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Home My WebLink About11-05-2020 Public Art Advisory CommitteePublic Art Advisory Committee Thursday, November 5, 2020 5:30 PM Electronic Meeting 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 COVI D-19. You can participate in the meeting and can comment on an agenda item by going to https://zoom.us/meeting/register/tJlgf-ghqzlrH9d4uFUDDEii466ARAfMei1G via the Internet to visit the Zoom meeting's registration page and submit the required information. Once approved, you will receive an email message with a link to join the meeting. If you are asked for a meeting or webinar ID, enter the ID number found in the email. A meeting password may also be included in the email. Enter the password when prompted. If you have no computer or smartphone, or a computer without a microphone, you may call in by telephone by dialing (312) 626-6799. When prompted, enter the meeting or webinar ID. The ID number for this meeting is: 967 8395 9153. Once connected, you may dial *9 to "raise your hand," letting the meeting host know you would like to speak. Providing comments in person is not an option. Call to order Introductions of members and public attending the meeting, if necessary Public discussion of any item not on the agenda Consideration of minutes of the October 1, 2020 meeting Riverfront Crossings Sculpture Garden locations — attached map details locations discussed at the October 1, 2020 tour of the park. Specific locations and number of pads should be discussed. Tools for evaluating grant applications — attached are the examples provided by Nancy Purington of several examples of rubric methods for evaluation Public Art proposals. Included is also Section 5.1 of the Iowa City Public Art Management Plan outlining the current selection guidelines. Determine date for next round of Matching Funds Updates • Capitol Street Parking Ramp Mural project— agreement and review of concept design by PAAC on December 3. • Riverfront Crossings Density Bonus funding — the redevelopment project on Prentiss and Dubuque will provide public art funds in spring 2021. Suggestions include artwork to highlight the new Johnson County namesake — D. Lulu Merle Johnson. • Artists Database Committee announcements or Committee reports Staff reports Adjournment If you will need disability -related accommodations in order to participate in this program/event, please contact Marcia Bollinger, Neighborhood and Development Services at 319-356-5237 or marcia- bollinger@iowa-city.org. Early requests are strongly encouraged to allow sufficient time to meet your access needs. [� _C" 1 •.ate'` w.nme�lr - � - ._.__._... -;•,� .. .. — _ ;1: mow r� .. 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W V C g W U LU W U U w na j U�� z w� J � Z Q W wLO �a b �Z 0 —za w z wZgW w QJF w�; w p - Z W v OWaa� O U LL o Z �� z� �' ZR�� JULL, Q V Q O "a rncwi a oa�z U2wva=L) z O z11� 0 u) � W>- O Q W O Q w a W � J W z O U w 0 w U) w w W Q zz U U) W �} Y m S J W Q 10� Q O z= Q z Q ~ O CD 0 0 � U Q uj Y�ZZ�X z Uw w �w Uwcn UO Qzz F OUQ<Qz >-1- y � J O z Q O U F J> z J Q 0'-Z}� � z Q o O Q > Q � O Q U J:)� O OzU)U cn Qw }Q U H=_ >~ W O U) ZZ J Q U) F F- > of N U M Z S /lllo vMOI JO Allo Z'C EIS`dHd >QJ`dd SJNISSM:10 1NO�J—��JAAN O < " � O r ¢ y z ° Ov_iP3V Q ?2 P-H. a_:n o 0 Q J o LL \ Z w O O w LL D ��w� �<� Qi X uJ U O Q F o w o W> F M W W O F co z3LL w�Z��3 5 a�oo L 1 Z w O m W O "°O wa U Uz o �w�j�w pp�jo3m �/ I..L LLI J z - oj=a.R' ua_LLoun Q /� U Nancy L. Purington October 2, 2020 RE: TOOLS FOR DISCUSSION IN EVALUATING GRANT APPLICATIONS Below are a few artwork grant rubric procedures I found by G ogling artwork evaluation rubric methods. These rubrics give the committee A WAY to discuss projects when reviewing each applicant. This process and language is standard and familiar to artists as it is required and practiced nation-wide. In shipping this process in the Iowa City Public Art Program we are not searing the artists(amateur, emerging, mature) in strengthening competitive skills needed to apply and grin projects in the Crider field of arts -grant practices; nor are we performing responsibly to the community of the City of Iowa City. QUAD CITY R Ts https://www.quadcityarts.com/uploads/l/3/2/0/132012453/art dollars scoring.rubric.pdf CITY F DUBU E .http WW . Cit ofd u bug ue-oM oc amntC nt r 11 w/43 F 1-rati n -Sup ort- rant- g id line . ,fin l GEORGIA ARTS htt nasaa-arts.org/wp-content/u iadl01 Gttln-Started -with- Prog rarn- Eluticn.pt CITY OF C LO BIA. MO htt ://ww.comp. oar/arts r - ontentlu loads sites 04/A li atl n-S rin -Ru ri - Prnttln.o# IOWIOWA ARTS COUNCIL https: i ultur ..qov arts grants art- pr j t pro.gr m -guidelines (RUBRIC AT BOTTOM DEFINITIONS http :l lowa ulture.g r art g r1 nt lgrant-terms- definition UAD CITY ARTS DOLLARS # PANEL REVIEW CRITERIA RUBRIC 0. !Ar'tastic':. :. :..;. t iBI,Iillr"1 ti .g Art Edaiin Pr�t. Prw I"C1" 4• .t.. 4 rlt1' .. s } Weak Organization's activities Artist and/or art form(s) have Artist(s) and/or art forms have 0-1 shover minimal innovation m 1 n 1 rn a capacity for engaging the minimal capacity for engaging the or impact, target age group, target audience. Average Organization's activities Artist(s) and art forms are Artist(s) and art form(s) are 17-33 show some innovation and accessible and interesting for the accessible and interesting for the impact, target age group, target audience. Outstanding Organization's activities Artist(s) and art forms are Artist(s) and art form(s) are 4- 50 show excellent innovation engaging and offer relevant engaging and offer relevant and impact. educational opportunities for the artistic opportunities for the target age group. target audience. eyrf.�'i .J� i ... ...... _ .. ... ... .. .. .. ... .s .... a.clI.�IIdI r f ... jj}./�y . .. ....... ._ .. ... .' i .. .k .. ..... ..l ._ k .. '_..{* :............... M. .1 Cs ....... ct.�'. , P'ro Weak Grant would not likely have Applicant connects artist(s) with Applicant connects artists and 0-10 an impact on the students, but makes minimal target audience, but makes organization'organization's community outside connections, minimal outside connections. impact. Average Grant would likely have Applicant engages arrtist(s), Applicant engages artists), 11- moderate Impact on the teacher(s), and students in project. participants, and target organiization's commurnity Applicant utilizes school (district) audience(s) in project. Applicant impact, resources and responds to student has support from community needs. resources; Outstanding Grant would have major Applicant engages artists), Applicant engages artlt(s,21-30 Impact on the teacher(s), students, and families participants, target audlence(s), organi ation's community in project. Applicant effectively and organizations in project, impact. utilizes community resources and Applicant effectively utilizes responds to community needs, community resources and responds to community needs, k. ',... ski. 3 n...........a t BuI dIn F a .rogr _ E a. V M1 :........:,..A ts._ x.s s' 1 1''. `s . ... s ... .. r .... .. .5 .. _ . .. .... . .. .. h.. 77 x Weak Application Is difficult to Application Is difficult to Application Is difficult to 8- understand, under- understand, under -developed, understand, under -developed, developed, and/or contains and/or contains many errors. and/or contains many errors. many errors. organization won't have staff or volunteers to execute Average Application demonstrates Application is clear and financially Application is clear and financially -14 effective communication responsible. Goals are achievable, responsible. Goals are achievable, skills and financial and personnel and activities are and personnel and activities are competence. Organization appropriate. Promotional plan and appropriate. Promotional plan seems to have staff or materials correspond to target and materials correspond to volunteers to execute. audience. target audience. Outstanding Application demonstrates Application is clear, concise, Application is clear, concise, 1-0 strong communication and compelling, and financially compelling, and financially organization skills, financial responsible. Goals align with responsible. Goals align with responsibility, and mission, activities align with goals, mission, activities align with attention to detail. and personnel demonstrate goals, and personnel demonstrate Organization has the excellence. Promotional excellence. Promotional effective staff and plan/materials are innovative and plan/materials are innovative and volunteers to succeed. correspond to target audience. correspond to target audience. THE CITY OF DUB3 6aTE Masterpiece on the Mississippi City f Dubuque, Iowa ARTS AND CULTURE GRANT PROGRAM FOR OPERATING SUPPORT FY 2021 FUNDING GUIDELINES PURPOSE Through this funding program, the city of Dubuque provides Operating Support funding to established 1 c arts and culture organizations located in the city of Dubuque that primarily serve Dubuque residents through a demonstrated commitment to providing diverse, equitable, and inclusive year-round arts and culture engagement opportunities. Organizations must demonstrate a record of programmatic, financial and administrative stability. ELIGIBLE APPLICANTS Dubuque -based organizations whose primaLy mission is arts or culture and who have operated as a nonprofit, tax-exempt under Section 501(c)(3) of IRS code for at least two years before the application date. INELIGIBLE APPLICANTS Including but net limited to for -profit organizations or not -for -profit organizations whose primary mission involves religious, political, or athletic programs, educational institutions, and social service organizations. An organization with an outstanding Final Report from a previously funded Special Projects grant application is ineligible. FUNDING GUIDELINES The maximum annual funding award is $30,000 or % of applicant's previous year certified operating expenditures, whichever is less. The level at which an organization is funded will depend on the number of eligible applicants and the degree to which an applicant meets selection criteria. REVIEW OF APPLICATIONS Applications will be reviewed and scored by a volunteer panel comprised of professionals in the arts, culture and non-profit management fields, who will forward their recommendations to the Arts and Cultural Affairs Advisory Commission. The Commission will determine the funding level to be awarded and forward those to city council for final review and approval. The City reserves the right to request additional information or make modifications to amount of grant awarded. APPLICATION SUBMISSION Applications must be submitted exclusively onlin by the deadline, 11: pm on Sunday, March 15, . No other form of application will be acknowledged or accepted. Include only the materials requested; any other documents will be discarded. once an application is submitted, if wiil not be able to be retrieved or changed. The application will prompt you to receive an email copy; save a copy for your records. If access to or assistance with the online application is needed, please contact tine office of Arts and culture Affairs at 563.6 90.6 05 9, j bra nt2cityofd u bu ue.or , or onsite in the '1-5t flog of the city An n ex at 1300 Main St. Determine early if you experience any trouble filling out the electronic application so you can be assisted in advance of the deadline. The organization submitting the application, not city staff, is solely responsible for the content and timely submission of this grant. 2 TIMELINE • January 31 - Applications for both operating Support and Special Projects grants available at www.cityofdubuq.ue.org/artsqrants February 10 fr m 6-7:30 prn - Application Works hop, Multi cultural F mily Center February 12 from 1 -'I : pm - Application Workshop, Multicultural Family Center • March 15 by 11: pm — online applications are due for operating Support only # June — Grant notifications and Contracts released 0 July Anticipated disbursement of funds RATING CRITERIA Complete scoring rubric available on pages 4 & 5 of this Guidelines document. 1. Relevance of the organization's mission to advancing the goals and priorities of the City of Dubuque's Arts and Culture Master Plan. (seepage 3) (3 points) 2. Demonstrated management abilities, financial health, and long-term sustainability planning. (3 points) 3. Demonstrated excellence of being an arts and cultural leader. (3 points) 4. Evidence of positively impacting the Dubuque community. (3 points) 5. Past and future activity timeline and planning. (3 points) 6. Incorporation of DEI professional development and subsequent implementation of organization's operations, programming, and outreach. (3 points) 7. Attendance of FY21 Grant Application workshop. (11 BONUS point) IMPORTANCE TANCE F DIVERSITY, EQUITY & INCLUSION EI The City of Dubuque strives to be are equitable community of choice and supports organizations that advance that gnarl. If receiving operating Support funds, grantees are expected to participate in professional development opportunities focused on diversity, equity and inclusion. It is important to the Arts and Cultural Affairs Advisory Commission that grantees demonstrate commitment to adequately serving all residents of Dubuque, presenting diverse art forms and cultural programs, and integrating DEl strategies and tactics into their operations. ACKNOWLEDGEMENT If awarded funding, the Applicant agrees to acknowledge the City of Dubuque's support in appropriate signage, program materials, promotion, publicity and advertising activities audio and visual, and in other printed and electronic forms of communication pertaining to this grant. Recognition guidelines and logos are available for download at the City'City's websit . REPORTING I TING Applicants must submit an annual performance report within 60 days of the end of the funding cycle or the project completion dame. The performance report will be available in Conjunction with the presentation of grant contracts to ensure appropriate data is collected in advance. The applicant agrees to retain all financial records, reporting documents, and all other records pertinent to the City of Dubuque grant program for ar period of three calendar years beyond the contract. Applications are available onfine at htt ://www. itofdubu ue.or /arty rants Questions can be directed to Jenni Petersen -Brant, city of Dubuque Arts & Cultural Affairs Coordinator City Annex, 1300 Main St, Dubuque, lA 52001 - 563 6 -6 - 'brand cit ofdubu ue- or CITY of DUBUQUE ARTS AND CULTURE GOALS FROM THE ARTS AND CULTURE MASTER PLAN 1. Economic Development: Encouragement and support of arts and culture are not only quality of life issues, but also a serious economic development strategy. The contributions of the arts and artists are supported and leveraged for economic development, boosting the ity's brand and aiding talent attraction and retention. 2. Inelu ivit r: Arts and culture in Dubuque promote in lusivity, diversity, harmony and understanding. 3. Integration of Arts and Cultural Community into City Leadership: The arts and cultural community — artists, performers, administrators, and so on are fully integrated into the City's decision -making conversations. They are incorporated into economic development, planning, commercial, and education strategies. Leadership in these sectors communicate well with the arts community and vice -versa. In addition, the contributions of the arts and of artists to the ity's prosperity are recognized. . Opportunity and Accessibility: Dubuque is a city with participatory cultural opportunities in all corners of the community. Barriers to participation, whether physical, intellectual, economic or other, are minimized or removed to encourage equitable opportunities for cultural engagement. . Involvement and Participation: Residents of Dubuque actively participate in the arts and culture. Arts and cultural entities and other sectors enable greater involvement and participation among Dubuque's citizens and visitors. . Clear Policies and Strong Management: Clear policies, guidelines and procedures enable governance of the ity's arts and cultural sector and the municipality T s involvement with it. CITY OF DUBUQUE ARTS AND CULTURE PRIORITIES AND STRATEGIES FROM THE ARTS AND CULTURE MASTER PLAN Priority A: Promote and support arts and culture as Dubuque's competitive edges a. Establish multiple funding streams to support arts and cultural activity. . Develop, attract and retain creative talent. . Develop a regulatory or business incentive framework that promotes and protects Dubuque's arts and cultural assets. d. Undertake a strategic branding, marketing and communications campaign promoting awareness of Dubuque's arts and cultural community at home and in other markets and attracting participants from outside Dubuque. Priority B: Boost capacity for arts and culture to thrive a. Designate and empower an individual or entity to lead development of the cultural sector. b. Clarify roles, responsibilities and guidelines for the Arts and Cultural Affairs Advisory Commission to best leverage their energy and knowledge to the benefit of arts and culture in Dubuque. . Establish a public art policy framework conducive to the arts and cultural activity, d. Facilitate communication and coordination among the arts and cultural sector. e. Flight -size facilities to meet capacity needs for rehearsal, exhibition/performance, education and administration. f. Develop organizational and professional capacity. Priority C: Foster engagement at all level a. Deepen appreciation for arts and culture among the general public. b. Provide arts education opportunities to people of all ages} skill levels, and income levels. . Increase availability and accessibility of arts and cultural offerings. d. Nurture individual artists, from student to amateur to professional. e. Stimulate volunteerism. Applications are available online at http-://www.cityofdubugue.org/artsqrants Questions can be directed to Jenni Petersen -Brant, City of Dubuque Arts & Cultural Affairs Coordinator City Anne , 1300 Min St, Dubarque, 1A 52001 -699- 6 059 - Lbran t@ citygNubugue r f. Inspire and diversify leadership. Priority D: Cultivate connections a. Ensure arts and culture in Dubuque is inclusive and welcoming of people of all backgrounds and i ntrsts . b. Develop ties among the arts and the broader community, increasing visibility and relevance of arts and culture. . Integrate leadership of the arts and culturI sector with leaders in other sectors of Dubuque b forging new relationships and strengthening existing ones between the arts and cultural sector and the business, public, non-profit and educational sectors. Additional substrategies are outlined in the City of Dubuque Arts and Culture Master Plan at t s: trww. i ofdubu ue. r ocumentCenter Viewl366 Mas r-Plan-Priorities-arc -strafe ies These substrateg ies can also be referenced when appropriate in the grant narrative. To concisely refer to specific priorities, sirategies and substrategies of the Arts and Culture Master Plan within the narrative of your grant application, you can incorporate shorthand references using the corresponding Priority letter plus the lowercase Leiter and lowercase roman numerals here and in the Master Plan document. For example, if your mission aligns with the Crty's priority of (D) cultivating connections by (a) ensuring arcs and culture in Dubuque is inclusive and welcoming of people of all backgrounds and interests through (fi) staffing venues and activities with diverse employees and volunteers who represent Dubuque's subpopulatians, `D(a)(ii)' would serve as a shorthand. Applications are available online at http,//www.citvofdubuque.org/artsqrants Questions can be directed to Jenni Petersen -Brant, City of Dubuque Arts & Cultural Affairs Coordinator City Annex, 1300 Main St, Dubuque, 1A 52001 - 6 696-69 9 - jbrant ,clt gfdub que. of cq 5 THE CITY of Du 36 0-- Masterpiece on the Mississippi City of Dubuque, Iowa ARTS AND CULTURE GRANT PROGRAM FOR OPERATING SUPPORT FY 2021 FUNDING SCORING RUBRIC 'I . Organizational mission and relevance to City of Dubuque' Arts andCulture gnarls and priorities: 3 points 3 The organization's primary A portion of the organization's The organization's mission as an mission is arts or culture related mission is related to arts or arts or culture organization is and is clearly stated. Relevance e culture. Relevance nce to the City of ambiguous. Relevance vanc to the City to the City of Dubuque's Arts and Dubuque's Arts and Culture of Dubuque's Arts and Culture Culture Master Plan goals and Master Plan goals and priorities is Master Plan goals and priorities is priorities is clearly described. loosely referenced. unclear. 2. Demonstrated management abilities and financial stability: 3 points. 3 2 The organization exhibits The organization appears to be in The organization appears to be in exemplary management via paid acceptable fiscal health and poor fiscal health or the health of and/or volunteer staff and/or exhibits stable management. the organization cannot be Board of Directors. Consideration Some consideration for determined. Management and planning for the sustainability is evident. appears inconsistent or organiatin's long-term ineffectual and no plans for u tainability is clearly sust inablllty are evident, demonstrated, Financial review has identified no potential -concerns. 3. Demonstrated artistic or cultural excellence and leadership; 3 points 2 1 The organization Gan clearly The organization can demonstrate The organization struggles t demonstrate nigh quality of artistic adequate presentation of artistic illustrate its role in presenting nigh value. Specific examples of its quality. Some examples provided quality arts or cultural programming and the expertise describe the programming and experiences. involved are illustrated. expertise involved. 4. Organizational impact to the Dubuque community: 3 points 3 2 1 1 The organization shows evidence The organization can somewhat The organization cannot prove its of significant impact an the prove an impact on the impact on the community because community. Quantitative and/or community. Anecdotal examples it is ambiguous or nonexistent. qualitative data demonstrates are given, without data to prove expansive outreach and strong outcomes and impact. community engagement and support. Applicationsare available online at http-://www.cjtVofdubuque.org/artsgrants Questions can be directed to nn .Pet r t7-Brant, City of Dubuque Arts & Cultural Affairs Coordinator City Annex, 1300 Main St, Dubuque, 1A 52001- - - jbrant(a�ityof lubugu . oLg . Prior year activities and _�jpcor ing year plans: i t The organization demonstrates trate The organization shovers evidence robust and diverse schedule of of activity in the prior year and has activities for the prior and identified some programming for upcoming year. Plans for the the upcoming year. upcoming year are in lime with the organization'financial and taffinq r)a itie . F The organization does not show evidence of active programming in the prior year and planning for the upcoming year is non-existent or ambiguous. . Incorporation of DEI professional development and implementation: 3 points 1 The organization illustrates a clear The organization demonstrates an The organization cannot intent to incorporate DEI strategies attempt to incorporate DEI demonstrate incorporation of DEI and tactics throughout their strategies in their operations or strategies in their operations or operations, programming, and their programming. Engagement in programming. DEI professional outreach. Ivey staff or volunteers DE! professional development is development is non-existent. actively participate in DEI not prioritized. professional development opportunities which are shared throughout the organization, 7 . Grants workshop attendanceborer � r� � rr� n1 pint 1 A representative of your organization attended A representative of your organization did not one of the workshops and signed in. attend the workshop. Applications are available online at http://www.citvofdubuque.orq/artsqrants Questionscan be directed to Jenni Petersen -Brant: City of Dubuque Arts & Cuftur l Affairs Coordinator City A nnex, 130 0 Main St, D ubuque, IA 52001 - - 6059 - „'br nt@ cl of ubu ue. oM CONTENTS WHYF-V J, ATE . . . . . . . r r . r ■ e r i r ■ • ■ a m r . ■ r . . . P ■ • P ■ ■ r e R ■ a r . r . . . . . . . . f e r e ■ r • In addition to demonstrating accountability to your funders and stakeholders, evalUatlon can strengthen your organization by hel itlg YOU to improve proarams, solve problems and make a compelling ease for more resources. vVIIAT ts `i DATA" AND WHERE DO I GET iT ............ r ■ Useful data is all around you. It is embedded in the response of your audience and many tools you may already use to manage your work. Choose a thoughtful variety of information —quantitative and qualitative to tell your story and meaSUre the outcomes of your programs. CAN FIAT WE DO IN THE ARTS REALLY BE MEASURED?............ . ■ . . ■ . . . . . . . . . . . . .. ■ ■ , ■ ■ ■ ■ ■ r r r . . . . . . . . . . • . N . . . . r . . ■ . . . `des. Both the artistic and business dimensions of your work can be meaningffilly evaluated, although your methods may need to be as creative as your programming! EVALUXfION FRAMEWORKS..... ram&, mp, mmd a rd A Ph A A v.P, a pff,,, d .... r. r■■ a a a a r a■r a■■... Logic models and rubries are powerful planning tools that also can help you organize your evaluation effoi-ts. ADVICE FOR THE BEGINNER ........... .......a.+■ ............... Following some practical "dos" and "don'ts" can help any arts organization get started with evaluation. CULTIVATING A. LEARNING I ING CULTURE ....................1 Make the most of your evaluation efforts by encraging your Ln constituents, staff and board. RECOMMENDED E S O U RCE . . . . . . . F F a a r ■ r r . . . . . . . . . . . r . r ■ • . P F # � Consult these resources for additional infor nation and ideas. CKNOWLE GEMS NTj . ■ ■ . ■ . . ■ . . . . . . . . . a ■ ■ ■ ■ r , ■ r r ■ . . . . : . • ■ r .. ■ r ■ • ■ 12 Unrideil Toni Giut3agnino Ucorgia Sian! Art Coilation This guide is a joint production of the Georgia Council for the Arts and the National Assembly of State Axts Agencies. Geomi*a .UNC, FOR TH. s OFPICIE OF THE GOVER"ON tags art �TIONAL :�S Lt�iD1Y OF STATE ARTS AGE.NTCIE 007, Reproduction and dissemination of this document is encouraged, provided the Georgia Council for the Arts GA and the National Assembly of State Arts Agencies NA. AA) receive attribution and copyright citation. E b?-a acociJ }I', f UCrick M C JIY Georgia 9zLac An Collection WHY EVALUATE? what methods will you use to evaluate this program? o ill you monitor the effects of your program on participants? What indicators will you use to measure your progress in attaining your goals? Phrases life these will be familiar to many arts orcranizations, especially those that seek finding from public agencies or foundations. If your organization has not fret encountered an evaluation regUirement of some kind, get ready! Evaluation has become a fact of life for nonprofit organiz a.tlons in the 2 1st century. Like all other charitable groups. arts and cultural organizations are increasingly required to document what they accomplish and assess the impact of their programs. When combined with good planning practices, however, evaluation is not just reporting requirement imposed upon arts organizations by funders. It is also a. tool for organizational learning^a tool that can help manage our programs, spend your ftinds wisely and help YOUr constituents and potential investors understand your work. This guide is designed to help arts organizations reap these evaluation benefits. Its intent is to provide introductory information and ideas that arts organizations may supplement with their own experience, as well as with the growing body of literature abOLIt program evaluation in the arts. Most of R11 this guide is designed to Invite your creative thinking and to encourage you to use evaluation to tell your torn in authentic and compelling ways. ■ ENHANCE THE RESULTS of YOUR PROGRAMS, MARKETING EFFORTR MANAGEMENT. Evaluation can shed light on persistent challenges and reveal keys to success. It can also help you pinpoint what strategies provide the greatest return on your time and effort. HELP GRANT-A/1-AK RS AND DONORS U N D E RSTAN D YOUR v RIB. Evaluation results illustrate the impact of your programs. This information helps funders describe the community benefits that stem from their sponsorship. It also can help them justify future funding. Evidence of ongoing evaluation further shows that good planning and management practices are in place in your organization, which raises confidence among all of your investors. ■ DEMONSTRATE CCOUNT L USE OF TAXPAYERS' D0LLARS- State, federal and local governments bear additional responsibilities for ensuring that public dollars are being put to good use. when you receive funding from a state arts agency, the National Endowment for the Arts or any municipal or county agency, you become a steward of that public trust, too. Evaluation helps to demonstrate that the taxpayers' dollars you receive are in good hands. ■ ENGAGE YOUR STAKEHOLDERS. Program Participants —audience members, staff, volunteers, artists and teacher all have insight to share. Involving stakeholders i your evaluation conveys that you value their input and reinforces connections among the people taking part in your program.. HELP MMUNITIE S RECOGNIZE THE VALUE OF THE ARTS. Suzanne Callahan, in Singin Our Praises: Case Studies in the Art of Evaluation writes that research, "builds trust, understanding and visibility for the arts field, convincing those in the outside world of the value of what e do." (Callahan, p. I y evaluating their programs, conducting research and sharing luiowledge with others, arts organizations deepen public appreciation for the role that the arts play in society. ■ MAKE THE "E FOR MORE R $OUR ES. Evidence of what you are currently accomplish ingand what you could accomplish with additional resources -strengthens your requests for financial, human and material assistance. This is particularly important in the public sector, where funding is scarce and the arts must compete with a host of other pressing needs. Your evaluation efforts can help you and others advocate for the arts and prove that supporting culture is in the best interests of your state's citizens, Children, families, businesses and communities. 2 WHAT IS "DATA" AND WHERE DO I GET IT7 If you can observe it, it is data. Data is factual information, especially information that is systematically organized and used to help someone make a decision. Most people associate the word "data" with numbers: dollars,, demographics; percents or averages. Statistical or standardized information, usually called quantitative data, is part of most evaluations, but is by no means the only kind of information that is useffil to arts organizations. W"hile quantitative data can identify important trends or patterns, qualitative data is often needed to reveal the deeper meaning behind the numbers. For instance, an audience survey can quantify the percent of people who might attend another perfor-inance at your venue. Until you probe for additional qualitative information, however, little bout that data is actionable for you as an arts manager. Asking "Why or why not?"' to elicit qualitative responses may reveal important insight, such as- 0 The parking is teiTible, N I could not hear the dialogue, ■ I only go to events when f can get a l abysitter, w I received this ticket as a gift and cannot afford to buy another, or ■ I faidiftilly attend every choral event in our town, Armed with such information, you can now decide which conditions you wish to address in the future. This is why a good evaluation typically blends different kinds of information; quantitative information to identify major trends, and qualitative information to provide depth of understanding. 011ide . Patricia I(Cul4r C'cor313 Si:iCe Arl Collection ARTS S DATA: A SAMPLER OF T D AS Participation data describes your audience and their experiences. Number of individuals participating Participant demographics Hoine zip code or address Motivation for attending Opinions about the event or exhibit Personal arts interests and preferences Participant ratings of your customer service Perceived harriers to participation Etc... Marketing data helps you attain your audience development goals and understand the effectiveness of your outreach. Where did participants hear about this event? Were tickets piuchased via mafl, on-line or in person? What types of tickets were purchased? Were outreach strategies to target markets successful? Etc... Financial data can help you calculate management efficiency and return on investment. Admissions income Memberships Grants and contributions Number of donors Nun-iber of donors increasing their contributions Project costs Savings achieved Etc ... Impact data helps you understand the effects of your program on participants and your surrounding community. Perceived benefits to participation Changes in behaviors or attitudes Learning outcomes School climate Achievement, attendance or discipline of students Audience spending on parking, meals or housing Quality of life Etc ... OUTCOMES Treasurable changes in a person or group's status, skills, attitudes, luiowl dge or circumstances. OUTCOME GOALS The changes you hope to achieve in your organization, in your community or among your prograin's participants. outcome goals can be short-term or long -terra. It is helpful to articulate theirs in your project plan or your organization's strategic plan. INDICATORS Selected data -quantitative r qualitative -that can be gathered to measure progress toward your outcome goals. You can choose any indicators, but make sure that they are bath relevatit to the outcome andfeasible for you to collect. Many different sources of data are available to arts organizations. A few examples include: m Admissions/ enrollment records: Mary arts organizations track ticket sales or class enrollments through a database or spreadsheet program. Consider how you n-iight mine this data in order to measure the extent ofparticlpatlon In your eve n ts . Are numbers increasing over time, holding steady or declining? Why Igo you systematically collect and record all the i ,formation that you and your fenders need? Assess whether you should secure additional information to tell you more about your audience and assist you with marketing your programs. ■ Financial records: Try to tally all financial transactions including salaries) connected to your project. Wn,[ A F do your expenses conipare with your revenue What areas are most expensive, but worth every penny? In what areas right cost -savings be achieved? Igo you have specific financial goals for your organization or program ow close are you to achieving those goals? WI-ien developing your budgets at the beginning of your fiscal year, be sure they contain enough detail for you to realistically reflect on these questions and snare sound financial management decisions. ■ Surveys: Surveys, especially audience surveys, are common evaluation and marketing eting tools in the arts Meld. Often they are used to understand the composition of an organi ation's audience, but they also can be adopted to gather information on opinions, motivations, preferences, perceived barriers or other issues. The success of surveys usually hinges on two factors: the quality of the questions (crafting questions that are clearly understood and can be accurately answered) and the respondent pool (securing response that is sufficiently large and diverse to be truly represent tive of your population). Unafled. Aniritie Blninc Caldwell Ccorgia S[asc Art Collccdon • Interviews: Interviews maybe conducted in person or on the telephone and area good choice when the information you need is sensitive or confidential in nature, or when the respondent will appreciate personal attention. Interviews also ol'!re�r you the fle ibility to adapt the ii�qtrzry t individuals by omitting irrelevant questions or taping more time to probe key issues. To encourage candid responses, choose are interviewer who will be perceived as trustworthy by the interviewees. ■ Focus groups: Focus groups are designed to elicit qualitative information from a small number of people through dialogue and group interaction. Five to ten individuals typically participate in a focus group, which are often used to probe the "whys and wherefor s„ of participants' behaviors or opinions. Focus groups are best led by a trained moderator--- an impartial individual who is 2 knowledgeable about the subject and skilled in group facilitation techniques. If you want to conduct a focus group, you will need to develop a protocol in advance, to ensure that the conversations address the questions that matter most to you. Arrange for a transcript of the proceedings to enable analysis of the information. Pre- and post-tests: When designed around specific I arning objectives, tests cats measure the "before and after" shills, knowledge or perceptions of students in workshops, classes or other educational programs. A comparison of these two scores is one way of 1measuring the learning and st ill outcomes of arts instruction. n Journals or portfolios: Journals or portfolios provide a written or visual record of'learners' experiences and achievements. Artists and arts teachers often cite the dual value of these assessment techniques. They not only help instructors measure shill development, ent, but also are tools that encourage students to self -reflect on their own work. ® Direct observations: Observation is a useful way to gather real -tilde behavioral information using artists, teachers, staff or volunteers, Observers can be trained to loop for specific actions, activities or behaviors during a class, performance or other event. Consistency is the key to observation success. Be sure that all observers are well -practiced and attentive, Provide a uniform checldist or log that helps them record what they see. CAN WHAT WE DO IN THE ARTS REALLY BE MEAS URE D ?. "Can we measure joy? Yes we can. And by knowing where and how to look for it, how to document what we see and hear, and homer to communicate that, we can create opportunities for more joy more often." These are the word s of D eb orate B edwell, director of Baltimore C laywo r s, a nonprofit ceramic arts center housed in Baltimore, Maryland. Challenged by funders to evaluate the impact of their community arts prograin, the Clayworks staff decided to investigate not only the delivery of their services but also the effects ofhands-on clay classes o n local youth. To do this, Clayworks staff developed a list of indicators teachers would be able to observe and record among students when an authentic, engaging experience was taking place. A few of those items included: n Shows work to peers ® Concentrates on techniques w Holds work close to body ■ Uses clay vocabulary Cla 7works also tracked students' enrollment, their completion of ceramic works, their completion of journals and whether they recruited friends and family members to participate in subsequent events and classes. Combined, this information painted a powerful portrait of the prograi 's success. Raskel, KftillyGoa Iieb Gwr"141 State Art Collection Using a I o gtc model for their program also helped Clayworks clearly articulate their intended outcom es and focus their evaluation efforts where they would provide the most useful feedback for planning and further program improvement. .J Similar stories can b e shared by many arts organi ations who have found creative ways to assess the arts participation experience of their constituent . N o ne of these organizations is seeking to quantify the transcendent nature of the artistic experience. However, an evaluation that focuses exclusively ors the mechanics of an arts program may leave a significant gap in our understanding ofits dull value and impact. One useffil way to add an artistic dimension to an evaluation i to brainstorm what night be observable about a participant's experience. For instance; How did individuals articipate in your event? Did they stay for the entire event? Did they attend multiple tires 2. Did theywatch attentively? Did they bcore physically involved? Did they take advantage of all participation opportunities, such as interactive exhibits, audio tours or artist discussions? n evaluation that focuses exclusively on the mechanics of an arts program may leave a significant gap in our understanding of its fuil value and impact. ■ Wliat reactions did your work evoke mom participants What cold they like the best? Like the I. least? what feelings, ideas or questions did their experience evoke? ■ What do you hope participants will learn about the art form or the artistic process, and how could that be measured? Can students use the required tools, materials or instruments o they demonstrate mastery of certain exercises or techniques Can they express key concepts? o students exhibit creativity by engaging in experimentation or pursuit of their own original ideas? What else might participants learn —about themselves, their fellow participants or the larger community —through your program? Inviting personal reflections from participants can be a rich source of qualitative information. ■ What did the artists, performers, instructors or other project staff experience? what did they learn, themselves? l-,at reactions did they observe in others? Remember that the most meaningful measures will he those that are authentic to your unique goals, constituency and art form. 'There are no "right" or "wrong" indicators to monitor. Measure what is relevant to you and aligns best with your pro rarra's goals and objectives. EVALUATION VRAMEWORKS Rubrics and logic models are two planning tools that can provide helpful structure for the evaluation of any arts program. Widely used in the education sector as a tool for m ear uring stud ent success ire classroom settings, rubrics are a tool that many arts organizations have adapted to their unique arts programming and management enviro nm ents. S imply defined, a rubric is a grid that articulates what project success a nd failure look like in concrete terms. Rubrics force an organization to focus on what is most worth measuring, rather than what is easiest to count. RUBRIC FRAMEWORK A HIGHLY EFFECTIVE What matters most to you? In what areas will you measure sixes? EFFECTIVE SOMEWHAT EFFECTIVE NVhat would "'effective#" or "ineffective" service took like What indicator's would characterize each lever .INEFFECTIVE 8"PLE RUBRIC (ACTIVITY: TkN-WEEK EXHIBIT) QUAJ-,ITY OF ACTIVE VISITOR ATTENDANCE EXHIBIT PARTICIPATION ■ Memorable or evocative to visitors % or more of % or more of visitors used visitors can identify at one or more interpretive tools Weekly admission HIGHLY "favorite's or "most .g., the audio guide, the reached target EVVECTIVE interesting" work during exit children's treasure hunt, numbers in all 10 interviews) interactive exhibit features, or weeks of the ex ibit ■ Receives consistently high the exhibit catalog) dti al acclaim w % of visitors identify a "favorite" or �"most ■ Weekly admissions FF ' CTIVE interesting work 0 f visitors used tools reached target et n Most critical reviews nulnbrs 1n 8-9 favorable weeks ■ 0% ofvlsit rs identify a ■ weeny admissions SOMEWHAT "favorite" or "'most ■ 0� f visitors used tools reached target EFFECTIW interesting" work Yiumb rs in - ■ Mixed critical reviews weeks ■ 0% or fewer visitors a "favorite" � f "most ■ wily admissions INF-f T interesting" work � ■ o or fewer of visitors used reached target ■ Critical reviews consistently toolsI"iLl.Zn��r in fewer negative than 6 weeks Numerous cultural groups funded by the Geraldine . Dodge Foundation in Tew Jersey have developed rubrics that not only help them describe their achievements to the foundation but, more importantly, enhance their ability to visuali c success and manage their work to achieve their project goals. These Nevi Jersey arts organizations developed rubrics to evaluate all dimensions oftheir work: student learning, a performance or exhibition, marketing practices, communications, board and community engagement. even office cleanliness How many columns or rows your rubric contains is not terribly important. what does natter, however, is choosing factors that are meaningful to your work and mission. Beas specificas possible about what you believe constitutes excellence, and challenge yourself to define what data or indicators will be associated with each performance level. r 4 Logic models are another powerful tool that arts organizations harness for planning and evaluation. First popularized in the nonprofit sector by the United way in the 1990s, logic models today offer a blueprint that helps many arts organizations articulate their - desired outcomes and identify the inputs, activities and outputs necessary to achieve those goals. Logic models are especially useful because they encourage "planning backwards." By first describing Lomerlr. Trr�gecl��, Fear.l�_�i. Mclnl{asC� aS your outcome goals, then describing the resources and activities you will GeorgilatfAll Colle time pursue to achieve those ends, logic models help to keep your work on track. This approach also helps your evaluation stay tightly tuned to your program goals. Clarity and consensus about outcome goals is vital. If your outcomes are vague or have different meanings to different people, it will be very difficult to determine what evaluation strategies and data will be productive. LOGIC MODES rRAMEWORK OUTCOME GOALS : what do we hope will change (for our constituents, community or organization)as a result of our work? INPUT -------------+ What people, partners, funds, materials or space will we need to achieve our outcomes? A TMTIE S #------I What events, action steps or activities will happen during our program? OUTPUTS ----------------- What does our program produce? Attendees, materials distributed, memberships renewed, artworks created, artist fees paid, Binds raised, etc. r r Tom} ------- What actually changed for our constituents, community or organization? How does that inform future goals Wbat indicators or data should we rnortitor throughout the process? What data collection techniques will we employ to monitor those indicators? SAMPI;E LOGIC MODEL, OUTCOME GOAL: To improve the health and well-being of residents in the Senior Living Center through dance and creative movement. INPUTS ---------------- • Two trained teaching artists ■ Creative movement play. (approved b Center physician) ■ Support team of Center nursing staff • Space (recreation room, reserved tines weekly for months) ■ Artist Fees ($200 per artist per session) . CT IT1t----------I ■ Planning meetings with coordinating physician and staff support team • Promotion of program to patients, families and all Center staff ■ Artist -led movement sessions (45 minutes, 3 times weekly for months) ■ Participant interviews ■ Staff medical assessments (pre- and post -program) of clients ■ Staff interviews ADVICE FOR THE BEGINNER ■Design your evaluation at the start of the project or funding cycle. Last-minute evaluations miss abundant opportunities to learn, interact with constituents and collect useful real-time feedback throughout the course of a project. Combining evaluation with your strategic planning maximizes the benefits of both. ■ Start small. Wbile comprehensive evaluation r large-scale research studies are sometimes appropriate, even modest evaluation efforts can reap significant rewards. Start by evaluating one program or project. OUTPUT ------- ■ Number of participating clients ■ Number of clients participating in or more sessions ■ Number of Center staff participating or observing ■ Interview reports ■ Staff reports ■ Artist observation logs and journals OUTCOMES ----------I ■ Clients actively participate within their abilities ■ Participants interact with each other, artists and staff ■ Participants say they enjoy the program • Participants exhibit positive physical effects (increased range of motion, better circulation, stimulated appetite, more restful sleep) ■ Staffperceives participation to be beneficial to clients ■ Artists find the experience rewarding GETTING STARTED 1. Articulate your outcome goals. Whatare you trying to learn., change or accomplish with this program? 2. Identify indicators. That kinds of information might reveal your progress or challenges? . Inventory what you already know, is there useful information already in place? toes your experience suggest certain factors would be worthwhile to investigate? . Get ready to secure additional information. What surveys, interviews, tests or other activities will need to tale plane? . Brainstorm how you will use the information. With whom should you share what information,, and why? How do those factors shape your evaluation plan? . Ask for help. What staff, volunteers or consultants will you need to assist with data collection, analysis or reporting? Z Build a data `'mosaic" that is unique to your program. Assemble a selection of indicators that are feasible to monitor and that can provide you with insight into your work and its effects. Quantitative and qualitative information complement one another, so be certain to include some of each. Do not be afraid t "do-it-yourself." Many Idnds of evaluation can be conducted by your own staff, board or volunteers. Taping hands-on approach paeans that your evaluation will greatly benefit from the knowledge and experience (of your programs, your audiences and your organization) that you bring to the task. Howev r, know when to ask for help. P rofess1onal assistance is Lis eful when you n e ed to empioy special research methods or conduct advanced an alysis. The design of questions a nd sa piing m ethods used for polls and surveys often can benefit from outside expertise, as c an the facilitation of focus groups or other feedback forums. when evaluating sensitive issues, using a neutral "third party" evaluation also may help you to remain objective and avoid the perception or the reality! of bias. not try to guess what your funders want to know. First, consider your- needs. Decide what method and metrics will enhance your own learning and program success. When, if -you are not sure what additional lnf rinatlon your fenders need, ask. Most will be lool ng for evidence of good planning and evaluation practices and will b e highly receptive to the indicators that are authentic for you. Grant makers often need specific information on your audiences, finances and economic impact, so you may have to collect additional data to comply with these requirements. But many grantees find this data collection much less onerous once systematic evaluation and performance measurement are in place. ■ Evaluation takes time, so plan accordinorly. Deserve time on your calendar to discuss and design the tip evaluation, train your data collectors, gather information and analyze it. CUI�TIVATING A tEARNING CULTURIC Ongoing evaluation can empower marry different dimensions of your worl : program design, audience development, promotional strategies, governance and fan d- rais ing, just to name a few. These benefits, however", rarely accrue to an organization if one person alone is involved in the evaluation. Consider who in your organization might become part of an evaluation team. Staff members, artists and teachers involved in a project are logical stakeholders. Board members, volunteers and former program ■ Establish an evaluation team. ■ Encourage individual and group reflection. ■ Make evaluation are ongoing effort. ■ Share your results. participants may also be of assistance. Engage your crew in brainstorming about the challenges and opportunities they believe your program is facing. Then discuss how additional information or insight might facilitate the pro gra 's success. kn evaluation team also can assist with the collection and analysis of information. Look for ways to encourage your whole staff and board to reflect on their wo rk at re- gular inter-vals. Sometimes the brightest ideas and ep i p ha nies occur riot during formal evaluation projects, but duri n g routine staff' and board meetings, or during informal discussions of questions such as: • How is this program going? • what are we doing very well? • what could we be doing better? • what are our hopes and aspirations for the future of this program.? ■ How can we get there? Embedding such questions into your work on an ongoing basis helps your organization learn and grow over time. It also helps to build cohesion and a unified vision for your future success. RECOMNIENDED RESOURCES Singing our Praises: Case Studies in the Art of Evaluation A. comprehensive how-to book for the arts. Includes case studies from cultural organizations as well as practical advice on designing an evaluation, choosing indicators, collecting information, conducting surveys and wort ing a logic model from start to finish. written by Suzanne Callahan and commissioned by the Ass o ciation of Performing Arts P resenters with funding from The Wallace Foundation. www.forthearts.org/publications/singiiig.shtml ie surfing jo Baltimore Clayworl s' executive director tells how evaluation using logic models helped her organization to strengthen their programs, allocate resources and tell the story of their impact on young lives. Originally published its the NaioiialArts Stab1li a.tton jour- 1 in 2000, this article is excerpted by the N ational Endowment for the Arts in "Le ss o ns Learned: A Planning Toolsite." www.nea.gov/-grants/apply/out/joy.hti-nl 0utc~ome^Based Evaluation: AWorking Model for Arts Projects This guide for arts organizations describes are outcome -based evaluation process and includes examples from opera, dance and the media arts. Published by the National Endowment for the Arts. www.nea.govZgrants/ai)i)ly/out/index-out.hti-nl Cultural Vitality inCommunities: Interpretation and Indicator This monograph intra du c es a definition of community cultural vitality that encompasses opportuniti s for arts participation, a tuA participation b y the public and systems of support for cultural activity. Include suggested indicators and sources of data. written by Maria Rosario Jack -son, Florence Kabwasa- reen and Joaquin Ferran . Published by the Urban Institute. www.urban.or ubhcations /311392.html Geraldine R. Dodge Foundation Assessment initiative This web resource summarizes nine principles of meaningfal measurement. Several sample rubrics are provided to illustrate key evaluation concepts. � rdod e.o1 le rnin assessmeiit index.htm 11 Arts Education Project Designer'To lb o Describes outcome measurement frameworks for arts education. Written by Michael Sipes and published b the Jdaho Commission on the Arts. www.arts.idaho.gov/ae/tool.asi)x Program Planning and Evaluation Using Logic Novels in Arts Programs for At -Risk Youth A P rofle of lh ow logic mo d els fr cllltat e pl anning, forming c oflab orations, artist training and evaluation of program outcornes. Written by Steve HeLil tt and published by Arnericans for the Arts. ,�, cv.am ri an ortheart . r NAPS (rile 4 1Usin °/2OL is°o , Mo els. d More than Measuring A. ion -term evaluation report that includes tips for deli gning evaluations in ways that build the capacity o communities to design and improve arts education prograrns for ehildreD and youth. www.bx thou ht.r ACKNOWLEDGEMENTS About the Artworks The images contained in this publication are used with permission from the Georgia State Art Collection,which includes works of sculpture, photography, printm in , painting, ceramics, jewelry, fiber and silver produced by Georgia artists. Managed by the Georgia Council for the Arts, the collection contains more than 600 original works. The collection is cataloged on -lime through a partnership with Georgia Public Broadcasting and includes biographical information for many of the artists. Also included are lesson plans (consistent with core curriculum standards) that help educators use the materials to teach classroom units in the visual arts, language arts, science and Georgia history. LA ' g stateart lbome.htin About the Georgia Council for the Arts f The Georgia Council for the Arts A is a state age ncywith the mission to encourage GeQ 9ia in �the arts, suppot-t the arts many forms of eFpr ession and to ens ire that the arts COUNCIL FOR THE S OFFICE OF THE GOVERNOR are available to all Georgians. The agency strives for statewide coverage in the support marts programming through, grants, which are competitive applications for funding that are adjudicated by peers. The GCA charter also enCOUrages the agency to provide services and programming that supports the arts, artists, and the arts organizations of Georgia. ��vwy. gaarts.or homo.as About the National Assembly of State Arts Agencies 4art o es A. The National Assembly of State Arts Agencies NAA i the membership association of ;NATIONAL ASSEMBLY the nation's state and jurisdictional arts agencies. NA AA. provides knowledge services, o� sTa�t �r AGENCIES representation and leadership programs that Delp state arts agencies fulfill their m iiy citizen service roles. NASAA also serves as a clearinghouse for data and research abort public funding and the arts, w.na qa-arts.or� The work of the GCA and NASAAare supported and strengthened in many ways by funding and programming partnerships with the National Endo wnent for the Arts, which believes that a great nation deserves great art.. 12 c ■ m Lm CL (31 LIB 4. 4-1 U c a-) • o ..f 4—+ kA x w aj •OJ C: C o +� 0 i �' C: CU aj 4-J CL F � • cu m C: �j 4--k C ro .� � aJ J> E .-., .a) D c C 4- W i �- M L.CL J- i CL 4-j � C ai CA +10 4—J +E Ln 4. - 'I '0 4 aj Ln cu.� 4 -+ 0 QJ -C o u (A .ram +-j +.a 0 { Vim) Q V) ' ' , VI (1) r > 0 m r 101 }, ,'I� + ,� � � _ '� ' L T +_ �. 1 +p•Y ' + yW •iY E r CA cif ( . #v � L o c° o biD+ ._ , � M CL ' �• O '� 0 0 00 c 1 ._ + -0 t� 0 E +P .�/�� VJ Cf� is """' •� L , ai u bjD *.-- ME U W = . =s r/ ■ m V) 0 (U E >' 4-J - a) �=/ 0 Qm — w C C (v ru tw � � E E E L Q"4f . 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Criteria include but are not limited to: • Strength of the concept, vision, and enduring value of the work 0 Durability and craftsmanship in fabrication 9 Appropriateness of artwork scale to the proposed site 0 Appropriateness of artwork to other aspects of its surroundings • Artist's credentials and recognition 0 Potential enrichment of the architectural, historical, geogra phicaI and or cultural context of the site a 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 ity's existing art collection. How well does the proposed artwork fit with the ity's current holdings? Criteria for compatibility include but are not limited to: • Does the artwork contribute to the diversity and breadth of the ity's collection? + Is the artist's work already adequately represented in the ity's collection? • Does the style or form of the art contribute to balance in the ity'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. . Feasibility; The ability of the artist to successfully complete all aspects of the proposed work, . 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, . Local art community benefit: All things being equal, preference will be given to Iowa City/Iowa artists. PRELIMINARY MINUTES PUBLIC ARTS ADVISORY COMMITTEE OCTOBER 1, 2020 5:30 PM RIVERFRONT CROSSINGS PARK MEMBERS PRESENT: Eddie Boyken, Dominic Dongilli, Ron Knoche, Steve Miller, Nancy Purington, Juli Seydell-Johnson MEMBERS ABSENT: Jan Finlayson, Andrea Truitt STAFF PRESENT: Marcia Bollinger, Wendy Ford PUBLIC PRESENT: None CALL TO ORDER Miller called the meeting to order at 5:35 p.m. PUBLIC DISCUSSION OF ANY ITEM NOT ON THE AGENDA Purington asked about the artist registry. Bollinger stated it should be finalized by the November meeting. CONSIDERATION OF MINUTES OF THE SEPTEMBER 3, 2020 MEETING Purington referenced the changes that she emailed the committee — Purington asked that they develop a rubric for grant submissions, and Bollinger suggested that Purington email the committee specific examples of what the rubric could look like and include. The committee elected to put the development of a rubric on the agenda for next meeting. Purington suggested to not send out any more calls for artists until the artist registry is established. Knoche moved to approve the minutes. Seydell-Johnson seconded. Approved unanimously. INTRODUCTIONS All members of the committee introduced themselves. TOUR OF RIVERFRONT CROSSING PARK — EVALUATION OF POTENTIAL LOCATIONS OF SCULPTURE GARDEN AND PUBLIC ART BENCH PROJECT Seydell-Johnson gave the committee background on the park as well as information regarding future developmental plans. She explained that the City Manager's Office wants to add additional (artistic) benches to Riverfront Crossings Park, and that they have $10,000 in the budget for the purpose and another $15,000 in funds that are not yet approved. Seydell-Johnson stated that the best potential areas for sculpture art would be: along the river trail, within the small grass area by the wetland, and by the nature play area (indicated approximately by red stars on the graphic). Seydell-Johnson said that she will bring different visual aids to the next meeting. SCHEDULE FOR PUBLIC ART MATCHING FUND GRANT APPLICATIONS The committee elected to push this agenda item to the next meeting. PUBLIC ART STRATEGIC PLAN SUBCOMMITTEES Community Arts/Artists Outreach/Participation Committee members are Purington, Boyken, and Miller. Community Collaboration Committee members are Purington, Truitt, and Finlayson. Bollinger said that she will connect all committee members to set up their first meeting. COMMITTEE UPDATES Dongilli mentioned that the outdoor installation at Public Space One will begin on Friday, October 2, and have showings on Wednesday, Thursday, and Friday evenings. STAFF UPDATES Bollinger said that the Southeast Junior High students and staff have opted to wait until next spring to start working on the pedestrian tunnel, and that the mural project on the Capitol Street parking ramp is in the works with a final design idea expected around December. Ford mentioned the Public Space One and Press Citizen Staff meeting with artists occurred, and that the artists do not want to use the Black Lives Matter as a central theme. ADJOURNMENT Knoche made a motion to adjourn. Seydell-Johnson seconded. Meeting was adjourned at 6:31 p.m. Minutes submitted by Lauren Ralls. Public Art Advisory Committee Attendance Record 2019-2020 Name Term 1 /16/20 2/6/20 3/5/20 4/2/20 4/20/20 5/7/20 6/4/20 7/2/20 8/6/20 9/3/20 10/1 /20 Expires Nancy Purington 12/31 /22 x x x X x X x x x x x- Ron Knoche x x x X x O/E x x x x x Juli Seydell- x x x X x X x O/E x x x Johnson Vero Rose 12/31 /20 x x x X O/E x - - - -- - Smith Steve Miller 12/31 /20 x x O/E X X x x x x O/E x Andrea Tru itt 12/31 /22 x x O/E X X x x x O/E x O/E Eddie Boyken 12/31 /21 x x x X x x x X O/E x x Jan Finlayson 12/31 /20 -- -- -- -- -- -- x x O/E x O/E Dominic 12/31 /23 -- -- -- -- -- -- -- x x x x- Dongilli Tonya 12/31 /23 -- -- -- -- -- -- -- -- O O -- Kehoe Key: X = Present O = Absent O/E = Absent/Excused --- = Not a member