end of management plan, as well as
inventory of all city facilities, including parks, which identifies those that have art installations as
well as those that don't. While it isn't all-inclusive or complete yet, it is a starting point.
Bollinger asked that PAAC email her with any comments or changes regarding the Management
Plan by March 20. She will send a reminder about that. She asked those present to review the
RFP/RFQ section, and the existing Public Art programs, and get feedback to her.
Purington again brought up Page 8, number 7, "all things being equal, preference given to Iowa
City Iowa artists," and there was discussion. Purington asked for a commitment in the budget to
local artists, a percentage of the budget, saying that "this sentence is so ambiguous, the word
preference is so vague." Ford shared that there are ways to resolve that, Purington said "How
do you resolve that issue?" She read the sentence "preference will be given to Iowa City artist"
and said again that it is vague.
Seydell Johnson suggested "all things being equal, it will be awarded to Iowa City artists'
Purington said "no, this is fine, but I'd like to see a percentage of the budget, a commitment that
is written, set aside for local artists."
Seydell Johnson said that she wasn't sure if City purchasing policy would allow for that.
Purington said maybe we can go off that policy, this is not the same as a business and we
should explore that.
Bollinger said that the matching grants and performing art grants typically fund local artists.
Purington said she is thinking about the original purchases in the downtown ped mall -- even
though the program was designed to support the local visual arts community, when we did have
a committee who selected that art, they weren't committed to local artists and awarded
commissions to artists not from the area. Purington said it is important to get a concept
articulated.
Rose Smith suggested to Purington that a path forward for this would be thinking about where
that suggestion would live within this document and what that would look like, perhaps in
another section, because it sounds like having a specific pool of money is what Purington was
talking about.
Purington said no, the matching grants are pretty minimal, one or two or three thousand dollars,
she was thinking the major installations, like the one in the swimming pool, the fountain
downtown. Rose Smith pointed out that the committee won't have the capacity to commission
that level of work with a budget of $50,000 a year and continue running the other programs, so
again she suggested to Purington think about where that could live and what form it takes within
the Management Plan.
Bollinger pointed out that in the section on RFQs and RFPs there is a section about who is
eligible to apply and typically the committee decides whether to specify Iowa artists, Iowa City
artists, for beyond.
Purington again said that she wanted to see a committed percentage of funding to go to local
artists.
Bird asked if she could offer an opportunity or scenario, and brought up the The Centurylink
mural. CenturyLink of Des Moines brought up criteria which was impossible for the City to take
on, but other organizations can risk things the City won't. If the Downtown Districtf were to get
that going --which is in the plan for this year we would want to partner with the city, this could be
a $40,000 - $50,000 mural and they would need City support.
Purington said that such a project could be life -changing for a local artist and we have a
commitment to this community. Bird shared that she heard this second-hand that it is very hard
to find local people that with the kind of mural expertise that could create such a large mural.
Bollinger said it's a committee decision as to whether the funding would be used for such a
mural. Purington said any artist in this town could design that and then contract out painters.
Bollinger said these are all individual decisions that the PAAC will consider on a case by case
basis and the process is set up so that it allows that conversation to occur for each project
Seydell Johnson said if such language is important to the group to include it should be in
vision/mission. Bollinger reminded that serving the local community is part of the strategic plan.
Welter suggested looking at the City's purchasing policy because it has language and borrow
some of that language. Purington continued to lead the discussion on earmarking money for
local artists only.
Rose Smith suggested that a volunteer look at this, adapt this language and insert it into the
vision/mission statement in the draft of the management plan. Seydell Johnson said the
vison/mission should just include a reference to supporting the local community, and the specific
language should be somewhere else. Purington said she didn't want to read all that and reduce
it Seydell Johnson said putting it in around 5.1, selection guidelines, would work. Bollinger
offered to pull something together.
Rose Smith summarized actions steps -- 2.0, 2.1, 2.2 adding language about supporting local
artists. Page 4. Section 5.1 selection guidelines, add language with preference for local artists."
Purington stated that preference is not a commitment.
Welter left the meeting at 6:35 PM.
DEVELOP POLICIES AND PROCEDURES RELATED TO THE ALLOCATION OF ANNUAL
FUNDING FOR PUBLIC ART
Bollinger prefaced the discussion saying the committee had briefly discussed last month and
thought establishing percentages of the budget for categories of projects would be a good
approach.
Rose Smith said she would prefer to keep flexible from fiscal year to fiscal year, because PAAC
may have different opportunities.
Seydell Johnson asked if preference toward art that supports community identity and strategic
initiatives of the City, and Rose Smith said that that can be built into the requests and calls
rather than budget allocation.
Seydell Johnson suggested the category for Longfellow pedestrian tunnel be youth activation
programs.
Purington asked if the recreation center has programs for youth in art? Seydell Johnson said
many. Purington asked what that budget was for art programs. Seydell Johnson said she did not
have those figures. Purington asked to be provide that information.
Bollinger pointed out the spreadsheet the last three fiscal years of funding and how it was
expended. The budgeted $7600 for Creekside park, $3,000 for Hit the Ground fitness have not
yet occurred. The Kirkwood Treecycled Learning Project never was completed due to a number
of issues so $1,000 was not expended.
For FY2020, $62,413 is available. Ford shared that the proposed budget for FY2021 is $72,000
but it has not yet been approved.
Purington left the meeting at 6:40 PM
Rose Smith suggested to add the $3,000 from the Hit the Ground project to the public art
matching fund grants.
Bollinger said that she would like to see the group decide how funds will be spent by next
meeting.
Ford suggested prioritizing areas — the gateways and commercial centers, and parks and
recreation -- and choose those for this coming year.
Seydell Johnson said she would prefer it to be "city -owned public gathering spaces', rather than
Parks & Recreation only.
Rose Smith said she was comfortable ranking this year with those two priorities.
Seydell Johnson asked what percentage to larger and which to smaller, and Bollinger reminded
to include maintenance funds.
There was discussion of maintenance funds, and Rose Smith asked for an estimate of
maintenance projects for the coming year at the next meeting.
Rose Smith proposed $20,000 for matching funds and grants, and up the matching amount to
$5,000 max.
Seydell Johnson suggested earmarking $25,000 for a large project for one of the priority areas.
After much discussion, Rose Smith summarized the suggestions of the committee for FY 2020
allocations: $30,000 for a big project at one of the two identified priority locations, $20,000 in
matching grants, $400 for the student mural in Longfellow Tunnel, and the rest (approximately
$12,000) for maintenance and smaller projects.
IOWA CITY PRIDE 50TH ANNIVERSARY ART PROJECT
Bollinger said the City asked the PAAC to potentially host a project at this summer's 501'
Anniversary Pride. Some suggestions were a Butterfly wings permanent mural or a booth with
something to make. Ford noted that it would be simpler to commission a piece that celebrates
gay pride.
Seydell Johnson asked about funding and Bollinger stated that PAAC was being requested for
funding as well. Rose Smith stated that PAAC is not a committee that creates proposals and
she didn't feel comfortable as a committee to produce a project or originate a project.
Seydell Johnson said the City has said that the event will be supported and suggested either
lighting up bridge, or painting the cross walks, or a rainbow light on the parking ramp.
Bird said the Downtown Association has a projection series we are working on, too. It would
need to have a literary emphasis and that could be an optoin.
Bird asked if writers are included in the arts category. Bollinger said that the City is developing
an Artist Registry database and literary arts is included in that.
COMMITTEE ANNOUNCEMENTS OR COMMITTEE REPORTS
None.
STAFF REPORTS
Bollinger reported to the committee that she received some feedback from a resident the
committee did not go back out to solicit proposals for the Creekside Art project, but awarded it to
Cara Briggs Farmer who did the Chadek Green community garden.
Bollinger reported that she is still working with the artist and engineering to see if we need to
replace the base on Dorothy. There is also the opportunity to expand the sculpture suggested
by the artist if the committee decided to fund.
Bollinger asked for a PAAC representative for the Poetry in Public judging session. Boyken
agreed to assist.
Bollinger shared Census information with committee members and suggested she can also
provide copies if any of the members had other groups or committees that they may be involved
with for distribution. Information was also available in a variety of languages.
ADJOURNMENT
Seydell Johnson made a motion to adjourn. Boyken seconded. Meeting was adjourned at 6:50
P. M.
Public Art Advisory Committee
Attendance Record
2019-2020
Name
Term
414119
512119
616119
7/11/19
811119
9/5/19
1117119
1215119
1/16/20
216120
315/20
Expires
Nancy
1/1/2021
--
--
-
x
x
x
Purin ton
Ron
x
x
x
Knoche
x
x
x
x
x
x
x
x
Juli
x
x
Seydell-
x
x
x
x
x
x
x
x
x
Johnson
Vero
x
x
x
Rose
1 /1 /2021
O/E
x
x
x
x
x
x
x
Smith
Steve
2/1/2021
x
x
x
x
x
x
x
x
x
x
O/E
Miller
Andrea
1/1/2022
x
x
x
O/E
x
x
x
x
x
x
O/E
Truitt
Eddie
1/1/2022
x
x
x
x
x
x
O
x
x
x
x
Bo ken
Key:
X = Present
0 = Absent
O/E = Absent/Excused
--- = Not a member
Iowa City Public Art Program Management Plan
Table of Contents
>ection Page
1.0 Introduction.........................................................................................................................................
2.0 Vision and Mission ..............
2.1 Vision .................
2.2 Mission .............
3.0 Public Art Overview and Definitions.......
3.1 Definition .............................
3.2 Benefits ...............................
4.0 Public Art Administrative Policies and Procedures.................................................................
4.1 Role of Public Art Advisory Committee........................................................................
4.2 Role of Public Art Program Administration....................................................................
URole 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
Selection Guidelines.......................................................................................................
5.2
Placement Guidelines.......................................................................................................
5.3
Title to Artwork...................................................................................................................
5.4
Acquisition Procedures.......................................................................................................
5.5
Donation Guidelines.............................................................................................................
6.0 Policy and Procedures for Siting and Displaying Public Art ...................................................
6.1 Guiding Principles and General Site Selection Criteria ...............................................
6.2 Siting Policies.....................................................................................................................
6.3 Siting Procedures...........................................................................................................
6.4 Site Selection Recommendations....................................................................................
7.0 Documentation, Maintenance and Conservation of Artwork ...................................................
7.1 Definitions................................................................................................................
7.2 Objectives...........................................................................................................................
7.3 Conservation, Treatment and Maintenance Policies ..................................................
7.4 Maintenance Planning and Documentation.............................................................
8.0 Deaccessioning/Relocation/Temporary Storage..................................................................
8.1 Policy and Procedures on Deaccessioning of Artwork ........................................
9.0 Funding of Public Art ..........................................................
9.1 Opportunities.......................................................
I
10.0 Conflict of Interest ........................................
10.1 Policy for Conflict of Interest........
11.0 Resolutions...............................................................................................
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
12.1 Public Art Program Monthly Schedule......................................................................
12.2 Sample Schedule for Public Art Projects...............................................................
12.3 Sample Task Outline for Projects.........................................................................
12.4 Current Public Art Inventory .............................................................................................
12.5 City Parks/Facility Survey...........................................................................................
12.6 Visual Artists Rights Act of 1990(VARA)......................................................................
12.7 Request for Qualifications, Request for Proposals or Call to Artists Components......
12.8 Public Art Specifications and Maintenance Report
12.9 Existing Public Art Programs
1. Community Initiated Public Art
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
K
1.0 Introduction
Public art has 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 forthe 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.
Goal4: 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 forthe 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, to inspire, educate and enrich our community and its visitors and provide
opportunities to our local artists. We will work to make Iowa City the Greatest Small City for the Arts in
America.
2.2 Mission
To create, with preference to providing these opportunities to local artists, a stimulating public arts
environment that reflects and celebrates Iowa City's rich history, culture, diversity and character.
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 economicvalue. It helps creative
communities thrive on many levels:
IX41•Lto] LIFi I [•Lh:i•]rd11:I_101 r] 1411�1 /_11 LI f_1:1111 CA
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.
SOCIAL COHESION AND CULTURAL UNDERSTANDING
• Public art provides a visual mechanism for understanding other cultures and
perspectives, reinforcing social connectivity with others.
1:111:11M.1111IN. I_10111 1ato]0Le']ILILe
• 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 97-326 and operates within by-laws revised and adopted
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
• Providing administrative and operational services to ensure the smooth
development, oversight and implementation of the Iowa City Public Art Program
• Assuring PAAC implements and oversees the Public Art Program in an efficient and timely
manner
• 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
• Providing an annual report to the City Council and community
4.3 Role of City Manager
4.4 Role of City Council
4.5 Policies, Procedures and Criteria Related to the Allocation of Annual Funding for Public Art
4.6 Policies, Procedures and Criteria for determining successful completion of goals and objectives
5.0 Public Art Selection, Acquisition and Commission Policies and Procedures
5.1 Selection Guidelines
When selecting or commissioning artwork, 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 artwork 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 artwork. 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 artwork. 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.
11 to]
5. 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
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 artwork 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.
KI
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.
5. 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 fortheir 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.
11 IPA
• 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 if
necessary. 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.
MonetaryGifts
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 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:
• Creating a sense of place
• Generating neighborhood and community identity
• Creating a spot for people to gather
• Enhancing the environment
• Transforming the landscape for greater enjoyment
• Providing public access to this creative expression
6.2 Siting Policies
• 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.
• The PAAC will develop an artwork site plan that identifies and prioritizes locations on City
property for placement of public art.
• The artwork site plan shall address permanent locations, as well as provide for the planned
movement of appropriate artwork to various locations in the City.
• The artwork site plan shall be updated every three years.
• 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 orthe 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 ortraffic 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 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. Way -finding 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.
ray
• 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: 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 conservatorto 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 artwork 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
• To leverage private and volunteer support for maintenance of public art, whenever possible
7.3 Conservation Treatment and Maintenance Policies
Purpose: Artworks 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)
iWl
• 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 or their designee shall have the final authority in decisions
regarding conservation of public art.
• Oversight: The PAAC and staff shall provide advice on the assessment, treatment, maintenance,
disposition and relocation of public art, working in collaboration with the following partners:
• 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. Artists 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 bythe 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.
11K
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.
1141
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
budget 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 budget 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.
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.
21
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) 3565232
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 city'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 �y1 , 1997.
MAYOR
A r ved_ by
ATTEST:% -
CITY CLERK City Attorney's Office
ppdatlmintrealpubllart.dpc
sm
`%
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.
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
23
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.
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.
24
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 artworks, as appropriate.
Section 5. To accept or reject gifts and loans of art.
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.
►I
11.2 Resolution adopting the Public Art Strategic Plan
16.
Prepared by Marcia Bollinger, Public Art Coordinator, 410 E Washington St. Iowa City IA 52240 (319)
356-5237
RESOWTION NO. 19-269
Resolution Adopting the Iowa City Public Art Strategic Plan 2020-2025
Whereas, the Iowa City City Council established the Iowa City Public Art Program in September
1997 with the goal of creating a program that enhanced public spaces, promoted Iowa City's
reputation as a cultural center and built Iowa CRy's image as a vital place to Irve and work: and
Whereas, since 1997, the Public M Program has funded and commissioned over $1 million
dollars In public art inslallatlons throughout Iowa City resulting in 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 malntain 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 evaluatmg various
funding options, fulure 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
Whereas, the process for developing the Strategic Plan was Implemented with the goal to
encourage participation by all segments of the Iowa City population over the 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 this 4_[ r of November , 2019,
1144W µ
Aitesc
Cil Clerk
Approved: I o'3 I-rs
City Attorneys Office
PAN
Resolution No. 19-269
Page
It was moved by Salih and seconded by M1no
Resolution be adopted, and upon roll call there were:
AYES: NAYS: ABSENT:
x Cole
x Mims
x Salih
- x Taylor
x _ Teague
_x _._ Thomas
Throgmorton
the
PW
12.1Sample Monthly Schedule
]
.
\
|
S
_
E
�g
\
\
\
\\
2%
!s
§
®
;)
{_)
}�
}
(E
e
:
77
\�
—
to
!{/
!F
;}
�E
I=')
12103
\
/!
$L9
!!j
§
j
»
—
§
{
_
§
�
z
2§
/�
±m
o
E
\
}\)
_ _
.
;
■|`
))2
�
�!)
&
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:
MONTH #3
1. media
2. size
3. theme (if appropriate)
4. budget July
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
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
Die]
• 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.
911
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
• Visit the site (if necessary) and develop a full description of the opportunity.
• Define the scope, criteria, range of media, budget, and timeline 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. Determine need and method of soliciting public input into this process and at what
point it would be appropriate.
2. Solicit specific artwork to install and/or display at the site.
G3'a
3. Have artists submit images of existing work for the art acquisition committee to
review and select.
4. Determine the required application materials (letter of intent, resume/CV, number
and format of images, artist statement, references, etc.)
5. 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.)
• 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 (if necessary)
• 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
33
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.
• Check artists' references.
• Notify the Iowa City Public Art Advisory Committee 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 Public Art Advisory Committee 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 Public
Art Advisory Committee.
34
12.4 Current Inventory of Public Art Installations
P ermanert Iretalations fun de(Isporsored by the lom City Public Art Program
Name
DeseripbomfAmfist
Lecaidw
Acquisibon Co
Fw MDd,"Pieoe, 190B
Saapure
RerbMt Clasrhg Part 2o19
5 t0.000
Alannun and Stainless SUM
Ke ntth Sn♦hon
AenM oar
Triszal H miryirdri- 1, 1974
SCAM"
City Part
5 20000
Ca -ten stow
Richard Field
A,mrimn - lava
Waathrdarhce 1999
Fountain
Cty Plea Pedes trian Mal
5 101.230
Granite and bronze inlays. kgMed
lernner F4
Andrea ►tyt IeDtst A Stanton Sens
American - Mnhesda
Soler Nbrsa arc Balance 2000
Sculptures
Downtown Pedestrian Mall
5 M.480
0rartteandgass
5 M.480
Crsn tape Spain
GermenAmernrar - Nnv Jon
Jazz, 200
SnJpture
Dawtown Pe wan Mall
5 _4.000
Brace
Gwll Abun
Amarlmn.Cearata
Tr trust Bnd- 2001
SOAM-0
Dowrtoen Pedestrian Mall
5 35,000
erase
done DaDerAa
(Arrrrimn • Cobratbl
Dorothy. 2001
SaApure
Chauncey Swn Part 2019
$ O,ODD
Saabs Baal and alunintm wire
Justine lbmrr
Ameican - lava City)
IowaA nw,alitsrary Walk. M01
Sbeat Art
diva Avenue
5 1EI,OOD
Brass, visam and starnpnd oontrals,
Crow LaFars,
(Amarimn - hlew York)
Inng Weber. 2003
sahlaure
dwe As wlnn Soeet
s 25,010
Bronze
Ste,. Macon & Due Pn*s
A wimn-lava
Wak in Be" A`ck 2005
sndpture
Berton His Park
5 30,000
Bronze and mrvete s nhlpted
entryway
Joe P eswer
Amescan-Ipw
Geese Street Mnkars. 2004
sculpture- 28 mart es
Gob alonwh sbeal sprt @rates aYiahs
5 11.110
Brace
Jan Coyne
AmnicaM
Hots a Street Mark lss, 2005
ScApure-35nmkac
No ide s treet sip% g roars actions
S 1=,804
Asmntm
Joan Coyne
Am rcar"
Wugs Rrsun 2OD4
scdpum
Longlelcw tras
5 a,200
Steel
Will Thentmon
American.)
Lon�bx Hatmo Mareers, 2004
kleed nlda
Laglell-Neighborhood
5 0, 300
Steal
Wa Thompson
Amvhmn-Icw
Jra t lor Kkks.A00
Saspure
Kiahp Setaae dark
5 35,00o
Histrrpth slumnu
Don Mitchell
(AmnimnCob sdo)
St" Garde, 2005
Farm
Cart street inane patst n Cs,rtr
5 C7. 00
Pavdsr-mated s tell flt e
David DaNwist
Amerimnl
911
Included as part of
NatuN Way. X05
WRIN-4rg
face pgact
Ceramic de
David Daltq ist
lMrncomlowy
Birds In F 1plt 2006
SalpWe
Sycamore Greerway Tral
S 35.000
St" Alunnnurn
AIM* L"If
American- Mssan
Rairg S Gmes. 2006
Salph"
vVefMby Pak
S 15,001)
Cost Akmkwm
John Coyne
Annion- lava
Loco a Strarge. 2005
Saapture
W Woe Cie* Pak
S 3,000
Steel rebm and cenan
Seth Godard
(American - Iowa)
�ena�e is lnemahle 20M
Sailpta
Hwy 6'bwa Ase pedestrian aalar Walk
Donation
Cut akmnurn
Orion Fnz
OrrvvrcmnCoksv,dD)
Rehm A LaaRaaroodem Cesar peel
Darcrg Ware, 2008
Wal Sadpture-22glais panals
loeln
S 98.000
OU Katz - MaltdoWn Gins Ad 6
Design
Artvicon- Adzore
Siff" Flight- 2009
Salpbaa
PrsnnsW PM
S 5,000
Pointed Steel
.ism Mess it
Amnion- Iowa
Caned Wooden scrlphaes Q19M
Salphres - 5 caned wooden
Willow Creek Park
Dorrtim
Donated by AR Snarl Howard
Hearn, Stephan
Velery Kmmiec
Dewey and IOefstoptx
arsandan
Rusin
Woodlnd WAwy-3111
Congre and Mna im
Pheasant Hill Park
S 38.000
1 barch and 10 pinthas caved in
coos lac
.11 Harper and students
North Mark stpleoe Literary Wak,
Lon Street between Markt ad
2011
Salptue
Bloornngton
S 70.000
8 ribbons, 5 pedestas/podims
With books. 5 plaque. 2 tree
rates and 4 sign toppers.
Treasure Is lend 2011
Fbsrdes Book - pointed
St-ar
Donets!
Tam Bea in"
Amaricon- Icwa
Naighborhood of See era. m13
Akssisc caved plan
Syconvore Trait antranco- Lakeside Dr
S 15.001)
Al HMW and atudenb t Gran! Wood
and Cily High School
Whole. 2014
arras
Under Cal logo Street B idge
S 300D
Brock M.am
Amninan -lava
UndMwter Scree. 2014
Moab
Falrmesdows Pea
$ 3,000
Ty for Rm s
Amnion -Ions
Stop UP, 2014
Maas
Alaron Park
S 300D
_
Jesse Townsend
Arnnicon- Nesada
PlvAul Fr estgatiart 2D17
Plmommis
Akron Agmm Cats
S 6.000
_
Jo Wm Warr
Arrofun-Iowa
Exploring bwss Renewable
Enrgy Scum. 2017
r.%xod nnedie
Robert A Lee Reaetion Gooier
S 7,o0D
Ureanty of bar Joint Faculty
_
Anna icon- lone
Korn ombi, m19
Akmnun
kwa City City 11a1
S tow
_
Tm Adana
Amer icon -lava
Three Sstm. Zola —
A Amur
Che t(}rl Pall
—
s Blow
Cara Beggs Farmers
Anns icon - lava
Taw
is 9711.141114
12.5 City Parks/Facility Inventory
m
�
q
c
o
a+
a
f6
?
a
ti
n
y+
m
o
0
N
y:
ry
L
IE
Q!
L
L
O
9
O
d
3
N
v
N
`
N
N
N
iV
u
u
u
v
v
`u
u
u
u
u
u
b
m
u
m
y
m
m
(o
ry
m
n
m
m
N
�v
a
ry
u
n
u
m
m
N
m vi
m
m
m
^
o
ry
o
v
l/i
N
N
w
C
v p a
w
m v
v
o
c'E
N
O O
-
u
o c
w
v
c
o m L
y
m
U o
2:
u u w
c
c
m
o
O
LL
c
N
p
m
m
00
C
m
O
m
Y
p
to
'A
o
—
Q:
09
O
C
v
C
GI
6
ytj
C
L
C
u
=
jn
-
O
W N
ry
VI
Y
�O
n
W
ti
S
C
U
N
O
U1
W
Y
h
ry
0
o
=
o
a
m
Q
3
ry
a
m
V
m
Z
Y
d
r
Y
y
N
d
Y
�
A
N
d
Y
d
mLDc
c
LV
`
V
d
C
O
O
a
O
m
«
A
C
O
J
U
Ul
U
L
u
O
U
Z
m
U
N
U
U'
T
S
V O
2 Z
L
d
N
¢
Z
m
V
V
N
d
KYA
W
_
Q
�
o
N
o
�
A
G
W
Q
00
O «
-
a
75
n
3
S
c
vn
a
a
y
o
D�
>
w
N
>
Q
�
C
CI
u
O
A
W
N
U
d
W
✓�
y
N
v
n
Z
N
�
LL
LL
h
G
.-
�/1
GI
✓1
Vl
N
m
H
U
�
Q
a
c
O
O
y
�
v
�
N
N
A
a
O_
L
c
u
u
u
91.1
O
'I
O
N
M
C
O
N
a
N
N
6
y°j
o
N
u
a
C N
O O
N
m
a
3=
L
LL
a
O
° vt
O
K
m
t
m
y
'm
3
z
U
IC
OO
N
V
q
1C
�°
U
q
fC
lD
N
IC
N
10
01
Q
V
U
T
IC
N
Vf
ei
N
M
N
O
N
rl
O
V
M
rl
O
lD
N
a
C
a
Q
a
Q
C
a
S
C
p
O
c
¢
a
O
u
w
a
c
a
>
«
L
a
V1
F
ry
L
W
W
�
�
°
Y
�
S
u
.y
a
H
r
✓1
a
M
v;
Y
R
1
V
C
R
a
—
3
A
Y
i-
O
3
m
m
9141
a
«
-
|#
®�
2!
!
lP,a
�_
z
a
z
!
2
ƒ
f
!
|
!
)
k
2
0
}
a
)
�
&
!
�
'
W.
0
2
}
k
49
/
\
}
k
k
�
!
!
�
2
t
}
z
z
!
|
_
4
_k
»
ƒ
$
�§
§{
!
n.R.p
e
�
.•.»
■
`
E■
&
k
}
to
_
&
��
�
\
(
�«
�
)
■
k
��
�
.
�
�
i
•
�)
�
!
f
�
$
�
;
�
A)
\
\
k
k
k
u
k
41
°
a
s
N
N
d
>
C
c
c
H
3esz
_
W
�8y
u6ap
�
GM
�
�
�y
pW
�Ny
ryN
pOp
pNp
N
ryO
a
pry
ei
7
M
N
N
N
ei
N
e1G
00
N
O
Y
N
L
C
y
a+
C
N
a
O
0
�
a
6
Vf
c
`
YN
O
C
YI1
Y
a
F
EPA
12.6 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).
43
(d) Duration of Rights
(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) In 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) All terms of the rights conferred by subsection (a) run to the end of the calendar year in
which they would otherwise expire.
(e)Transferand 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.
LEI
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
LAII
12.8 Public Art Specifications and Maintenance Report
To be completed by artist and submitted before final payment
Artist:
Title of Work:
Project Address:
I9-AlAan 9:3014YAIIs] 01I901U71011.1IFAIWAIus] 011I01Iri].]&YAIIs] 01I
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):
IIt 4I100 re307ITO1030.9
Ell
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):
I U x.91a q DL1» 7_1:L101[y q
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 forthe 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?
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.
EVA
12.9 Existing Public Art Programs
1. COMMUNITY INITIATED PUBLIC ART PROGRAM
The Iowa City Public Art program was created in 1997 to enhance the appearance of the City
through the selection and integration of art in the public environment. Although most artwork
purchased and installed by the Iowa City Public Art Program has been initiated by the Public Art
Advisory Committee, it is possible for members of the community to come forth with beneficial
ideas that merit consideration for possible funding/support.
The application should be completed and submitted with proposals to the Iowa City Public Art
Advisory Committee for their review and possible recommendation to the City Council for final
consideration.
SELECTION CRITERIA
Artwork proposals will be reviewed by the Public Art Advisory. Proposals will be evaluated on the
following criteria:
• Verification that the artwork will be located on public property and be publicly accessible.
• Ability of the artist/applicant to complete the project within the proposed timeframe and
budget.
• Commitment of proposed partners involved in the project. Application should include a clear
explanation of the responsibilities of each entity involved in the project.
• Ability/willingness of the artist/applicant to work with the PAAC / City staff.
• Ability of the applicant to provide funding (if proposed).
• Verification that the completed and installed artwork will become the property of the Iowa City
Public Art program.
• Artwork meets design, safety and maintenance criteria, funding availability, appropriateness of
the artwork for the site and how well it "contributes to the identity and viability of the
community and promotes the image of Iowa City".
SUBMITTAL REQUIREMENT
• A completed Application Form.
• A site plan with building and grade elevation and building facades, showing the placement of the
proposed artwork within the site proposed.
• A narrative statement to demonstrate that the artwork will be displayed in an area open and
freely available to the general public.
• A narrative of the artist's concept.
• Evidence of the value of the proposed artwork.
• Maintenance requirements.
• Visual representations of the artwork will be submitted in one of the following formats:
- digital photos including several views of the artwork, or
t 1.1
A model of the artwork; or
A graphic or artist illustration depicting several views of the artwork.
• Budget detail
C�7
2. NEIGHBORHOOD PUBLIC ART PROJECT PROCEDURES
The Neighborhood Public Art Project has been established to move the focus of the Iowa City Public Art
Program to art in the neighborhoods and to allow neighborhoods to actively participate in the selection,
site location, possible production and installation of art in their neighborhoods.
The following is the process for implementation of the Iowa City Neighborhood Public Art project:
NEIGHBORHOOD SELECTION PROCESS
Neighborhoods will be notified through the Office of Neighborhood Outreach of the opportunityto
participate in the Neighborhood Art Project. A letter of interest must be submitted by the neighborhood
association that will include the following:
How the neighborhood intends to solicit input from the entire neighborhood.
An estimated schedule of the process.
Who will be the chief neighborhood contact person for the project
How the artist will be selected and what role they will play in working with the neighborhood.
L1AVIT191:1 *1 a1xy1Is] 0I9:19I014*1
Neighborhoods must solicit all residents of the neighborhood to participate in the selection process to
determine the type of artwork that they wish to acquire/commission, and the location(s) of the
proposed artwork. The neighborhood should begin the decision -making process with a "concept' artist.
This artist should be able to collaboratively work with the neighborhood through the mechanics of
design and artist selection. The Public Art staff can assist to the neighborhoods to locate potential
"concept' artists. Any fee for the "concept' artist would be part of the budget for the neighborhood art
project. Once a type of artwork is decided upon, the neighborhood will work with the concept artist in
determining the design, composition, scale, etc. of the artwork, utilizing the selection criteria
established for the Public Art Program. This artist can also assist in the development of calls to artists (if
applicable) for the neighborhood and guide the neighborhood through a selection process. It is also
completely acceptable that the concept artist submits a proposal for the completed neighborhood art
project.
All existing criteria established through the Iowa City Public Art Program; procedures for site selection,
maintenance, accession and deaccession/relocation must be met in the consideration of the artwork.
1:1N9IANd19:19I414M
The neighborhood must present their concept plan for the artwork, proposed site(s) and method of
artwork or project artist selection, and proposed budget to the Public Art Advisory Committee (PAAC)
6111
for initial consideration. The PAAC will use the attached "Neighborhood Art Project Proposal Review
Criteria" as a guideline for decision making.
After approval of the concept, site location and budget, a Call -to -Artists (if necessary) will be developed
by the neighborhoods with the assistance of staff and the PAAC. Selection of the artist/artwork by the
neighborhood will be in accordance with the Acquisition Procedures developed for the Public Art
Program. PAAC will then review of the final project and authorize commencement of the project.
REVIEW CRITERIA
In reviewing the concept plans for the Neighborhood Art project proposals, the Public Art Advisory
Committee should consider the following:
Has the neighborhood provided the opportunity for all residents to participate in the process?
Has there been participation in the process by professional artists in creating a project or
designing/creating the artwork being proposed?
Have all long-term maintenance requirements been addressed?
Have initial contacts been made regarding availability of the site for installation of the artwork?
Are the existing criteria established through the Iowa City Public Art program capable of being met
(i.e. Acquisition, Maintenance, deaccession/relocation), particularly:
Site Selection
• located on public property
• visible and accessible
• does not disrupt traffic flow
• durability of artwork in relation to location
Has the Artist selection process been determined and is it feasible?
Is the proposed budget reasonable?
NEIGHBORHOOD MENTORING PROCESS
Upon completion of their art project, the participating neighborhood may be asked to work with and
share their experiences with one other neighborhood association interested in participating in the
Neighborhood Art Project.
691
3. Program for Recognition of Art in Non -Public Spaces
Iowa City's publicly -accessible art treasures consist of works created as part of the City's Public Art
Program and of privately -developed works located in residential yards and in businesses. Both art
sources reflect the spirit, character and values of our city and of the individuals who have the artworks
on their property. These works may serve as enhancements to our cultural heritage, history, pride and
sense of community.
The Program for Recognition of Art in Non -Public Spaces is to acknowledge contributions to the visual
art environment by citizens of Iowa City. The purpose is to encourage private participation in art as a
vital component of our community character and values and to promote Iowa City's art heritage.
The artworks to be recognized may exhibit any or all of the following characteristics:
• reflect and enhance community spirit and values;
• challenging and not always easily understood;
• whimsy, intelligence and humor;
• visible to passersby;
• reflect the individuality of the owner, the neighborhood or business;
• two-dimensional or three-dimensional art;
• traditional or non-traditional materials;
For example: sculpture, murals, topiary, water art, garden art with flowers and plants, etc.
SUBMITTAL GUIDELINES
Any person can nominate works that they consider to reflect the beauty, sense of community and
heritage of their neighborhood or of Iowa City in general.
The person making the nomination will provide a photograph (preferably digital) of the artwork, the
location, what they perceive as the strengths of the art, name of the owner and where applicable the
artist or creator of the artwork. The application will be submitted to the Iowa City Public Art Advisory
Committee for review by April 30 of each year. Upon receipt by the Public Art Advisory Committee, the
owner of the art piece will be notified of the nomination. Information will be provided to them
regarding the public nature of the recognition and the subsequent publicity. The owner will be required
to provide his/her permission to proceed with the nomination process.
•141:011Eel 0119:Z•14*M
The Public Art Advisory Committee will apply the following criteria in examining the nomination:
1. Visually examining the art piece and evaluating the creative merits;
69A
2. The artwork must be visually available to passersby,
3. The criteria noted above for characteristics.
The Iowa City Public Art Advisory Committee will pass the qualifying nominations to the Iowa City City
Council with the Committee's recommendation. The City Council reviews the documentation and
approves or denies the nomination. If the Council affirms the nomination, the recognition may be
presented at a meeting of the City Council. The recognition will include a printed certificate signed by
the mayor of Iowa City.
53
4. Public Art Matching Funds
The Iowa City Public Art program was created in 1997 to enhance the appearance of the city through the
selection and integration of art in the public environment. Although most artwork purchased and
installed by the Iowa City Public Art Program has been initiated by the Public Art Advisory Committee, it
is possible for members of the community to submit beneficial ideas that merit consideration for
possible funding/support. The Matching Fund Program is available for art projects (visual, audio or
performance based) that are located in Iowa City and accessible to the general public.
Deadlines for submissions:
Maximum request for matching funds is $2000.
Submissions are reviewed by the Iowa City Public Art Advisory Committee (PAAC) which typically meets
on the first Thursday of the month at 5:30 PM in the Helling Conference Room of the Iowa City City Hall,
410 E. Washington St.
a 1101:31 :1 11:Zi] 0939_1 IP5
• Publicly accessible and viewable within Iowa City —on public or private property (approval of
owner required).
• Murals, sculpture, installations that are permanent or temporary that will withstand human
and weather elements associated with the installation location.
• Visual, audio or performance based projects.
• Projects that will be installed/completed by
ELIGIBLE EXPENSES
• Materials and supplies necessaryforthe creation of the artwork
• Wages/stipend for artists/performers to create the work
• Contract labor for installation such as site prep, concrete pouring, tile installation
ELIGIBLE MATCHING FUNDS
• In -kind services, commodities, other grants, personal contributions, and other donations
PROPOSALS AND EXPENSES NOT ELIGIBLE
• Events or performances that are a part of an applicant's regular programs
• Those that do not have the arts as their primary focus
• Those intending to influence public policy or to proselytize a belief
• Those that advertise or promote a for -profit business
54
• Those for which patrons will be charged admission
• Fees to secure a site (permits, purchasing land)
• Food/Beverages • Events with a primary focus of fundraising
WHO CAN APPLY
Organizations, schools, individuals and government units located within Iowa City such as:
• Individual artists
• Nonprofit 501(c) (3) arts organizations
• Privately owned/operated businesses
SELECTION CRITERIA
Artwork proposals will be reviewed and evaluated by the Public Art Advisory Committee on the
following criteria:
• Verification that the location of the artwork is secured and publicly accessible
• Ability of the artist/applicant to complete the project within the proposed time frame and
budget.
• Commitment of proposed partners involved in the project. Application should include
verification of that support and a clear explanation of the responsibilities of each entity involved
in the project.
• Ability/willingness of the artist/applicant to work with the PAAC /staff.
• Ability of the applicant to provide matching funds.
• Artwork meets design, funding availability, and appropriateness of the artwork for the site and
how well it "contributes to the identity and viability of the community and promotes the image
of Iowa City". • Verification that temporary art displays will not permanently impact location of
installation or adequate funds are available to make necessary repairs to bring the site back to
the original condition.
SUBMISSION REQUIREMENTS
• Application
• Artist background information including samples of relevant past work or documentation of
like -experience and skill.
• A narrative statement to demonstrate that the artwork will be accessible at a location that is
open and freely available to the general public.
6SI
• A narrative of the artist's concept including project details, if applicable:
• Size, weight, medium, materials
• A site plan with building and grade elevation and/or images of building facades
showing the placement of the proposed artwork within the site proposed.
• Installation details (foundation, mounting, distance to street)
• Maintenance requirements of permanent installations and commitment of applicant
to carry out that maintenance for a period no less than 2 years.
• Visual representations of the artwork will be submitted in one of the following
formats: • jpgs (image resolution 1800 pixels on longest side);
• A model of the artwork, or
• A graphic or artist illustration depicting several views of the artwork.
• The artist will acknowledge that ownership will be considered at time of review.
6T I
S. Performance Art Grant Program
The Iowa City Public Art program was created in 1997 to enhance the appearance of the city through
the selection and integration of art in the public environment. This year, the Iowa City Public Art
Program has set aside funds for performance arts. Typical examples of performance art include but are
not limited to: dance, music, opera, theatre, drama, mime, magic, puppetry, oratory and circus arts.
Performance art may also include digital, projection and light art pieces.
Deadline for Submission:
Review of submissions by the Public Art Advisory Committee: (applicants should be present)
Notification of PAAC decision:
Performance Completion:
Maximum request for funding is $2000.
Online Application is available at www.icgov.org/publicart and must be submitted byto be considered
REQUIREMENTS:
Events must be publicly accessible and viewable within Iowa City
Performances may occur on public or private property (approval of owner required)
Events must be performance -based
Events must occur by or before
INELIGIBLE EVENTS:
Events or performances that are a part of an applicant's regular programs
Those that do not have the arts as their primary focus
Those intending to influence public policy or to proselytize a belief
Those that advertise or promote a for -profit business
Those for which patrons will be charged admission
Events with a primary focus of fundraising
ELIGIBLE EXPENSES
Materials, supplies and equipment necessaryforthe creation of the performance/event
Wages/stipend for artists/performers/technicians to create the work
61FA
Promotional expenses associated with printing/signage/etc. (Note* The City of Iowa City will
assist with promotion via press releases and social media outlets)
Food/beverage during the event
INELIGIBLE EXPENSES
Fees to secure a site (permits, purchasing land)
Fees for coordination of the event
WHO CAN APPLY
Organizations, schools, individuals and government units located within Iowa City such as:
Individual artists/organizers
Nonprofit 501(c) (3) arts organizations
Privately owned/operated businesses
SELECTION CRITERIA
Performance proposals will be reviewed and evaluated by the Public Art Advisory Committee based
on the following criteria:
Verification that the proposed performance location is publicly accessible and available on
the proposed performance date.
Ability of the artist/applicant to complete the proposal within the proposed time frame and
budget.
Commitment of proposed partners involved in the project. Application should include
verification of that support and a clear explanation of the responsibilities of each entity involved
in the project.
Ability/willingness of the artist/applicant to work with the Public Art Advisory Committee
and City staff.
Performance is appropriate for all demographics.
Event contributes to the identity and vitality of the community and promotes the image of
Iowa City.
Verification that performance will not cause damage to event site.
Submissions are reviewed by the Iowa City Public Art Advisory Committee (PAAC) which typically meets
on the first Thursday of the month at 5:30 PM in the Helling Conference Room of the Iowa City - City
Hall, 410 E. Washington St.
61.1