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Home My WebLink AboutPAAC Agenda Packet 4-6-23Public Art Advisory Committee Thursday, April 6, 2023 3:30 PM Emma Harvat Hall City Hall, 410 E. Washington AGENDA 1. Call to order 2. Introductions of members and public attending the meeting 3. Public discussion of any item not on the agenda 4. Consider minutes of the February 2, 2023 PAAC meeting 5. Score and determine funding for 2023 Matching Grant program 6. Airport Mural update a. Artist Agreement with Airport Commission b. Artist’s concept 7. Staff Updates a. South District Bus Stop Bench project b. Time Pieces acquisition update c. 2023-24 Sculpture Showcase d. Literary Walk maintenance e. Black Hawk Mini Park project 8. Adjournment If you will need disability-related accommodations in order to participate in this program/event, please contact Wendy Ford, Economic Development and Public Art Coordinator at 319-356-5248 or wendy- ford@iowa-city.org. Early requests are strongly encouraged to allow sufficient time to meet your access needs. PAAC 4-6-23 meeting packet page 1 Preliminary, p.1 Public Art Advisory Committee Mtg, 2/2/2023 Minutes Public Art Advisory Committee February 2, 2023 Emma Harvat Hall Public Art Advisory Committee Members Present: Juli Seydell-Johnson, Ron Knoche, Steve Miller, Jenny Gringer, Andrea Truitt, Anita Jung, Dominic Dongilli Members Absent: Eddie Boyken, Jeremy Endsley Staff absent: Wendy Ford Public Present: a friend of Anita’s Call to Order Miller called the meeting to order at 3:32 p.m. Public Discussion of Any Item Not on the Agenda None Consider minutes of the January 5, 2023 PAAC meeting. It was noted, regarding attendance at the meeting, a change should reflect that Dominic Dongilli was not present at the meeting and that Anita Jung was present. Seydell-Johnson moved and Jung seconded that the minutes be approved with changes noted. Motion passed (7-0). Consider recommendation of Emerging Artist and Agreement with Emerging Artist for the South District Bench Building Project Seydell-Johnson said that it looked like the subcommittee making the recommendation for the Emerging Artist had a well-reasoned approach to determining who and why to recommend the emerging artist, Ethan Wyatt, and that she would support that recommendation. Jung said that it is looking like an exciting project. There was consensus around those comments. Seydell-Johnson moved, and Jung seconded that Ethan Wyatt be the Emerging Artist and the agreement be approved. Motion passed (7-0). Review Matching Fund grant application materials, evaluation matrix and policy for repeat applicant requests. Truitt noted a typo in the evaluation matrix – in the upper right box, the initials, IAC should be removed. Next there was discussion about how functional, unexpected, participatory and ephemeral art were to scored since those categories had been added to the rubric. Miller recalled that the idea was that the more categories a project fills, the higher it scores. PAAC 4-6-23 meeting packet page 2 Preliminary, p.2 Public Art Advisory Committee Mtg, 2/2/2023 Discussion around dates ensued. The committee determined that we should make all proposals due by March 24. That would give staff time to assemble packets for scoring before the April 6 PAAC meeting at which decisions would be made. The following week, April 10, announcements on grant winners would be made. Jung noted that the grant opportunities seem completely open ended. Miller confirmed that yes, they can cover everything from string quartets to dance to murals. Jung liked the idea and moved to approve the program with changes to the dates for deadlines and announcements. Dongilli seconded. Motion passed (7-0) Adjournment Jung moved and Truitt seconded the meeting be adjourned. Motion carried (7-0). Meeting adjourned at 3:45 pm. PAAC 4-6-23 meeting packet page 3 Preliminary, p.3 Public Art Advisory Committee Mtg, 2/2/2023 Public Art Advisory Committee Attendance Record 2022-23 Name Term Expires 3/3/22 5/5/22 6/2/22 7/7/22 8/4/22 9/8/22 10/13/22 11/3/22 12/1/22 1/5/23 2/2/23 Ron Knoche X X* X X X X X* X X X X Juli Seydell- Johnson X X X X X* X X X* X X* X Steve Miller 12/31/23 X X O/E O/E X X X X X X X Eddie Boyken 12/31/24 X X X O/E X X X X X X O/E Andrea Truitt 12/31/22 X X X X X X X O/E X X X Dominic Dongilli 12/31/23 X X X X X O/E X O/E X O X Anita Jung 6/30/23 --- X O/E X X O/E O/E O/E O/E X X Jenny Gringer 12/31/23 --- --- --- --- --- X O/E X X X X Jeremy Endsley 12/31/22 --- --- --- --- --- X X O/E X X O/E Jan Finlay- son 12/31/23 O/E --- --- --- --- --- --- --- --- --- --- Nancy Purington 12/31/22 O/E --- --- --- --- --- --- --- --- --- --- Sandy Steil 12/31/23 O/E --- --- --- --- --- --- --- --- --- --- Key: X = Present O = Absent O/E = Absent/Excused --- = Not a member PAAC 4-6-23 meeting packet page 4 2023 Public Art Advisory Committee Matching Grant Applications Table of contents Scoring Table for each of the applications below .......................... 6, 7, 8 The color coding in the matrix indicates a department director must weigh in on the application. The Parks & Rec. Director has commented on the ones color coded in blue. We await the Library Director’s comments on the green color coded one. Scoring Rubric guide for scoring ................................................. 9, 10, 11 Please use this rubric to score each application and then send me your total score for each applicant. I can gather these at the meeting on Thursday, April 6, if you are not able to get them to me ahead of time at wendy-ford@iowa-city.org. Please reach out with any questions. Aidar Ishemgulov, Sculpture of Kurt Vonnegut .................................... 12 Andrea Smisek Gage, Plein Air pop-up ................................................. 20 Alaina Eliott-Wherry, et al, Celebrating Wonderful Westside .............. 30 Dustin T. Kelly, Take a load off ............................................................. 36 Erika Christiansen, There is always light .............................................. 41 Family Folk Machine, Love in the Harmony ......................................... 44 Farrow Ulven, A History of Being ......................................................... 47 Film Scene, Refocus Festival Public Art ................................................ 56 Heather Blatt, Thomas Agran, No. Market Square Mural .................... 60 Jason T. Smith, Renegade Nuns on Wheels, M.C. Novel ...................... 68 Julia Winter, You Are Enough Mural .................................................... 80 Lisa Roberts, Poetry Alfresco 2023 ....................................................... 87 M. Renee Vogt, Splatter Shack for UV Painting .................................... 98 South of 6, Patio Mural ........................................................................ 99 Zen Cohen, Open Air Media Festival at PS1 ....................................... 109 PAAC 4-6-23 meeting packet page 5 Matching Fund Grant Requestsp.1 of 3 Public Art Matching Funds - April 23 REQUESTTotal Project CostsA. Overall ApplicationB. Artwork/event and materialsdesriptionC. Images/plans and projectillustrationD. PAAC definition of Public ArtE. Project LocationF. Technical ability to carry out scope of workG. PAAC matching fund expensesH. Funds from other sources/ impactof PAAC fundsI. Specific Outcomes and measuresJ. Engagement with broadercommunityK. Community partner integarationL. Functional Art (e.g. bus stop benchesM. Unexpected ArtN. Participatory ArtO. Ephemeral ArtTOTALAidar IshemgulovSculptural Portrait of Kurt Vonnegut ICPL or other not committed (Elsworth reviewing)$3,500 $7,000 Andrea Smisek Gage Plein Air Painting Pop ups IC Park Shelters such as Hickory Hill, City Park, Crandic Park, College Green, Terry Trueblood, Mercer, Scott, Waterworks Prairie or Willow Creek. OK by P&R with agreement for sched, promo & locations $3,200 $6,408 Elliot-Wherry, Rockwell, Kraus, ArthurCelebrating the Wonderful Westside NeighborhoodNeighborhood Centers of JoCo @ 2651 Roberts Rd.$3,500 $7,000 Dustin T. KellyTake a Load off (bench project) IC Park or Trail location with 3 x 33' footprintP&R-Possibly Wetherby Park if artist could get support from SDNA $3,500 $7,000 Erika ChristiansenThere is always light (public candle making)3 locations in parks near pavilion or electricity at minimumOK by P&R with agreement for sched, promo & locations $3,000 $6,000 PAAC 4-6-23 meeting packet page 6 Matching Fund Grant Requestsp.2 of 3 Public Art Matching Funds - April 23 REQUESTTotal Project CostsA. Overall ApplicationB. Artwork/event and materialsdesriptionC. Images/plans and projectillustrationD. PAAC definition of Public ArtE. Project LocationF. Technical ability to carry out scope of workG. PAAC matching fund expensesH. Funds from other sources/ impactof PAAC fundsI. Specific Outcomes and measuresJ. Engagement with broadercommunityK. Community partner integarationL. Functional Art (e.g. bus stop benchesM. Unexpected ArtN. Participatory ArtO. Ephemeral ArtTOTALFamily Folk Machine"Love in Harmony Concert"Englert Theater $3,500 $10,950 Farrow UlvenA History of Beingsouthwest of City Park Pool P&R: Not City Park, perhaps other location depending on appropriateness, Kiwanis or RFX would be better $1,500 $3,000 Film SceneRefocus Film Festival Public Art (inflatable) Ped Mall - location OK by P&R $3,500 $7,000 Heather Blatt & Thomas AgranNorth Market Square horizontal muralNorth Market Square ParkP&R regarding location - generally ok would like to see letter from NSN supporting and review design $1,175 $2,350 Jason Thomas SmithRenegade Nuns on Wheels M.C. (publish novel)location not applicable $3,000 $3,000 PAAC 4-6-23 meeting packet page 7 Matching Fund Grant Requestsp.3 of 3 Public Art Matching Funds - April 23 REQUESTTotal Project CostsA. Overall ApplicationB. Artwork/event and materialsdesriptionC. Images/plans and projectillustrationD. PAAC definition of Public ArtE. Project LocationF. Technical ability to carry out scope of workG. PAAC matching fund expensesH. Funds from other sources/ impactof PAAC fundsI. Specific Outcomes and measuresJ. Engagement with broadercommunityK. Community partner integarationL. Functional Art (e.g. bus stop benchesM. Unexpected ArtN. Participatory ArtO. Ephemeral ArtTOTALJulia WinterYou are Enough MuralCommUnity's 1121 S. Gilbert Ct. building $3,280 $6,560 Lisa RobertsPoetry AlfrescoVarious private locations AND McPherson Park P&R McPherson good; question on private prop $555 $1,131 M.Renee VogtSplatter Shack for UV painting Art Studio - Renees Ceramic Café 940 S. Gilbert $500 $1,000 South of 6 Business DistrictSouth District Market Patio MuralPrivate property facing parking lot $3,500 $10,000 Zen CohenOpen Air Media Festival at PS1Outside Close Mansion $3,500 $11,852Total Requests $40,710 $90,251 PAAC 4-6-23 meeting packet page 8 1 Public Art Matching Fund Program Awards Rubric I. PROJECT DETAILS AND DESCRIPTION A.Overall Application 3. Application is clear, concise, and well composed. This project is substantially different from regular programming or has not been done before by the City. Case for support is exemplary and merits investment from the City. 2.Application is clear. This project has elements that are different from the applicant’s regular programming. Case for support is adequate. 1. Application is unclear or poorly composed. This project has been done by the applicant previously or closely resembles artwork/events already available in Iowa City. Case for support is inadequate or does not merit City investment. B.Artwork/event and materials description 3. Project and description are exemplary and clearly advance the mission, vision, and goals laid out in the Public Art Strategic Plan and Iowa City Public Art Management Plan. 2. Project and description satisfactorily advance the mission, vision, and goals laid out in the Public Art Strategic Plan and Iowa City Public Art Management Plan. 1. Project and description are unclear and do not advance the mission, vision, and goals laid out in the Public Art Strategic Plan and Iowa City Public Art Management Plan. C.Images/plans and project illustration 3. Work samples are of high quality and clearly demonstrate exceptional capabilities in artistic concept and form. 2. Work samples are of average quality and demonstrate capabilities in artistic concept and form. 1. Work samples are of poor quality or demonstrate inadequate capabilities in concept and form. D.PAAC Definition of public art 3. Artwork/event dynamically engages with, and extends the definition of public art found in the Public Art Strategic Plan and Iowa City Public Art Management Plan. 2. Artwork/event clearly fits within the definition of public art found in the Public Art Strategic Plan and Iowa City Public Art Management Plan. 1. Artwork/event does not clearly fit within the Public Art Strategic Plan and Iowa City Public Art Management Plan. E.Project location 3. Project location is considerately and strategically thought out to reach target audience. Project is appropriate for the 2. Project location is suitable for the project. The project is appropriate for the location. 1. Project location is random and project does not suit chosen location. PAAC 4-6-23 meeting packet page 9 2 location. Artist/contractor utilizes City Parks/Facility Inventory in the Public Art Strategic Plan and Iowa City Public Art Management Plan. F.Technical ability to carry out scope of project 3. Project has strong implementation objectives. Timeline demonstrates thoughtful planning and detailed consideration. Confident project will be realized through a clear, reasonable timeline. Artist and partner responsibilities are clearly defined. 2. Project has identified implementation objectives. Timeline demonstrates planning and consideration of most tasks needed. Artist and partner responsibilities are defined. 1. Project has unclear implementation objectives and timeline. Raises concerns about project achievability. Artist and partner responsibilities are undefined or unclear. II. PROJECT COSTS AND BUDGET G.PAAC matching fund expenses 3. Project budget is clear and intended use of matching funds is detailed. 2. Project budget is clear but the intended use of matching funds is implied but inadequately detailed. 1. Project budget is vague and the intended use of matching funds is inadequate. H.Funds from other sources/impact of PAAC funds 3. Project leverages diverse funding sources and in-kind support as appropriate. PAAC funds are clearly integral to project implementation. 2. Project demonstrates some diversity in funding sources or in-kind support as appropriate. PAAC funds are supplementary to project implementation. 1. Project demonstrates inadequate or unclear leveraging of diverse funding sources as appropriate. The impact of PAAC funds is vague or extraneous. III. PROJECT OUTCOMES I.Specific outcomes and measures 3. Project uses strong qualitative and quantitative measures to analyze achievement of arts goals and implementation objectives. Project has appropriate methods in place to collect data on evaluation measures. 2. Project identifies methods or measures to analyze achievement of arts goals and implementation objectives. 1. Evaluation methods and measures are weak, inadequate or unclear. J.Engagement with broader community PAAC 4-6-23 meeting packet page 10 3 3. Target community for project is well defined, its relevance to project is evident. Plans to disseminate and provide equitable access to project are exemplary. 2. Target community for the project is identified. Plans to disseminate project and provide equitable access to project are satisfactory. 1. Target community for the project is not defined. Plans to disseminate and provide equitable access to project are inadequate. K.Community partner integration 3. There is clear demonstration of collaborative partnership. All involved parties share significant responsibility for the successful outcome of the project. 2. There is some demonstration of collaboration. There is investment on both sides, but it is imbalanced. 1. There is little to no demonstrated partnership. If there are listed partners, partners appear minimally involved. L.Functional Art (eg., bus stop benches) 3. This project is clearly functional art 2. This project may be functional art 1. There is no functional aspect to this art. M.Unexpected Art 3. This project is located in a place or happens at a time when or where art is completely unexpected 2. This project is located in a place or happens at a time when or where art may have occurred in the past, but not frequently. 1. This project is located in a place or happens at a time when or where art is a common happening. N.Participatory Art 3. There is a clear opportunity for or aspect of community participation in this project 2. There may be some opportunity for or aspect of community participation in this project 1. There is little to no opportunity for or aspect of community participation in this project O.Ephemeral Art 3.This project may only be experienced in a certain place and time and then is over. 2.This project can be experienced repeated times. 1.This project may be experienced at any time. PAAC 4-6-23 meeting packet page 11 Project Name: Sculptural Portrait of Kurt Vonnegut Applicant Name: Aidar Ishemgulov City: Iowa City Project Date: 12/31/2022 Email: aidarishemgulov76@gmail.com Location: Buildings Specific Location: Iowa City Public Library or University of Iowa Library or Writer's Workshop Building, or Vogt's House premises (porch) Provide a brief description of the proposed project: Sculptural Portrait of Kurt Vonnegut, a bust on a pedestal, 67" high Materials: read oak wood. Tools: chainsaw, axe, chisels Combination of baroque carvings and polished wood, and a wooden pedestal with colored inserts representing Vonnegut's book covers Explain how this project is defined as “public art” and demonstrate that the artwork/event will be in an area open and freely available to the general public: The proposed location of the sculpture is Iowa City Public Library or University of Iowa Library or Writer's Workshop Building, or Vogt's House premises (porch), all of which provide open access for the general public to view Describe the intended audience for this project and what efforts you will make to benefit the broader community: General population: children, students, adults. Kurt Vonnegut, who wrote one of his most famous novels Slaughterhouse-five in Iowa City, is a writer known all over the world and translated into all the major world languages. I hope that his sculpture installed in Public Library will contribute to the world reputation of Iowa City as a UNESCO City of Literature Received funds in the past? No Total Project Cost Matching Fund Request 7000.00 3500.00 Outside funding sources Amount Anticipated/Committed Oasis Falafel (Iowa City) 100.00 Anticipated Sueppel's Siding and Remodelling 500.00 Committed Total Tree Care of Iowa City 100.00 Anticipated Explain specifically what matching funds will pay for: Materials, job sites, tools Explain how you will gauge a successful outcome of the project: As I participated in 2022 Iowa Art Festival, I interacted with many other festival participants and festival visitors, which was a rewarding experience. I hope that the sculpture will attract local community and visitors, will serve as a place for gatherings, will provoke interesting public discussions, and in general, will become yet another literary symbol of Iowa City. PAAC 4-6-23 meeting packet page 12 March 23, 2023 To whom it may concern: This letter is in support of the Public Art Matching Grant project, a wooden bust of Kurt Vonnegut by Aidar Ishemgulov. With my support, I express the opinion of multiple generations of Iowa City residents. My husband and I have lived in Iowa City for the last thirty years. I studied in graduate school here. I have been teaching for Kirkwood Community College for over 20 years. My three (now adult) children have graduated from Iowa City West High School, and our elderly parents have lived here with us as well. We all appreciate the local community and the cultural vibe that make Iowa City a unique place. I have known Aidar Ishemgulov and followed his art for a long time. He is an amazing, witty, talented, passionate artist, who wears his heart on his sleeve. The project he has embarked on is, sadly, very timely. Kurt Vonnegut wrote a world-famous anti-war novel, Slaughterhouse-five, here, in Iowa City. I lost half of my family in World War II, and so did Aidar. I know that for him, creating a sculptural portrait of Kurt Vonnegut is a personal statement. This sculpture continues Aidar’s series of wooden sculptures portraying remarkable people of this country, some of which he displayed at the 2022 Iowa City Art Festival, and I know that he already has several ideas for new sculptures in the series. Through the years, I have participated in multiple literary events in lowa City (including Iowa City Public Library presentation on Ray Bradbury’s Fahrenheit 451 for the NEA Big Read series). I hope that the sculpture of Kurt Vonnegut created by Aidar Ishemgulov will become another literary hallmark to celebrate Iowa City, a UNESCO City of Literature. Thank you very much for your consideration, Olga Petrova, Ph.D. Professor, Global Learning, Kirkwood Community College olga.petrova@kirkwood.edu Office phone 319-887-3952 Cell phone 319-936-8221 PAAC 4-6-23 meeting packet page 13 PO Box 2570 Iowa City IA 52244-2570 (319) 337-2246 March 24, 2023 Letter of Support Public Art Matching Grant Public Art Advisory Committee, I am writing on behalf of my employee, Aidar Ishemgulov, in support of his application for the City of Iowa City’s Public Art Matching Grant. I have pledged $500.00 to match his request for a $500.00 grant through this program. Aidar joined my company in early November 2022. During his time with my company I have seen his creative talents. He has displayed a gift for craftsmanship with an incredible eye for detail. He has been working on a project that demands the use of these skills daily. He is patient, diligent, and focused as he continues to grow with the company. Aidar is a native of Russia and moved here last fall to find safety from the turmoil there. In Russia he is an accomplished sculptor and painter. As I have gotten to know him I have learned more about his passion for the arts. He has utilized our shop space as a studio to create his artwork when he is not working. As a result of us- ing the space I have been able to see some of his work. He is truly gifted and it is his passion. Aidar is planning to use this grant to do a portrait of Kurt Vonnegut and have it displayed in the Iowa City Public Library. His artwork will be based loosely on the book Slaughterhouse-Five bridging the elements of the past as represented in the book, with his life experiences, and the current events of the world. This is a great opportunity not only for Aidar but also for Iowa City. Thank you for your consideration. Sincerely, G.T. Karr, owner CAPS, CGP Sueppel’s Building & Remodeling Providing quality, custom work since 1995. PAAC 4-6-23 meeting packet page 14 PO Box 2570 Iowa City IA 52244-2570 (319) 337-2246 To Whom it May Concern, I am writing this letter in support of Aidar Ishmegul, my friend and coworker at Sueppel’s Building & Remod- eling, and his application for the Iowa City Public Art Matching Grant. Aidar has been a valued employee of our team at Sueppel’s since he joined us in November of 2022. I’ve worked side by side with Aidar on numerous residential remodeling projects. His hard work and dedication, combined with his well rounded carpentry skill set have proved invaluable. I have yet to offer him a task that he wasn’t easily able to pick up and quickly become proficient in. His spacial recognition and ability to visu- ally assess and solve complex problems has been impressive. He has a natural knack for seeing the simple so- lution. Due to the Ukraine/Russia conflict Aidar had to leave his native country, Russia, and temporarily leave his wife and children behind to keep himself from being forced into a conflict that he doesn’t support. I can’t im- agine what it would be like to upend your life, leave your family behind and travel so far away in the interest of self preservation. Let alone move to a place where their primary language isn’t the same as yours. I’d like to say I would have the same courage if I were in his shoes but I highly doubt I would. Fortunately, Aidar does have some family and long time friends in Iowa City area. I personally am a photographer and dabble in other forms of two dimensional art. For me any form of artistry must come with a story. Without it art is nothing more than material. If there’s anyone I’ve met in recent times that has a story to tell it is Aidar. He has a different view of the world than most around here and really knows how to express himself through his sculpting and artwork. His work is thought provoking and many of the pieces I’ve seen elicit strong tactile and emotional responses. I have seen Aidar take his vision to sculpture, from stock lumber to a three dimensional piece of art, and it frankly amazes me. I’ve been a carpenter/finish carpenter for 20+ years and I can’t fathom how he blends the use of his tools and techniques to create his sculptures. There is no question Aidar’s passion is strong and his work ethic is solid. He spent much of this past winter outside in the cold, sometimes below zero, working on large wooden sculptures. All during nights and week- ends outside of our normal business hours. I know he has a strong vision for what he wants to create for this project. With the current world climate, the theme of this project and his niche of artistry I wholeheartedly believe Aidar would be a fantastic addition to Iowa City’s art scene. Sincerely, Jesse Streinz Project Manager/Site Foreman Sueppel’s Building & Remodeling jessestreinz@gmail.com PAAC 4-6-23 meeting packet page 15 PAAC 4-6-23 meeting packet page 16 PAAC 4-6-23 meeting packet page 17 PAAC 4-6-23 meeting packet page 18 PAAC 4-6-23 meeting packet page 19 Project Name: Plein Air Painting Pop Ups Applicant Name: Andrea Smisek Gage City: Iowa City Project Date: 4/11/2023 Email: smisekart@gmail.com Location: Parks Specific Location: The beauty of this project is that it could be accomplished in any of the above listed locations. Specifically I hope to use the public parks with shelters such as those found at Hickory Hill, City Park, Crandic Park, College Green, Terry Trueblood, Mercer Park, Scott Park, Waterworks Prairie, or Willow Creek Park. Outdoor space around Hope Lodge and Ronald McDonald House including decks and patios or covered areas. Painting in nature offers a uniquely stimulating and creative outlet for people of all ages. The above areas are listed due to the fact that there is level space to set up easels, shelter from sun or rain, picnic tables to offer seating if needed, open and available to the public to join in or are targeted to community groups like seniors or care-givers that may not have easy access to participate in art yet may find it beneficial and easily applicable to their particular situation. Locations that have easy access to parking, bathrooms, shelter and water are most beneficial for the enjoyment of the participants. Provide a brief description of the proposed project: Plein Air Painting Pop Ups is an interactive, hands- on concept designed to take art to the people. Funds would be used to purchase 15 watercolor art kits and supplies in order to host plein air (outside) painting workshops taught by Andrea Smisek Gage at various locations around Iowa City in order to bring art to those in our community. Explain how this project is defined as “public art” and demonstrate that the artwork/event will be in an area open and freely available to the general public: This interactive experience would allow people to experience art for themselves through hands-on watercolor painting in nature. The workshops will take place outside in the open in public areas (parks) or in shelters or location facilities that allow people to interact with nature. Cost of supplies and instruction would be covered by the grant funding. Describe the intended audience for this project and what efforts you will make to benefit the broader community: At least five monthly workshop dates and locations around Iowa City will allow for multiple ages and audiences to participate in art who may not otherwise have the opportunity to learn this technique. Locations include, but are not limited to Iowa City public parks or open space with shelters, parking garages, the UI campus, Ronald McDonald House, and Hope Lodge. I plan to conduct 5 public painting pop-ups, with tentatively one per month from June-October of 2023 in Iowa City. My goal is to work with the recreation department to select dates to reserve shelters at various parks in different parts of town in order to reach a variety of residents. Received funds in the past? No Total Project Cost Matching Fund Request 6407.50 3200.00 Outside funding sources Amount Anticipated/Committed Self 3200.00 Committed PAAC 4-6-23 meeting packet page 20 Explain specifically what matching funds will pay for: The matching funds will pay for the supplies in the art kits for the workshops which (other than the paper) will be used repeatedly for each session and other costs that may be incurred such as transportation, publicity, promotion, additional paper, time, gear and shelter fees if needed. Please see cost estimate sheet attached under additional information. Explain how you will gauge a successful outcome of the project: The initial gauge is by attendance at each pop-up workshop, yet I believe the smiles on the faces of the participants and the interaction among them is a far better assessment. A positive result would be continued engagement in the arts whether in painting or another area for creative expression and discovery. Their own peace of mind and stress reduction cannot be measured but is vital to the enhancement of their own lives, their families, their workplaces and our community as a whole. Ultimate success would be fostering creative growth and encouragement that spurs participants to give back to the community artistically in the way I hope to do with this grant. Project partners and their role: Artifactory/Arts Iowa City: Beppie Weiss, Board Member Artifactory will provide storage for supplies, promote the Plein Air Pop Up events to their participants and to the community at large, provide exhibit space and host an Art in the Afternoon presentation following the pop-up events in late fall of 2023. Russel and Ann Gerdin American Cancer Society Hope Lodge: Allie Eversoll, Senior Manager As a promotional partner, Hope Lodge will provide promotional materials, outdoor deck space and clean up facilities for the workshop. It is a mutually beneficial partnership as it allows us to welcome and provide comfort through art to the resident families, provides volunteer programming for this important non-profit that serves our community and creates a moment of creative outlet and metal health support for patients and their caregivers in our community. Donated artwork from the workshops will be repurposed as artwork, notecards or look books for the facility., Files uploaded with application: PAAC 4-6-23 meeting packet page 21 Plein Air Pop Up Costs Andrea Smisek Gage smisekart@gmail.com 205-999-6601 Participant Kit Expenses Backpack 80 Easle 60 Panel 12 Paper 32 Tape 5 Paint Set 80 Brushes 15 Palette 12 Cup 7.5 Sprayer 3 Apron 15 Water 2 Viewfinder 13 Pencil 1 Caribeaners 12 Magnets 10 Eraser 3 TOTAL 362.5 Quantity KIT TOTAL Total 15 $5,437.50 Group Expenses Brush Cleaner 30 Water Jug 30 Demo Sheet 30 Lamination 35 Paper Towels 50 Trash Bags 15 Masking Fluid 13 Masking Brush 13 Shelter Charge 250 Gas 200 Mat 50 Sharpies 4 Marketing 220 Media 30 TOTAL 970 KITS 5437.5 GROUP EXPENSES 970 PAAC 4-6-23 meeting packet page 22 GRAND TOTAL 6407.5 PAAC 4-6-23 meeting packet page 23 Andrea J. Smisek Gage, Ph.D. 11 Lakeview Drive NE, Iowa City, IA 52240 (205) 999-6601 smisekart@gmail.com andreasmisekgage.com OBJECTIVE To obtain an artist residency with responsibility and creativity that allows me to integrate my educational attainment, work experience, interpersonal skills and desire to help others. WORK EXPERIENCE Artist Drawing & Painting – Lifelong to Present Self-taught with initial pursuits of architecture and creative design, sketching evolved into painting and study of numerous mediums and techniques under mentors from across the country, with a current passion to teach and encourage others in their creative pursuits. Responsibilities include workshop teaching, assisting, and attending with internationally known artists and local residents covering human figure drawing, plein air, still life, landscape and portrait in charcoal, pastel, watercolor, gouache, and oil for private and corporate commissions and galleries. Family Caregiver –2003 to Present Raising three children while caring for ailing parents and supporting a successful husband in his career pursuits. Responsibilities included daily care to three babies in four years, moving a family back and forth across the country, supporting a spouse in a public role, hosting multiple family and business events, helping care for both parents through 15 years of cancer, chemotherapy, radiation, numerous surgeries, medical care and emergencies, insurance coverage and managing of the family assets. University of Alabama- Birmingham College of Business– Birmingham, Alabama Adjunct Professor– 2010 to 2014 Designed and delivered an Interpersonal Leadership Course for undergraduate students and taught various courses as assigned. Responsibilities included curriculum development, research, mentoring students, advising students on research projects, presenting to various departments, faculty, staff, students and business leaders across the metro area. University of Nebraska-Lincoln Department of Agricultural Leadership Education and Communications– Lincoln, Nebraska Doctoral Fellow – June 2003 to June 2004 Researched and conducted Intergenerational Dialogues in various rural communities throughout Nebraska in order to assist with community leadership and development. Responsibilities included assisting Dr. Leverne Barrett in planning and coordinating dialogue events with local community leaders, writing guidelines, scenarios and questions, and assisting in facilitation. Work funded through a Kellogg Foundation fellowship grant. University of Nebraska Honors Program – Lincoln, Nebraska Graduate Assistant – August 2000 to June 2004 Designed and implemented programs for Honors students at the collegiate level. Responsibilities included web-page review, recruitment events and presentations, classroom instructional assistance, office assistance, trip and retreat planning, student program coordination and advising the Honors Board comprised of current college students. PAAC 4-6-23 meeting packet page 24 Development Systems/ Applications International, Inc. – Lincoln, Nebraska Applied Anthropologist – September 2000 to May 2003 Reviewed, selected and implemented various methodologies in order to conduct research projects with the Omaha Tribe, the Little Salt Fork Planning Committee, the Nature Conservancy, Nebraska Games and Parks and the State of Nebraska. Created survey questions, conducted interviews and oral histories that were then analyzed for research assessment and review in report writing for individual clients. University of Nebraska Admissions Office – Lincoln, Nebraska Assistant Director – December 1999 to August 2000 Initiated and maintained personal contact with qualified prospective students and schools in Lincoln and assigned out-of-state territories throughout the recruitment and enrollment process. Provided leadership for recruitment team, processed applications, determined residency and served as a liaison with alumni, extension educators, colleges and high school parents and counselors. Work Smart – Chantilly, Virginia Senior Business Process Analyst – March 1999 to December 1999 Provided professional consulting services with core competencies in capture, processing, routing, and distribution of electronic documents and multimedia content across the netcentric enterprise. Analyzed and documented business processes of large corporations to define design solutions for document management. Lead teams through interviews and application assessments in order to create a strategic analysis for a paperless solution process. Created reports, assessments, presentations and proposals for such companies as American Express, Shell Oil, and Home Box Office. United Methodist Church of the Resurrection – Leawood, Kansas Director of Middle School Ministries – January 1996 to December 1998 Responsibilities included program design, development, and implementation in order to foster spiritual growth and self-esteem in youth. Organized and lead a ministry of 550 middle school students, their parents, and over one-hundred volunteers to carry out summer camps, mission trips, youth committees, and youth groups. Counseling, crisis management, curriculum writing, public speaking, teacher training, and change management were conducted on a daily basis. Grew the middle school ministry from conceptual design to a full-time ministry with programs and volunteers servicing hundreds of youths and their families. United Methodist Church of the Resurrection – Leawood, Kansas Director of Single Adult Ministries – September 1996 to September 1998 Designed and developed a comprehensive ministry for single adults of all ages. Responsibilities included marketing, fundraising, pastoral care, trip planning, facilitating, needs assessment, public speaking and conflict resolution. Published articles on leadership, motivation, delegation, organization and marketing for a national trade publication. Spoke to numerous churches and conferences regarding how to reach Generation X. Created, designed, implemented and built a full-time ministry from 0 to 1100 single adults with multiple programs to meet the needs of the single adult community. LanDesign – Overland Park, Kansas Business Management Consultant – November 1995 to May 1996 Reviewed and revised current small business structure in order to expand to a second location. Developed business plan, policies, procedures, marketing, and management strategies for a new business. Interviewed and hired new employees and implemented marketing and business plans. Andersen Consulting, L.L.P. – Kansas City, Missouri Change Management Consultant – March 1994 to November 1995 Responsibilities included organizational change, human resource management, hardware and software GUI usability studies, integrated performance support, training design and development, computer-based training, user review studies throughout software development, software prototype design and development. Determined the impact of technological advancement on jobs within the transportation industry. Worked in daily contact with large LTL Carrier from conceptual design through implementation of new technology during corporate re-engineering. PAAC 4-6-23 meeting packet page 25 EDUCATION Doctor of Philosophy, University of Nebraska – Lincoln Major: Human Sciences with a specialization in Leadership Studies Completed May 2005 Master of Arts Degree, University of Nebraska – Lincoln Major: Anthropology Minor: Sociology Completed May 2002 Bachelor of Arts Degree, University of Nebraska – Lincoln Major: Architectural Engineering and Business Completed December 1993 Maroger Fine Arts 2015 to Present Workshop with Rose Frantzen at the Scottsdale Artists’ School 2022 Oil Workshop with Slava Korolenkov in Kansas City 2019 Painters Path 2019 to Present Color, Composition & Light with Mary Bentz Gilkerson 2019 to 2022 John Preston Workshops in Pastel, Watercolor and Oil 2019 to Present Portraiture and Figure Drawing Workshops with Beppie Weiss 2019 to Present Plein Air Live International Conference 2022 & 2021 Watercolor Live International Conference 2022 & 2021 Realism Live International Conference 2022, 2021, & 2020 Leadership Network Continuing Education for Young Women in Ministry Continuing Education – Andersen Consulting Worldwide Training Center – St. Charles, Illinois Spirit of Facilitation Performance Enhancement School Integrated Performance Support Performance Design Fundamentals School Computer Aided Course Design PUBLICATIONS & PRESENTATIONS Iowa City Senior Center Watercolor Workshop 2019 & 2020 Watercolor Workshops 2020 to Present Plein Air Workshops 2020 to Present Artifactory Artist in the Afternoon 2020 Iowa State Fair Inaugural Plein Air at the Fair Top Ten Iowa Artists 2019 P.E.O. Northern Illinois Intergenerational Leadership Guest Speaker, 2008 Sycamore United Methodist Church Administrative Council Guest Speaker 2007 IACRAO Guest Speaker at Northern Illinois University 2006 Nebraska Cooperative Extension Association Annual Conference Speaker, November 2004 Nebraska Health Ministries Conference Speaker, November 2004 Women in Education Leadership Conference Speaker, September 2004 Annual Conference of the Rural Sociological Society Speaker, August 2004 Association of Leadership Educators National Conference Speaker July 2004 Kellogg Foundation Intergenerational Dialogue Presentations and Facilitations 2003-2004 High Plains Conference for Applied Anthropologists Student Speaker 2001, 2002 NACRAO Admissions Guest Speaker 2000 South Central Jurisdictional Conference Single Adult Ministry Task Force Speaker 1998 Andersen Consulting’s Global Consulting Seminar Project Presentation 1995 PAAC 4-6-23 meeting packet page 26 PUBLICATIONS & PRESENTATIONS Barrett, L. and Gage, A.J. (2004). Planning an IntergenerationalTM Dialogue. NebGuide, Leadership and Policy Issues, A-16, Cooperative Extension, Institute of Agriculture and Natural Resources, University of Nebraska-Lincoln. Mumma, S., Gage, A., and Fritz, S. (2004). Exploring the Bermuda Triangle: Review of gender, societal, team & individual leadership theories. Journal of Leadership Education, 3(2). Dissertation: A Phenomenological Study of the Leadership Perceptions of the G.I. and Millennial Generations AWARDS & HONORS Robert Henri Museum Artist in Residence 2023 Iowa Artists Traveling Art Exhibit 2023 – 3 works jury selected for travel across state Iowa Artists Organization Region 8 Third Place 2022 Art Domestique Small Works Show 3rd Place 2021 Wilber Nebraska Czech Festival Art Show 2005 to present Best in Theme Honorable Mention – multiple years Street Paintings The Volland Store Artist in Residence, Flint Hills, Kansas 2021 Realism Live International Conference - Selected Portrait Artist for Critique 2020 Iowa State Fair Inaugural Plein Air at the Fair Top Ten Iowa Artists 2019 Catiri’s Art Oasis Gallery Amana, Iowa Gallery on Main Amana Arts Guild Association of Leadership Educators Graduate Award Recipient 2004 Institute of Agriculture and Natural Resources, University of Nebraska-Lincoln, Travel Award 2004 Kellogg Foundation Grant Recipient 2003 Leadership Network Young Women’s Leader Kindest Kansas Citian Nominee Chancellor’s Outstanding Student Leadership Award Finalist ACTIVITIES Amana Iowa Plein Air Festival Invited Artist 2019, 2022 Cedarburg Wisconsin Plein Air Festival Member of Created to Thrive International Artists Member of Eastern Iowa Plein Air Painters Member of Iowa Artists Organization Member of Dreamline Artists International Phil Dorothy Human Figure Drawing Group Artifactory Board United Methodist Women – Canterbury UMC, Mountain Brook, Alabama International P.E.O. Member and Officer for Chapter IV – DeKalb, Illinois Mothers of Preschoolers Coordinator for DeKalb, Illinois UNL Anthropology Field School at Hudson-Meng Bison Bonebed, Summer 2001 Lay Pastor for St. Mark’s United Methodist Church Young Adult Service – Lincoln, Nebraska Research Assistant for Development Systems/ Applications International Inc. Project Business Junior Achievement Educator in the Kansas City School System Church of the Resurrection Administrative Council Youth and Adult Sunday School Teacher UNL Alumni Association Board of Directors Member of Gamma Phi Beta Sorority Missionary to Jamaica and numerous U.S. Cities United States Student Ambassador to the South Pacific Public speaker and published author on leadership, motivation, goal setting, team building PAAC 4-6-23 meeting packet page 27 PAAC 4-6-23 meeting packet page 28 PAAC 4-6-23 meeting packet page 29 Project Name: Celebrating the Wonderful Westside Neighborhood Applicant Name: Alaina Elliott-Wherry, Rachel Rockwell, Travis Kraus, and Loyce Arthur City: Iowa City Project Date: 7/3/2023 Email: alaina-elliott@uiowa.edu Location: Another Location Specific Location: Pheasant Ridge Neighborhood Center (2651 Roberts Rd, Iowa City, IA 52246) Provide a brief description of the proposed project: In a partnership between the Neighborhood Centers of Johnson County and the University of Iowa, we propose a public art project to connect members of the community to one another as they work to beautify the Pheasant Ridge space. We intend to invite residents of the WWN to the Pheasant Ridge Neighborhood Center to celebrate the start of the projects happening in the neighborhood. The Iowa City community will also be invited to celebrate and to sign up to help with the project. Painting, making chalk art in the parking lot, and picnicking will occur over the course of 3 weekends and 3-4 weekday evenings in July 2023. There will be a team of young people taking part to inspire them to serve their community now and into the future. At the end of the painting period, a neighborhood party will be held and people from throughout Iowa City will be invited to take part. The art that will be created and events that will be held as part of this project will be in open spaces outdoors and are freely available for the general public and specifically the WWN residents. Explain how this project is defined as “public art” and demonstrate that the artwork/event will be in an area open and freely available to the general public: The project is intended to establish the Center, that sits on two main roads into and out of the housing complex, as a welcoming gathering place where the whole neighborhood can come together for fellowship and purposeful work to improve life in the community for all residents. The public art activities planned will enliven the spaces that are currently bland and stark, such as a fence, picnic tables, gazebo, and a shed (see pictures attached). Artists will work with residents of all ages to create spaces that are engaging and encourage celebration every day, as well as for special occasions and to give residents a sense of pride of place. These efforts seek to attract diverse groups of people to the Center and the services that they offer for families and individuals, particularly the Sudanese immigrant community, who often struggle to find their place in the wider community of the City. People will be made aware that there is an asset right on their doorsteps that they can take advantage of without going very far. Describe the intended audience for this project and what efforts you will make to benefit the broader community: The newly formed Wonderful Westside Neighborhood (WWN) Association aims to build identity and cohesion and envisions that the “Wonderful Westside Neighborhood will be a safe, peaceful, and desirable place to live, work, and play. We will work together to empower inherent leadership, improve economic and social well-being, strengthen sense of belonging, and make connections with resources as we elevate, celebrate, and integrate the diverse cultures and voices of our residents” (from the WWN vision statement). The project is design to support this vision. According to a Little Village article, back in 2000, the area next to the center was a gathering spot in Pheasant Ridge that marked a nightly ritual among the community. “It was their space to unwind, chat, play and be transported back to the old neighborhoods of Khartoum and Omdurman. They called the PAAC 4-6-23 meeting packet page 30 field “Nadi El Tejani,” named after the wrinkly man who first started spending his nights on the grass, sitting in his chair, and drinking tea alone until, one by one, community members came to join him.” The article goes on to talk about the way these chances to gather was very important to new residents, giving them a common public place to share experiences and new lives. The project we are proposing will be the beginning of a facelift for this space so that established and new residents can enjoy and make use of the space even more. Residents of the WWN are the intended audience for this project, as it will take place around the Pheasant Ridge Neighborhood Center. However, the greater Iowa City community will benefit from this project because once it is finished and more people get to know about the Center, there will be opportunities to bring together people from other neighborhoods to celebrate diverse cultures and art. Neighborhood and community cohesion are central to our project goals, something that can benefit all Iowa City residents, and creating art and shared space will help to achieve that goal. Received funds in the past? No Total Project Cost Matching Fund Request 7000.00 3500.00 Outside funding sources Amount Anticipated/Committed Rachel Rockwell/Neighborhood Center 1000.00 Committed Iowa Initiative for Sustainable Communities 1000.00 Committed Loyce Arthur’s UI Arts & Humanities Initiative 600.00 Committed In-kind program manager fee 900.00 Committed Explain specifically what matching funds will pay for: Funds will be used to paint the gazebo and picnic tables in the front of the building, as well as a shed that will house equipment for a community garden, and a fence at the edge of the parking lot. Below is an itemized budget: • Paint, sealers, tarps, chalk, paint buckets, brushes, and other materials: $2,000.00 • Fees for 3 lead artists: 3 @ $800 each = $2,400.00 • Fees for a team of 6 youth artists from the community: 6 @ $200 each = $1,200.00 • Scaffolding, power washing equipment, and ladder rentals: $500.00 • In-kind project management: value of $900.00 Explain how you will gauge a successful outcome of the project: The project’s success will be measured by the response from residents in the WWN. After the project is complete, we will seek out feedback from residents regarding their experiences with and perceptions of the project. By centering the community’s definition of success in evaluating this project, we are ensuring that the community is PAAC 4-6-23 meeting packet page 31 driving the conversation. We also plan to interview staff at the Center and track whether there is a rise in the numbers of people that take part in services and events. Partners and the roles they play Rachel Rockwell, Neighborhood Centers of Johnson County Project management The Wonderful Westside Neighborhood Association Project planning and visioning Faculty and students from the Community Development Through Creative Placemaking/Action! Engage! For the Public Good course Project planning and coordination Files uploaded with application: PAAC 4-6-23 meeting packet page 32 PAAC 4-6-23 meeting packet page 33 PAAC 4-6-23 meeting packet page 34 PAAC 4-6-23 meeting packet page 35 Project Name: Take a load off Applicant Name: Dustin T Kelly City: Iowa City Project Date: 6/1/2023 Email: dustintkelly@gmail.com Location: Parks Specific Location: The bench would be installed on a 3x33 ft. strip of concrete along the trail in a public park such as Weatherby or Terry Trueblood. Provide a brief description of the proposed project: This project will take the form of a park bench modelled on the old ones from the pedestrian mall (same materials); but this bench will be surrealistic in width (30 ft.), pushing the form from utility into the realm of art. It would be constructed with no middle armrests allowing multiple people to lay down end-to-end. Explain how this project is defined as “public art” and demonstrate that the artwork/event will be in an area open and freely available to the general public: This project will function through a dual existence of sculpture to be contemplated and park bench for public use. As mentioned before, where this otherwise utilitarian object enters into the realm of art is through its absurd width. It would be installed in a city park, either in a clearing or along a trail. Describe the intended audience for this project and what efforts you will make to benefit the broader community: The intended audience for this project would be the entire Iowa City community and its citizens. The sculpture is designed to draw sharper focus on the problem of homelessness in our community and in the world in general. On a base level the sculpture will benefit the public by functioning as a place to sit or lay down and rest, but will also act as an invitation to kindness and compassion as opposed to what I see as the anti-human sentiment built into public structures such as benches with middle armrests or spikes placed underneath highway overpasses. Received funds in the past? No Total Project Cost Matching Fund Request 7000.00 3500.00 Outside funding sources Amount Anticipated/Committed Personal 1000.00 Anticipated Explain specifically what matching funds will pay for: Matching funds would be used for materials and fabrication: 1) metal armrests, feet, and back-bracing 2) wood planks for the seating and back portion of the bench and 3) poured concrete for the base of the installation Explain how you will gauge a successful outcome of the project: Success for me would take form in the public actually using the bench for rest and relaxation. Press coverage of the sculpture would also deliver a successful outcome for me in that it would draw attention to this great societal problem and possibly provide a philosophical counterpoint to previous approaches. PAAC 4-6-23 meeting packet page 36 Partners and their roles: N/A Files uploaded with application: Resume PAAC 4-6-23 meeting packet page 37 Dustin T Kelly dustintkelly@gmail.com | 510-493-8096 |www.dustintkelly.com Education ●Master of Fine Art (MFA). California College of the Arts. San Francisco, CA. 2009 ●Bachelor of Fine Art (BFA). Sculpture. Art History Emphasis. University of Iowa. Iowa City, IA. 2000 ●Teacher Licensure Art Education (Partial). University of Iowa. Iowa City, IA. 2000 - 2001 Exhibition Record ●Art Caucus.Stanley Museum of Art at FilmScene. Iowa City, IA. Group exhibition. 2020 ●The river: perpetual decay on the path to new landscapes.Augustana Teaching Museum of Art, Centennial Hall Galleries. Rock Island, IL. Duo performance. 2018 ●Lawyer Films Inc., llc.: ...if Lou Reed were Hank Williams.Berkeley Art Museum. Berkeley, CA. Performance as part of The Possible. 2014 ●A Fan’s Notes. Steven Wolf Fine Arts. San Francisco, CA. Solo exhibition. 2012 ●Lawyer Films Inc., llc.:...Night/Light Unlawful Edition. SOMArts. San Francisco, CA. Performance as part of Night/Light. 2012 ●American Water.Steven Wolf Fine Arts. San Francisco, CA. Solo exhibition. 2011 ●Punctuation.Right Window Gallery. San Francisco, CA. Group exhibition. 2009 ●The Something.Jack Hanley Gallery. San Francisco, CA. Performance. 2009 ●Markers Project. Last Days of Magic.Venice Biennale. Venice, Italy. Screening. 2009 ●Urban Idiom.Patricia Sweetow Gallery. San Francisco, CA. Group exhibition. 2009 ●Last Days of Magic.Orange Alley Projects. San Francisco, CA. Performance reenactment. 2009 ●Last Days of Magic.Headlands Center for the Arts. Sausalito, CA. Performance with video documentation. 2009 ●M.F.A. Final Solo Exhibition. The Nave. California College of the Arts. San Francisco, CA. Solo exhibition. 2009 ●Out of Time II.Playspace Gallery. San Francisco, CA. Performance. 2009 ●Out of Order.Playspace Gallery. San Francisco, CA. Group exhibition. 2009 ●Multispecies Salon II. Playspace Gallery. San Francisco, CA. Group exhibition. 2008 ●Out of Time I. Playspace Gallery. San Francisco, CA. Performance. 2008 ●Bookish. Project Artaud. San Francisco, CA. Group exhibition. 2008 ●The Last Three Years. Missing Peace Gallery. Solo exhibition. Iowa City, IA. 2003 ●B.F.A. Final Solo Exhibition. Main Gallery at the University of Iowa School of Art and Art History. Iowa City, IA. Solo exhibition. 2000 1 PAAC 4-6-23 meeting packet page 38 Publications,Illustrations, Commissions ●Songwriting and visual art for Shining Realm,Enter the Shining Realm album, 2021.Press ●Composed and recorded musical score for the 2012 Rural Route Film Festival trailer: http://youtu.be/xhuhuO2ysKc ●Illustrations for Rural Route Films Best of the Last 5 Years DVD Guide. 2008 ●“Love at Psychedelic Velocity” (painting).The Little Village. Volume 6, Issue 53. February 2006. Cover image and Page 13 ●“Untitled” (triptych). In the private collection of Dorothy L. Guthrie. 2006 ●Sky All Around (children’s book illustrations). Sarah Shey. Trafford. 2005. http://www.sarahshey.com/Children-s-Books.html ●Logo Design for Rural Route Film Festival, based in New York, NY. 2003 ●“Big Old Bear” (drawing).Coe Review. Issue 28. 1998. Page 163 Employment ●Pharmaceutical Delivery Driver. 7/2022 – Present. NuCara Pharmacy and Home Medical Equipment. Iowa City, IA (Looking for more activity and greater interpersonal contribution) ○Deliver medications from central pharmacy to various locations throughout the area ○Follow highly sensitive protocols for HIPAA and diversion control ○Ensure accurate record keeping per strict legal and regulatory compliance ○Registered with Iowa Board of Pharmacy ○Customer service and relationship care is provided to staff at residential and other care facilities including retirement and group home care settings ○Sensitivity to COVID as well as other barriers and vulnerabilities specific to individuals with disabilities or other unique healthcare needs ●Artist, musician, seasonal and part-time work. 3/2020 – 7/2022. Iowa City, IA ○Sales Associate, Earl May Garden Center: customer service and support, includes extensive tree, plant and flower maintenance, watering, displays, deliveries (seasonal) ○House painting: rigorous outdoor work throughout the Iowa City and Coralville area, some historical structures, working with diverse homeowner needs and requests for how sensitive areas are cared for (freelance) ○Artist: recent work includes collage, sculpture, assemblage, drawing ○Musician: founding member of local band, Shining Realm (Press), includes writing, performing and recording music, liaising with local venues, creating promotional content and swag, collaborating with and supporting fellow performing artists, liaising and performing for the benefit of local community groups including United Action for Youth, plus ongoing solo creative works and projects 2 PAAC 4-6-23 meeting packet page 39 ●Senior Produce Associate. 5/2015 – 3/2020. New Pioneer Food Co-op & Bakehouse. Coralville, IA (Left due to “RIF” aka COVID Reduction In Force) ○Advanced time management and organizational skills, balancing administrative tasks with the daily needs of moving produce into enticing, engaging displays ○Monthly inventory counting, tracking and minimizing waste ○Ordering from numerous vendors on a daily basis ○Stocking, organization and cleaning, signage ○Forklift use for pallets and manual lifting, moving, storing, sorting, of heavy things ○Served as a member of a team, supporting fellow team mates ○Customer service and relationship building within the community of store visitors, tending to our brand as a place for health and wellness and community ●Produce Team Lead. 12/2014 – 5/2015. New Pioneer Food Co-op & Bakehouse. Cedar Rapids, IA (Set up shop then transferred closer to home) ○Organized the Produce Department to open this brand new Co-op location ○Creative layout design for flow between different areas of the department ○Trained and mentored diverse staff members to be effective on the team ○Managed the produce team including writing and delivering performance evaluations, tracking and encouraging employee development, coaching and progressive discipline when needed ○Worked to communicate and meet departmental labor productivity, sales, and other performance goals ○Wrote the department schedule ○Ordered from local and other vendors daily ○Led team strategy meetings, attended weekly leadership meetings ○Customer engagement and advancement of co-op philosophy, values, mission ○ServSafe certified ●Produce Supervisor. 4/2012 – 11/2014. Dan’s Fresh Produce. Alameda, CA (Relocated back to Iowa to escape the high cost of Bay Area living and to take an opportunity to rejoin the Co-op team, having worked in their Coralville Produce Department before moving to California) ○Supervised a team of Associates ○Home deliveries to local business and residential customers ○Grew my knowledge of a wider array of produce from diverse areas and to meet a significantly more diverse customer palate ○Facilitated sampling of products for customers, making recommendations based on intimate knowledge of what’s in season or particularly special on any given day and suggestions on dishes to prepare 3 PAAC 4-6-23 meeting packet page 40 Project Name: There is always light Applicant Name: Erika Christiansen City: Iowa City Project Date: 6/5/2023 Email: erika@turaluraco.com Location: Parks Specific Location: In collaboration with event organizers, I would finalize details for the three pop up locations. I anticipate I would set up under a pavilion or bring my tent and equipment to the park event. I would need access to electricity. Provide a brief description of the proposed project: “There is always light, if only we're brave enough to see it. If only we're brave enough to be it." Amanda Gorman As we gather in community together after almost 3 years of pandemic isolation, there are still so many things that we fear. From gun violence, to the state government banning rights of marginalized individuals - gathering in community still can feel unsafe. Very few times do we have an opportunity to meet new people, try new things, and remind ourselves of what are hope is. My project “there is always light” is an extension of some of the work I’ve been doing with candle pouring events through Tura Lura Co. With input from the community, I would pop up in 3 different areas of Iowa City during gatherings (i.e. diversity market, summer of the arts, etc) to bring people together to create and reflect, at no cost to them. They will learn how to make a candle, create a custom candle, reflect and type up what their "light" is on a label. And through this project I would collect pictures of every creation and person to make a video showing the various people and "light" throughout our community. Explain how this project is defined as “public art” and demonstrate that the artwork/event will be in an area open and freely available to the general public: Public art is a reflection of how we see the world, and I want to capture that through participant experience and reflections. The shared experience and events would be coordinated in spaces that are free and open to the public, in collaboration with other gatherings in Iowa City. I would aim for 3 experiences in 2023 with 30-50 participants at each location. Each experience is an act of public art, the participants are making a candle unique to them that they get to keep. And during each experience, I would capture the participants and their creations through pictures. I will compile the photos into a video "There is always light" for online sharing that can showcase our community creativity and hopes. Describe the intended audience for this project and what efforts you will make to benefit the broader community: I have been frequently offering paid candle making experiences in downtown Iowa City as part of Tura Lura Co, so I would want to expand this free project to other areas of Iowa City. I had been a vendor with Diversity Market and would love to do this project in the south of 6 district during a market or event. I think it would be vital to partner with summer of the arts and coordinate with music on the move and free movie series. This experience can be done with kids age 8+ with adult supervision, so if selected I would love to connect with organizers of Iowa City area events to brainstorm which community events we could connect to the theme of "There is always light" to host 3 pop ups. PAAC 4-6-23 meeting packet page 41 Received funds in the past? No Total Project Cost Matching Fund Request 6000.00 3000.00 Outside funding sources Amount Anticipated/Committed Tura Lura Co 3000.00 Anticipated Explain specifically what matching funds will pay for: I anticipate offering 150 spots over 3 events/locations to pour candles. When I charge paying customers, it is $40/spot which covers all the supplies, equipment, and time. The matching funds will cover half the cost of 150 participants, and I will personally fund the remaining in kind or fundraise to meet the remaining costs. Explain how you will gauge a successful outcome of the project: Participation is critical for this project. While we will plan to host 50/spots in each of the 3 locations, I would call it a success when we fill 30 spots in each of the locations. Successful completion will also be the sharing of a compile the videos "There is always light". I would plan to do shorts after each location, and a large video upon completion of all three events. Project partners and roles. N/A Files uploaded with application: Images and Resume PAAC 4-6-23 meeting packet page 42 PAAC 4-6-23 meeting packet page 43 Project Name: Family Folk Machine "Love In The Harmony" concert Applicant Name: Family Folk Machine City: Iowa City Project Date: May 13, 2023 at 3 pm Email: Note58us@yahoo.com Location: Englert Theater, free and open to the public Specific Location: Provide a brief description of the proposed project: The Family Folk Machine is Iowa City's non- auditioned, multi-generational, all-inclusive, not-for-profit community choral ensemble, now celebrating its 10th year as an organized community outreach organization. Our spring concert, "Love In The Harmony", will be staged at the Englert Theatre on May 13, 2023 at 3 p.m., and will include songs of acceptance, joy, love, education, equality, and community. With a performance roster of singers and instrumentalists ranging from 4 to 80 years of age that represent every walk of life and facet of our greater community, this project serves to share our love of music and our message through familiar tunes and original compositions of all styles, also engaging the audience with sing-along opportunities throughout the performance. Explain how this project is defined as “public art” and demonstrate that the artwork/event will be in an area open and freely available to the general public: This project, "Love In The Harmony", is the very definition of public art. By presenting something that is accessible, all-inclusive, family-friendly, and community-based at the Englert Theatre in downtown Iowa city, this free event allows performers and audiences alike to experience love, acceptance, and purpose through songs performed "live" by their friends, families, neighbors, colleagues, teachers, doctors, counselors, parents, grandparents, social workers, and a host of other individuals. Through interactive singing, the public is invited to raise their own voices as we celebrate music and the art of our community. Describe the intended audience for this project and what efforts you will make to benefit the broader community: The audience for any Family Folk Machine performance or project contains a wide cross- section of our own community, including parents, families, friends, colleagues, and fellow artists and musicians. The members of the Family Folk Machine represent the very community we hope to reach with each project and performance, and through their participation and encouragement of others, the music, the message, and the involvement of the audience can only have a positive and lasting impact that is then released into the community at large. The following link connects to a recent promotional video for the Family Folk Machine, outlining our goals, mission, and the impact our music can have on our members and throughout the larger community. Received funds in the past? No Total Project Cost Matching Fund Request $10,950 $3,500 Outside funding sources Amount Anticipated/Committed Dynamic Music Studios $100 Committed In kind and private donation $3000 Anticipated Explain specifically what matching funds will pay for: PAAC 4-6-23 meeting packet page 44 Matching funds would be utilized to offset the following: Venue Rental Operating Expenses Music Supplies Rehearsal Childcare Guest musician stipends Director stipends Explain how you will gauge a successful outcome of the project: When presenting any kind of public performance, be it music, visual art, audio enhancement, or dance, measuring a concrete level of success can be very subjective. For the Family Folk Machine, our goal is always to present a wide and varied concert that provides something for everyone's musical and aesthetic taste, while still sharing our message of togetherness, support, love, and community. The members of the Family Folk Machine often remark that their joy is sharing the feeling they themselves get when making the music with their audiences. We hope people enjoy, embrace, relate to, and learn from our songs and messages, walking away feeling connected, revived, and full of hope. Partners in the Project: The Iowa City Senior Center provides weekly rehearsal space for the Family Folk Machine, including the use of musical instruments, audio-visual technology and equipment, and instrument and supply storage. In addition, the Iowa City Senior Center provides supplemental publicity for Family Folk Machine events through the activities catalog and website calendar. Files uploaded with application: PAAC 4-6-23 meeting packet page 45 Founded in 2013, the Family Folk Machine is a non-profit, intergenerational, non-auditioned choir based in Iowa City that welcomes kids and adults of all ages, backgrounds, and abilities to sing together. Accompanied by a diverse instrumental ensemble, we seek to build community through singing songs with our neighbors, to explore American history and culture through music, to foster individual musical growth, and to pursue excellence as an ensemble, allowing novice and professional musicians to share the stage. Members continue to share music from many genres and styles, and also regularly incorporate the work of local songwriters, including original compositions by Family Folk Machine kids and adults. We are excited to share songs about equality, inclusivity, environmental issues, friendship, love, and the sheer joy of making music through large concerts and small neighborhood appearances. The Family Folk Machine is directed by Jean Littlejohn with associate directors Jon Ranard and Alma Drake. For more information, please visit our website at www.familyfolkmachine.org PAAC 4-6-23 meeting packet page 46 Project Name: A History of Being Applicant Name: Farrow Ulven City: Iowa City Project Date: 5/1/2023 Email: ulven@uiowa.edu Location: Parks Specific Location: City Park, small clearly southwest of City Park Pool (see attached documentation for map of proposed project location). Provide a brief description of the proposed project: "A History of Being" is a public art project comprising a sculpture of a tetrahedron approximately one meter in height atop a 17" stone base, to be installed at a publicly accessible location in City Park of Iowa City. The structure, comprised primarily of wood and stone, is constructed to represent a three periods of a relationship to being throughout humanity's history. The stone base on which the tetrahedron rests will enclose a small raised bed from which will vining native plants to the region will grow, including wild grape (Vitis riparia) and greenbrier (Smilax rotundiflora). The edges between the vertices of the tetrahedron will be composed of wood branches, with one open side from which the vining plants will grow, represents physis or the being of nature. Another side of the tetrahedron will be covered in a grid of string, made from natural cordage, representing the transition from the being of nature to the being of poeisis, or the emergence of human craft, and the beginning of the subject-object relation to being. Finally, a third side of the tetrahedron will be enclosed by a solid poplar wood panel, representing the technological relationship to being. This panel will be wired with a low-power capacitive circuit which will play back a simple musical tone as it senses the movement of hands in front of or upon the surface of the poplar. The poplar will be finished in a natural tung oil and citrus-based drying solvent, to bring out the natural grain of the wood. A small enclosed compartment in the stone base of the structure will host the circuitry and power supply for this interactive side of the structure. This interactive component of the structure makes the structure playful and accessible to the persons across age-groups, while also playing with the idea that the technological relationship to being is a relation which produces and makes subjects as part of its being. Explain how this project is defined as “public art” and demonstrate that the artwork/event will be in an area open and freely available to the general public: This project is defined as public art in not only the broad sense of term, as a sculptural piece used in public space accessible to everyone. The piece draws attention to the surrounding environment by placing the natural landscape – in the form of the emergence of plants from the stonework and through the sculptures form – into conceptual juxtaposition to other relationships to being. It encourages visitors to reflect on the significance of their interaction with the world, as well as the status of their use of technology. The project is public art in that it deals with a universal themes (i.e., the concept of being) and well as a broad historical development of humanity's relationship to that form (i.e., the passage of our predominantly technological age). In this way, the artwork might also serve as a powerful educational tool for teaching these concepts of being and its history. Lastly, the work is public art as it works to beautify and activate otherwise relatively unused portions of public space, located in a small clearing at the edges of the trees southwest of the public pool in City Park, providing public interactive art in an unexpected natural setting. Describe the intended audience for this project and what efforts you will make to benefit the broader community: The intended audience for this project is the general public. The project is able to be interacted with from a variety of perspectives across age groups. Some may take pleasure the aesthetic construction itself including the incorporated wild plants or the hand finished wood and stone. Younger PAAC 4-6-23 meeting packet page 47 members of the community might especially enjoy activating the capacitive circuitry in the wooden panel which will generate sound. On top of beautifying space and providing an interactive and stuIt is also planned to use the project as a pedagogical tool to explain both the history and philosophy behind the view. Martin Heidegger's (1889–1976) metaphysical musings on different epoch of humanity's relation to being is the most obvious entry point to discussing the artwork. This project brings philosophical ideas into artistic representations, opening the possibility of using these latter representations to communicate and teach the original philosophical concepts. This educational aspect is among the benefit this artwork will bring to the broader community. Received funds in the past? No Total Project Cost Matching Fund Request 3000.00 1500.00 Outside funding sources Amount Anticipated/Committed GPSG Service Grant, University of Iowa 1500.00 Anticipated Explain specifically what matching funds will pay for: Matching funds will be used towards materials cost of structure including local stone for base, wood, soil for bed, plants, and various electronic components. See attached documentation for a budget estimate. Explain how you will gauge a successful outcome of the project: A successful outcome of the project will gauged by public participation in the structure. Because the project is wired with capacitive sensors, it is possible to track and approximate site visitation rates and use by measure how often and when the sensors are activated. The success of the project will also be determined through various forms community engagement, including potential pedagogical use of the site for explaining historical relationship to being with Department of Philosophy at University of Iowa. Partners and their roles in the project: N/A Files uploaded with application: PAAC 4-6-23 meeting packet page 48 PAAC 4-6-23 meeting packet page 49 PAAC 4-6-23 meeting packet page 50 PAAC 4-6-23 meeting packet page 51 PAAC 4-6-23 meeting packet page 52 EVWLPaWed BXdgeW TRWaO IWeP EVWLPaWed CRVW SWRQe fRU VcXOSWXUe baVe (aSSR[LPaWe 1200ObV)500 HaUdZRRd fRU fUaPe aQd face Rf VcXOSWXUe 200 TXQJ RLO aQd OLPRQeQe (QaWXUaO fLQLVKLQJ)150 RaZ fLbeU fRU cRUdaJe 80 IQVXOaWLRQ SRZeU VXSSO\ /eOecWURQLcV bR[60 PRZeU VXSSO\600 LRZeU SRZeU VSeaNeUV 20 HLQJeV/ORcN SRZeU VXSSO\ bR[20 TUaQVSRUWaWLRQ 500 CaVeLQ fRU QaWXUaO ZRRd JOXe 30 FaVWeQeUV, bROWV WR baVe 40 SeedOLQJV RU VeedV fRU QaWLYe YLQLQJ SOaQWV 20 OUJaQLc VRLO fRU baVe 80 AUdXLQR PLcURSURceVVRU aQd ZLULQJ 100 AOXPLQXP SaQeO fRU caSacLWLYe VeQVRU 50 TRROV (UeSOacePeQW bOadeV, dULOO bLWV, eWc.)300 OWKeU / XQe[SecWed e[SeQdLWXUeV 250 3000 PAAC 4-6-23 meeting packet page 53 CurriculumܪVitae FARROWܪULVEN EdǶcaǳion Ph.D.ܪ(Inٷprogress),ܪDepartmentܪofܪPhilosophy,ܪUniversity ofܪIowa.ܪ2020ܪ܊ܪPresent. B.A.,ܪDepartmentܪofܪPhilosophy,ܪUniversityܪofܪMinnesota.ܪMayܪ2020. PreǬenǳaǳionǬ (aښselecǯionښofق ⊥ݡܪdenotesܪpresentations conductedܪremotely) ܢTheorizingܪConceptܪStructure:ܪAnܪArchitecturalܪTheoryܪofܪConceptsܢ.ܪ30ܪNovܪ2022.Aǲsǯralasian Socieǯ̎ښforښConǯinenǯalښPhilosoph̎ښAnnǲalښConference.Melbourne,ܪAustralia.⊥ ܕDisciplinaryܪSocietiesܪandܪSocietiesܪofܪControl:ܪFromܪCinemaܪtoܪStreamܖ.ܪ18ܪNovܪ2021.Images Beǯ̈eenښSeriesښandښSǯreamكښReǯhinkingښSerialiǯ̎ښandښSǯreaming.ܪUniversityܪofܪWarsaw.⊥ ܢAlgorithmsܪandܪInternationalܪJustice:ܪObservationsܪfromܪtheܪAscendingܪandܪDescendingܪCharacters ofܪInternationalܪLawܢ.ܪ24ܪSepܪ2021.VښKharkiښInǯernaǯional LegalښForǲmفښDigiǯalښTechnologiesق HǲmanښE̍perienceښandښLä.ܪYaroslavܪMudryiܪNational LawܪUniversity.ܪKharkiv,ܪUkraine.⊥ ܢTransitionalܪJusticeܪandܪtheܪAgeܪofܪAccountability:ܪConceptualܪAnalysisܪofܪtheܪLegalisticܪNotionܪof Accountabilityܣܣ.ܪ10ܪJunܪ2021.ܪPhilosophyܪAcrossܪDisciplinesܪConference.ܪUniversityܪof Newcastle.⊥ ܕHaecceity:ܪTheܪPrincipleܪofܪIndividuationܪinܪtheܪMetaphysicsܪofܪJohnܪDunsܪScotusܪandܪGottfried WilhelmܪLeibnizܖ.ܪ26ܪOctܪ2019.ܪMinnesotaܪPhilosophicalܪSocietyܪAnnualܪConference. Cambridge,ܪMinnesota. AͮardǬܪandܪGranǳǬ Springܪ2020.ܪResearchܪgrantܪreceivedܪthroughܪUniversityܪofܪMinnesotaܪUndergraduateܪResearch OpportunitiesܪProgram.ܪܕTheܪPortraitܪofܪPropositionsܪinܪEdmundܪHusserlܘs Logical Iṅesǯigaǯions:ܪTheܪQuestionܪofܪHusserlܪasܪHistorical PredecessorܪtoܪAct-BasedܪConceptionsܪof PropositionalܪContentܖ.ܪAdvisedܪbyܪPeterܪHanks. CreaǳiͭeܪWork Jan܊Febܪ2023.ܪPublicܪArtܪgrantܪrecipientܪfor ArǯښShanǯ̎Projecǯs inܪMinneapolis,ܪMNܪ(݅2500). ܢArchiveܪofܪCollectiveܪMemoryܢ.ܪAܪwoodenܪhexagonalܪinteractiveܪstructureܪhousingܪa computerܪwhichܪtransformsܪvisitor-submittedܪtextܪintoܪmusicܪbyܪmeansܪofܪaܪsimpleܪalgorithm. InspiredܪinܪpartܪbyܪtheܪthoughtܪofܪphilosopherܪMauriceܪHalbwachsܪandܪbyܪmeansܪofܪstoring andܪplayingܪbackܪtext-basedܪsubmissionsܪofܪvisitorsܪasܪsound,ܪthisܪartworkܪencourages participantsܪtoܪreΟectܪonܪtheܪnatureܪofܪarchives,ܪtheܪlimitsܪofܪrepresentation,ܪandܪtheܪrelation betweenܪindividualܪandܪcollectiveܪmemory. Serͭice Member,ܪAmericanܪPhilosophyܪAssociationܪ(APA),ܪCentralܪDivision,ܪ2021ܪ܊ܪPresent. GraduateܪStudentܪRepresentative.ܪUniversityܪofܪIowaܪGraduateܪPhilosophicalܪSociety,ܪ2021܊22. PAAC 4-6-23 meeting packet page 54 Curriculum Vitae FARROW ULVEN Education Ph.D. (In-progress), Department of Philosophy, University of Iowa. 2020 – Present. B.A., Department of Philosophy, University of Minnesota. May 2020. Presentations (a selection of,⊥= denotes presentations conducted remotely) "Theorizing Concept Structure: An Architectural Theory of Concepts". 30 Nov 2022.Australasian Society for Continental Philosophy Annual Conference.Melbourne, Australia.⊥ “Disciplinary Societies and Societies of Control: From Cinema to Stream”. 18 Nov 2021.Images Between Series and Stream: Rethinking Seriality and Streaming. University of Warsaw.⊥ "Algorithms and International Justice: Observations from the Ascending and Descending Characters of International Law". 24 Sep 2021.V Kharki International Legal Forum. Digital Technologies, Human Experience and Law. Yaroslav Mudryi National Law University. Kharkiv, Ukraine.⊥ "Transitional Justice and the Age of Accountability: Conceptual Analysis of the Legalistic Notion of Accountability''. 10 Jun 2021. Philosophy Across Disciplines Conference. University of Newcastle.⊥ “Haecceity: The Principle of Individuation in the Metaphysics of John Duns Scotus and Gottfried Wilhelm Leibniz”. 26 Oct 2019. Minnesota Philosophical Society Annual Conference. Cambridge, Minnesota. Awards and Grants Spring 2020. Research grant received through University of Minnesota Undergraduate Research Opportunities Program. “The Portrait of Propositions in Edmund Husserl’s Logical Investigations: The Question of Husserl as Historical Predecessor to Act-Based Conceptions of Propositional Content”. Advised by Peter Hanks. Creative Work Jan–Feb 2023. Public Art grant recipient for Art Shanty Projects in Minneapolis, MN ($2500). "Archive of Collective Memory". A wooden hexagonal interactive structure housing a computer which transforms visitor-submitted text into music by means of a simple algorithm. Inspired in part by the thought of philosopher Maurice Halbwachs and by means of storing and playing back text-based submissions of visitors as sound, this artwork encourages participants to reect on the nature of archives, the limits of representation, and the relation between individual and collective memory. Service Member, American Philosophy Association (APA), Central Division, 2021 – Present. Graduate Student Representative. University of Iowa Graduate Philosophical Society, 2021–22. PAAC 4-6-23 meeting packet page 55 Project Name: Refocus Film Festival Public Art Applicant Name: FilmScene City: Iowa City Project Date: 10/6/2023 Email: hayley@icfilmscene.org Location: Ped Mall Specific Location: We will have this public art piece on the Ped Mall, located near FilmScene’s Ped Mall location at 118 E. College. Provide a brief description of the proposed project: FilmScene proposes to create a public art installation using inflatable art, to be displayed on the Ped Mall, to raise awareness and encourage participation in FilmScene’s second annual Refocus Film Festival (October 12 - 15, 2023). The piece would be inspired by the Refocus lens, encouraging shifting perspectives to see our world in new ways. Explain how this project is defined as “public art” and demonstrate that the artwork/event will be in an area open and freely available to the general public: FilmScene’s Refocus Film Festival is a celebration of films, conversations, performances, and art inspired by the work of adaptation. 2023 will be the second year of this festival, which will take place primarily in FilmScene’s five screens at the Chauncey and on the Ped Mall, along with additional programming in the downtown district. As part of the festival’s focus on the intersection of art forms, Refocus integrates multi-disciplinary art before and around film screenings. The festival will continue to integrate music, poetry, movement, photography, and performance in our theaters, and is proposing the inclusion of three-dimensional public art as a way for the festival to emerge from behind our doors into the public. Our vision for this piece is an illuminated inflatable lens that encourages the act of observation and how perspective and framing shift our understanding of objects, people and place. The lens will be a temporary annual installation, with the ability to pop up in new locations and continually challenge citizens and visitors to engage in the acts of discovery and observation. This public art installation will initially be located on the Ped Mall, in the vicinity of FilmScene’s Ped Mall location at 118 E. College. This is a high traffic area, and this piece will be visible to anyone passing by. It will be located outside of FilmScene, so it will not require entering our establishment to notice and appreciate the art piece. It will also be visible to festival goers visiting FilmScene’s Ped Mall location to selected screenings. Describe the intended audience for this project and what efforts you will make to benefit the broader community: The intended audience for this project are downtown visitors who may not be aware of FilmScene and/or the Refocus Film Festival. Our hope is that visitors will engage with the public art installation and offer chances to engage with the ethos of the festival — regardless of whether or not they have purchased a ticket — to consider how art affects our view of the world. With 2023 being only the second year of the festival, we also believe that this can reinforce awareness of the festival and generate increased participation with the Iowa City community. Given festival screenings will only be a short distance from the public art installation, we hope the public will be inspired to engage with screenings and festivities throughout the weekend and build excitement for future years of the festival as well. PAAC 4-6-23 meeting packet page 56 Received funds in the past? No Total Project Cost Matching Fund Request 7000.00 3500.00 Outside funding sources Amount Anticipated/Committed Refocus Film Festival ticket sales/sponsorship 3500.00 Anticipated Explain specifically what matching funds will pay for: The total project cost is the creation of the public art installation. This grant request as well as the matching funds will pay for this creation. Explain how you will gauge a successful outcome of the project: Our overarching goal for the 2023 Refocus Film Festival is to increase attendance at the screenings. For us, a successful outcome is increasing attendance at the festival. We believe this public art installation can increase attendance and help build overall awareness of the festival for years to come. Partners and their role: N/A Files uploaded with application: Site Plan, Images, Site Plan 2 PAAC 4-6-23 meeting packet page 57 PAAC 4-6-23 meeting packet page 58 PAAC 4-6-23 meeting packet page 59 Project Name: North Market Street Park Mural Project Applicant Name: Heather Blatt City: Iowa City Project Date: 4/11/2023 Email: hblatt@gmail.com Location: Parks Specific Location: The mural would be a horizontal installation, akin to a street mural, painted onto the cement medallion at the center of the park. (Please see attached photo.) Provide a brief description of the proposed project: Spearheaded by the Northside Neighborhood Association, this public art mural project would involve the commissioning of a local artist to create an original mural that reflects the unique aspects of North Market Square Park and the community it serves. The mural, to be designed by Thomas Agran (who has designed several other murals for Iowa City) will be painted in the center of North Market Square Park, which is a highly visible area and a central location for park visitors. The mural will be designed to be inclusive and accessible, suitable for all ages and backgrounds. As an example of relevant previous work, see the mural on the south side of the Lenoch & Cilek Ace Hardware on N. Dodge Street. The North Market Square Park mural will include a community-painted component, and the design will be workshopped through the Northside Neighborhood Association’s interest group for Public Art and Neighborhood Beautification. The group meets monthly in-person (some members join us using zoom). We use email correspondence and share images using Google Docs to accomplish necessary tasks outside of meeting in person. In addition to the above, we hope to achieve the following goals: 1. To promote exchange, dialogue, and social cohesion within the community, and to encourage a greater understanding and appreciation of the Northside neighborhood. 2. To create a welcoming and inclusive public space that is open to all, and that encourages people to come together and engage with their community in positive ways. 3. To enhance the aesthetic appeal of North Market Square Park, and to create a landmark that will be a source of pride and inspiration for the community for years to come. Explain how this project is defined as “public art” and demonstrate that the artwork/event will be in an area open and freely available to the general public: North Market Square Park is a public space that serves as a gathering point and recreational space for residents of the Northside neighborhood and Iowa City. The mural would not only enhance the park’s aesthetics, but also provide an opportunity for the community to engage with public art. Indeed, while the majority of the mural will be designed and painted by Thomas Agran, a component of it will be painted collaboratively by the community. In all these ways, it will promote creativity, cultural awareness, social cohesion, and community involvement. Describe the intended audience for this project and what efforts you will make to benefit the broader community: North Market Square Park is a public space located in the heart of the historic Iowa City downtown Northside neighborhood. It is a popular destination for visitors and residents alike, who come to enjoy the playground, the greenery, the basketball court, gazebo, and various activities throughout the year. This mural project will benefit the broader community in several ways: 1. It will create a new and dynamic public art installation that will be free and accessible to all members of our community. PAAC 4-6-23 meeting packet page 60 2. It will foster a greater sense of community pride and connection, as people come together to celebrate the diversity and vibrancy of our city. 3. It will enhance the aesthetic appeal of North Market Square Park, making it a more inviting and attractive destination for residents, workers, and visitors. 4. It will create opportunities for local artists and community members to participate in the design and implementation of the project, thereby promoting community involvement and ownership. Received funds in the past? No Total Project Cost Matching Fund Request 2350.00 1175.00 Outside funding sources Amount Anticipated/Committed Northside Neighborhood Association 1175.00 Committed Explain specifically what matching funds will pay for: The itemized budget for this project is as follows: $2350 total. This breaks down into: $1500 for design, all site prep/layout/planning, and then the on-site management of volunteers (this rate is discounted by the artist for non-profit community work) $400 for paint for the majority of the mural $100 for paint for the community paint element $300 for 3 community engagement assistants (paid $25/hour for 4 hours of labor each) $50 for vernissage refreshments, cups, plates The matching funds will be used to pay for 50% of all costs itemized above. Explain how you will gauge a successful outcome of the project: The successful outcome of this grant will be a vibrant and eye-catching artwork that reflects the Northside community of Iowa City. The mural will serve as a source of pride for the residents, attract tourists to the area, and contribute to the revitalization of the park as a social and cultural hub. In addition, the project will offer valuable opportunities for community members to engage in the creative process and develop their artistic skills, thus fostering a sense of ownership and investment in the project’s success. Files uploaded with application: PAAC 4-6-23 meeting packet page 61 PAAC 4-6-23 meeting packet page 62 1 HEATHER E. BLATT Campus: Home: Department of English Florida International University Miami, FL 33199 305-348-4583 (office) 227 N. Governor St. Iowa City, IA 52245 hblatt@fiu.edu 917-502-5792 (cell) EDUCATION Ph.D. English Language and Literature, Fordham University (2011) M.A. English Language and Literature, University of Virginia (2004) B.A. Classics and English Literature, Cornell University (1997) ACADEMIC EMPLOYMENT 2019-present Director, Literature and Film Studies Program in the Department of English, FIU 2017-present Associate Professor, Department of English, Florida International University 2011-2017 Assistant Professor, Department of English, Florida International University ADMINISTRATIVE EXPERIENCE: • Planned and executed events across departments and institutions (including soliciting financial support, delegation and coordination across teams, and contributing to event policy design) • Facilitated communication across multiple stakeholders with varying priorities • Created and managed budget across institutions, departments, and stakeholders • Coordinated curriculum redesign of gateway literature classes • Supported online and face-to-face pedagogical development across departments • Conceptualized localized design of textbook and process for soliciting local contributions • Collaborated with teams to solve problems and manage projects • Acquired grants and facilitated team grant writing for university funding support • Co-authored and led team design of faculty instructional guides • Engaged with emerging technology, including working with big data • Designed databases in Excel with use of formulas to facilitate calculations and analysis ACADEMIC AND ADMINISTRATIVE SERVICE (2013-Present): UFF-FIU Secretary and FEA Delegate, 2022-Present UFF-FIU Senator, Executive Council, 2019-Present UFF-FIU Membership Committee Chair, 2020-2022 Senator, FIU Faculty Senate, 2020-Present (re-elected for second term Spring 2022) Faculty Fellow, Center for the Advancement of Teaching, Spring 2022 CASE Dean’s Distinguished Graduate Fellowship Review Committee, Spring 2022, Spring 2023 PAAC 4-6-23 meeting packet page 63 2 Presidential Leadership Program Review Committee, Fall 2021 Faculty Fellow, FIU Hybrid Program, Summer 2020-Fall 2021 Received NEH grant for Summer Scholars Program, 2015 and 2022 Received Provost’s Team Research Grant, FIU, 2019-2020 Received ORED’s Cross-Department Grant, FIU, 2019-2020 Dissertation Adviser/Graduate Faculty Committee Chair, Department of English, Fall 2020-Present Dissertation Adviser Status, 2019-Present Chair, Literature Gateway Curriculum Committee, Department of English, Fall 2016-Summer 2018 Graduate Program Committee Member for the Literature Program, 2016-Present Member of First-Year Experience Textbook Redesign Committee, CAT, Spring 2017 English Department Salary Committee, 2016-2017, 2019-2020 Member of Adjunct Teaching Awards Committee, May 2015 Organized and facilitated pedagogy reading groups for faculty, Spring 2015 Department Meetings Secretary, English Department, FIU, Fall 2012-Spring 2013 PUBLICATIONS Book: Blatt, Heather. Participatory Reading in Late-Medieval England. Manchester University Press, Medieval Literature and Culture series, July 2018. Essays: Blatt, Heather. “The Late-Medieval Miscellany and Database Analysis.” Huntington Library Quarterly special issue on miscellanies, edited by Megan Cook and Megan Heffernan. In press. Blatt, Heather. “‘Whiteness seeps through’: Resisting Color-Blindness in Mandeville’s Travels.” special issue on Race, Revulsion, and Revolution in postmedieval: a Journal of Medieval Cultural Studies 11:4 (2020): 484-492. Blatt, Heather. “Albyon, þat þo was an Ile”: Feminist Materiality and Nature in the Albina Narrative,” special issue on Intersectional Feminism in postmedieval: a Journal of Medieval Cultural Studies 10.3 (2019): 304-315. Blatt, Heather. “Book Accessories, Gender, and the Staging of Reading.” Reading and Writing in Medieval England, eds. Maryanne Kowaleski and Martin Chase. Suffolk: Boydell & Brewer, 2019. 150-177. Blatt, Heather. “#RespectTheScribes: Experiential Learning and Book History.” Society for Medieval and Renaissance Teaching (SMART) Journal 25:2 (Fall 2018), 53-66. Blatt, Heather. “Mapping the Readable Household.” Spaces for Reading in Later Medieval England, eds. Mary Flannery and Carrie Griffin (New York: Palgrave, 2016). 165-181. Swales, Lois and Heather Blatt, “The Bookmark of MS 711” Das Hainricus-Missale. Vollständige Faksimile-Ausgabe der Handschrift Ms. M. 711 der Pierpont Morgan Library New York. Kommentar, hrsg. von Hans Ulrich Rudolf. Graz, Austria: Akademische Druck- und Verlagsanstalt, 2010. 165-186. “Reading Technologies and Reader Behavior in the Late Middle Ages.” Avista Forum Journal (Winter 2009). Swales, Lois and Heather Blatt, “Multi-Page Bookmarkers: Tiny Textiles and Diverse Passementerie Hidden in Books.” Medieval Clothing and Textiles, vol. 3. Suffolk: Boydell and Brewer, 2007. 145-179. PAAC 4-6-23 meeting packet page 64 Thomas F. Agran 512 N. Van Buren Street, Iowa City, Iowa 52245 /thomasagran@gmail.com / (319) 541 - 4554 /www.thomasagran.com Education 2011 - 2013 Master of Fine Arts (Painting) Indiana University, Eskenazi School of Art, Architecture + Design Bloomington, Indiana 2005 - 2009 BA (Studio Art with Honors) Grinnell College, Grinnell, Iowa Teaching Spring 2019 Basic Drawing, and Course Supervisor for Drawing Division University of Iowa, Iowa City, Iowa Grant Wood Art Colony, Public Art Residency University of Iowa, Iowa City, Iowa Drawing I and Studio Basics I Cornell College, Mt. Vernon, Iowa Fall 2018 Basic Drawing University of Iowa, Iowa City, Iowa Spring 2018 Advanced Painting (BFA/MFA course) and Life Drawing University of Iowa, Iowa City, Iowa Spring 2017 Kocher Visiting Artist at Coe College, Cedar Rapids, Iowa Spring 2016 Life Drawing and Drawing I Coe College, Cedar Rapids, Iowa Fall 2016 Drawing I and Painting I Coe College, Cedar Rapids, Iowa Spring 2015 Drawing I Coe College, Cedar Rapids, Iowa Fall 2014 Painting I, II, III,and Independent Advanced Students Coe College, Cedar Rapids, Iowa (½ semester, visiting position) Spring 2013 F100 Drawing Foundations Instructor of Record, Indiana University, Bloomington, Indiana Fall 2012 F100 Drawing Foundations Instructor of Record, Indiana University, Bloomington, Indiana Community 2018 - Present Public Space One,Board of Directors,Project Manager and General Contractor for rehabilitation of two historic homes. 2018 - 2019 Any Given Child,Advisory Board 2018 - 2019 Artifactory,Advisory Board 2016 - 2019 Iowa City Public Library,Art Advisory Committee 2013 - 2020 City of Iowa City,Historic Preservation Commission PAAC 4-6-23 meeting packet page 65 Thomas F. Agran 512 N. Van Buren Street, Iowa City, Iowa 52245 /thomasagran@gmail.com / (319) 541 - 4554 /www.thomasagran.com Relevant Employment Current Self employed, artist 2017 - 2020 Director of Public Art for the Iowa City Downtown District 2015 - 2016 Manager, UICCU Benchmarks Public Art Project Assistant Manager, ICDD Cosign Project August 2011 - May 2013 Painting Woodshop Manager Indiana University, Bloomington, Indiana August 2011 - May 2012 Preparator / Installation Assistant Grunwald Gallery, Bloomington, Indiana August 2006 - January 2010 Installation Assistant to Milton Severe, Director of Exhibition Design Faulconer Gallery, Grinnell College, Grinnell, Iowa Solo Exhibitions 2018 Total Mixed Ration Art at the Y in Champaign, Illinois 2018 Development Potential Memorial Union Gallery at Iowa State University in Ames, Iowa 2017 Development Potential Marvin Cone Gallery at Coe College in Cedar Rapids, Iowa 2015 Landscapes and Livestock Harcum Gallery at Wilmington College in Wilmington, Ohio 2013 Total Mixed Ration Grunwald Gallery at Indiana University in Bloomington, Indiana 2012 Postcards from Iowa RSVP in Iowa City, Iowa 2010 Aerial Landscapes Campbell Steele Gallery in Marion, Iowa 2009 Yield: New American Landscapes Edith Smith Gallery in Grinnell, Iowa 2007 50112: New Landscapes Edith Smith Gallery in Grinnell, Iowa Group Exhibitions 2019 Landscape Invitational Olson Larsen Gallery in Des Moines, Iowa 2018 Department of Animal Sciences Show Iowa State University in Ames, Iowa 2016 Beyond the Prairie Cedar Rapids Museum of Art in Cedar Rapids, Iowa 2016 Post-Plenty Times Club Gallery at Prairie Lights in Iowa City, Iowa 2016 Small Works Dedee Shattuck Gallery in Westport, Massachusetts 2016 Iowa Agricultural Art Award State Historical Museum in Des Moines, Iowa 2016 Benjamin’s Banquet Chait Galleries Downtown in Iowa City, Iowa 2015 Small Works Dedee Shattuck Gallery in Westport, Massachusetts 2015 Earth Dubuque Area Arts Collective in Dubuque, Iowa 2015 ‘Scapes Radius Gallery in Missoula, Montana 2014 The Art of Food Quad City Arts Gallery in Rock Island, Illinois 2014 Iowa Agricultural Art Award State Historical Museum in Des Moines, Iowa 2012 Lure of the Local Cedar Rapids Museum of Art in Cedar Rapids, Iowa 2012 Iowa: Inspired by Landscape Old Capitol Museum in Iowa City, Iowa 2012 MFA Group Show Grunwald Gallery in Bloomington, Indiana 2009 Juried Art Salon Faulconer Gallery in Grinnell, Iowa 2009 Annual Community Art Exhibition Community Art Center in Grinnell, Iowa 2007 Eight Edith Smith Gallery in Grinnell, Iowa 2007 Juried Art Salon Faulconer Gallery in Grinnell, Iowa 2006 Juried Art Salon Faulconer Gallery in Grinnell, Iowa PAAC 4-6-23 meeting packet page 66 Thomas F. Agran 512 N. Van Buren Street, Iowa City, Iowa 52245 /thomasagran@gmail.com / (319) 541 - 4554 /www.thomasagran.com Murals and Public Work 2021 City of Iowa City BLM Murals (Project Consultant)Iowa City, Iowa 2020 Mill Mural Iowa City, Iowa 2020 Coralville Arena Aerials Coralville, Iowa 2020 UI Old Capitol Museums Mural Iowa City, Iowa 2020 Head Start Preschool Community Mural Iowa City, Iowa 2020 Hare Parlor Mural Iowa City, Iowa 2020 Imagine Iowa Great Lakes Mural Okoboji, Iowa 2019 IC Mural Project, (Project Manager for 3 murals)Iowa City, Iowa 2019 Discerning Eye Parking Lot Mural Iowa City, Iowa 2018 New Bo Mural Cedar Rapids, Iowa 2018 IC Mural Project, (Project Manager for 5 murals)Iowa City, Iowa 2018 Coexist UAY (Project Manager and Install Assist)Iowa City, Iowa 2018 Facebook Data Center Mural Altoona, Iowa 2018 Iowa City Letters Iowa City, Iowa 2018 Goosetown/Northside Community Mural Iowa City, Iowa 2018 Banditos Façade Mural Iowa City, Iowa 2017 MidWestOne Bank Ben Summerwill Mural Iowa City, Iowa 2017 Iowa City Farmers’ Market Community Mural Iowa City, Iowa 2017 Park Cedar Rapids Parkade Mural Cedar Rapids, Iowa 2017 Iowa BIG Humans of CR Mural (Mentor)Cedar Rapids, Iowa 2017 Coe College Marvin Cone Mural (Mentor)Cedar Rapids, Iowa 2017 Greetings from Downtown Iowa City Mural Iowa City, Iowa 2016 Washington Street Ribbon Participatory Installation Iowa City, Iowa 2016 Veterans Memorial Building Mural Cedar Rapids, Iowa 2015 New Pioneer Food Co-op Fence Mural Cedar Rapids, Iowa 2015 UICCU Benchmarks Iowa City, Iowa 2014 New Pioneer Food Co-op Façade Mural Cedar Rapids, Iowa 2014 UICCU Benchmarks Iowa City, Iowa 2013 New Pioneer Food Co-op Garden Mural Iowa City, Iowa 2011 World Food Prize Hall of Laureates Des Moines, Iowa 2008 Grinnell Veterans Memorial Mural Grinnell, Iowa Public and Institutional Collections Cedar Rapids Museum of Art Cedar Rapids, Iowa Kirkwood Community College Cedar Rapids, Iowa Grinnell College Prairie Studies Collection Grinnell, Iowa Farm Credit Services Omaha, Nebraska Mercy Hospital Iowa City, Iowa Drake Community Library Grinnell, Iowa Awards 2018 Bravo Award for Community Service and Contributions 2016 Iowa Agricultural Art Award 2015 Dubuque Area Arts Collective Honorable Mention 2015 UICCU Benchmarks Juried Prize 2014 Iowa Agricultural Art Award 2009 Inez Henely 1914 Memorial Prize in Art 2009 Merit Award in Printmaking in the Grinnell College Juried Art Salon 2007 Best in Show in the Grinnell College Juried Art Salon 2007 Grinnell College Art Department Sophomore Prize PAAC 4-6-23 meeting packet page 67 Project Name: Renegade Nuns on Wheels M.C. Applicant Name: Jason Thomas Smith City: Iowa City Project Date: Email: jtsmith865@yahoo.com Location: City of Literature Specific Location: Provide a brief description of the proposed project: Renegade Nuns on Wheels M.C. is an (as yet) unfinished novel that takes place in Post apocalyptic Lost Nation,Iowa about a diverse motorcycle gang of bad-ass women who describe themselves as nuns but seem to have a very tentative understanding of any actual denomination Christian Faith: AS CIVILISATION CRUMBLED, GANGWARFARE AND RELIGOUS ZEALOTRY SWEPT THROUGH NATIONS. GUNS WERE WELDED ONVEHICLES AND THUS BEGAN "AUTODUELING" A SPORT IN WHICH STATE-SANCTIONED MURDER WASCOMMITED FOR TROPHIES AND CELEBRITY STATUS. THIS WAS FOLLOWED BY NUCLEAR FALLOUTAND A PLAUGE OF ZOMBIES. AMIDST THIS APOCALYPSE, AS THE YEARS PASSED, ONE WOMANWOULD FORM A BAND OF RENEGADES THAT WOULD RISE UP AND DESTROY THE ZOMBIES, ONLY TOFACE THE ULTIMANT EVIL IN A BATTLE FOR THE FATE OF MANKIND...THEY CALLED THEMSELVES THERENEGADE NUNS ON WHEELS. Explain how this project is defined as “public art” and demonstrate that the artwork/event will be in an area open and freely available to the general public: I shall, if receiving any grant, make the novel available to the Iowa City Public Library. Apart from that, like my previous novels, Love and Potato Salad, Floyd's Ride, and the Sundowners I will provide twenty free copies to the Little Free Libraries. Describe the intended audience for this project and what efforts you will make to benefit the broader community: The intended audience is everyone who exists on the planet earth, Pope included, but I imagine this will appeal most to the most disaffected, exploited and desperately poor of Iowa City. But also, The great unwashed as we are called, the Peasants, Plebs, and generally unwanted, the weird guy at the bus-stop, the defeated janitor, the housewife who realizes her husband is a narcissistic- personalty-disorder douchebag, the passed over, mocked and derided ninety percent. Received funds in the past? no Total Project Cost Matching Fund Request $3,000 $3,000 Outside funding sources Amount Anticipated/Committed Myself Explain specifically what matching funds will pay for: I need to pay rent, until I can find a job, and time to write the final draft. PAAC 4-6-23 meeting packet page 68 Explain how you will gauge a successful outcome of the project: A good review, I suppose. Other than that, I have to say I don't see the arts in terms of success, and can only fall back on the Graham Greene quote, "Should a priest be judged by how much money he makes?" Files uploaded with application: PAAC 4-6-23 meeting packet page 69 S THE RENEGADE NUNS ON WHEELS M.C. A Novel By Jason Thomas Smith This is the tit l e page and the fi r s t 9 of 177 pp of te x t submitted by th e applicant. PAAC 4-6-23 meeting packet page 70 Chapter 1 The Renegade Nuns on Wheels As civilization crumbled, gang warfare and religious zealotry swept through nations. Guns were welded on vehicles, and thus began “Autoduelling,” a sport in which state- sanctioned murder was committed for trophies and celebrity status. This was followed by nuclear fallout and a plague of zombies. Amidst this apocalypse, as the years passed, one woman would form a band of renegades who would rise up and destroy the zombies, only to face the ultimate evil in a battle for the fate of mankind. They called themselves the Renegade Nuns on Wheels. Motorcycles sounded from beyond the ashes and prairie, the noise reaching into a field of gray wreckage to a tall white church at its center and through the gleaming white walls and stained glass windows to where a priest knelt and prayed. His lips moving silently, he squeezed his eyes shut, a bead of sweat falling off his forehead onto his shaking, clasped hands. For a long moment, he was too focused on his desperate pleas to God to hear the entirely audible signature of V twin engines charging toward him. Before the nuclear holocaust, it had been a town; now it was a field of wreckage where a town had once existed, piles of wood and burnt walls where houses once stood, hills of rubble in PAAC 4-6-23 meeting packet page 71 place of the Lost Nation bank, the old pawn shop, the hair salon, and other forgotten businesses and institutions once lining the cracked and broken roads. The blackened tomb filled with skeletons sitting at the end of Main Street had once been the gas station. The lair of a mutated fish creature had once been a quaint little artificial body of water called Serenity Pond. Crows, vultures, and a luminescent green rabbit that squeaked at people as if it were speaking stood in place of any local wildlife. Only the white church and, across the street, a structure built from crates and particle board with a spray-painted sign declaring “MARV’S ANTIQUES” hinted at a future or a past beyond the ashy nuclear desert of the American Midwest. The contrasting buildings had been the survivors’ last tentative attempts at civilization after emerging from underground tunnels to discover the zombies had gone. When the priest had built his church and Marv his antique shop, when they began to have their monthly city council meetings during a two-year period, a few experienced something akin to a sense of peace or hope. Perhaps not peace or hope exactly, but for a small handful of the survivors, it was within the same emotional spectrum, a feeling that existed in direct opposition to the morbid depression, posttrauma delirium, and constant temptation of suicide that had become their daily life. The priest had felt this most of all, until that morning when he saw a giant red tank, when he heard the voice of evil. Now, only hours later, sweat running down his face, his entire body trembling as he knelt and prayed, he heard more engines coming from down the same east road. The rhythmic bop and thump of cruiser motorcycles approached from the old highway, slowing past the dead water tower at the start of Main Street, rolling past Marv’s Antiques, quieting as they taxied into the bare earth of the lot outside the church. The priest lunged at the window, forehead pressed against the hot surface, not sure what he was seeing. It seemed to be some type of female biker gang, probably allied with the horrible PAAC 4-6-23 meeting packet page 72 man-creature who had arrived in the tank. Come to think of it, hadn’t the creature mentioned something about waiting for his biker friends in his bizarre speech to the town? The priest counted fourteen bikers in all. They were young, ages ranging from early twenties to early thirties, armed to the teeth with every type of gun hanging off exposed hips or slung over shoulders. Even the lead motorcycles had guns welded onto their sides, supported by makeshift nacelles like little fighter plane wings. Many of the women had gold crosses or rosary beads dangling in dusty cleavage. They wore varying styles of habits, black capes, and biker boots, most of them scantily clad with black Lycra leotards under holsters and ammunition belts, in many instances severely overestimating their sexual appeal. Even those who were attractive—such as a tall, dark woman who seemed to be their leader and a shorter, pointy-chinned woman beside her, both with traditional wimples framing their head and coming down their chest—had dirt smears across their faces and the mean eyes and hard mouths of people who were serving in a war. Behind them, one woman had an eyepatch, another a hook for a hand, another a scar like Al Capone, easily visible even from that distance. Suddenly the priest detected a sharp stench, the heavy odor of boiled onions mixed with gasoline, sweat, and swamp water coming from their direction, seeping through the thick church wall. The tall, dark woman had just parked her silver Harley-Davidson and swung off it. A small blonde was doing the same. Other women were parking their motorcycles and turning off their engines all around. The tall woman’s mouth moved soundlessly under the bopping of Harleys still pulling up. The blonde woman nodded. The tall woman turned to the church window; her locked, scowling face pointed directly at the priest. PAAC 4-6-23 meeting packet page 73 He jerked away from the stained glass and pressed his back against the wall, mouth open in a silent, airless gasp. The thought would later occur to him that he must have passed out at this moment because there was no interval of time between what he saw through the window and what happened next. A violent crash came from down the aisle, where the same woman kicked open the church’s double doors, steadily marching toward the priest, with the blonde woman beside her. He found himself standing by the church pews subconsciously backing away, hands held up, palms out as if to shield himself from this new form of evil. Dark, symmetrical features filled his vision. Large, intense eyes. Sharp brows. The squared jawline of a Greek statue. An expression as hard and with the same promise of violence as the long-barrel revolver bumping against her hip. He tripped over himself and landed cowering on his back, waiting to be murdered. The two women loomed above him. The tall one’s nose scrunched, accompanied by a low grunt of disdain. She turned and walked to the exit door, kicked it open, and walked outside. The blonde lifted her hand in an awkward wave to the priest, sighed, and followed her friend outside, again kicking the side door just before it could swing closed. Outside, Sally Jones stomped ten paces, heavy steps generating little mushroom clouds of gray. She stopped next to the one tree in town, twisted and sickly orange, humming with radiation, wrinkled like an elephant foot. She noticed a rusted old Prius parked in the street nearby, pink under blue racing stripes, the number 44 printed on the door in the way of race car drivers or Autoduellers. A green rabbit hopped across the road. The other nuns were going through the buildings all around them, looking for people or enemies. Mild shouting and the cracking sound of doors being kicked open echoed off the larger rubble piles. PAAC 4-6-23 meeting packet page 74 She heard Bad Annie’s bootsteps and whirled around. “What the fuck was that?” “I know. He kind of freaked out back there.” Sally pointed an accusing finger at the church door. “First priest we see since the apocalypse and he acts like he’s scared or something. I got hopeful when I saw it was a priest, thought he might be smart, someone who could help us.” Annie frowned. “I think he peed himself.” Sally’s shoulders slumped, a rare gesture even to Bad Annie, who had known her longer than any other of the Sisterhood of the Renegade Nuns on Wheels. A long arm swatted at the twenty-foot indentation of a single tank tread pressed into the ground before them. “What we’re dealing with, this isn’t good, Annie.” “Maybe he just got a little intimidated. He’s more used to the prenuke nuns.” Sally’s gaze stayed locked on the massive tread mark, one of two snaking off into the distance of mild gray hills and a mostly intact highway east of town. “You deal with him. I don’t have time for that bullshit; I need to think.” Bad Annie kicked open the church’s exit door once again. Two hinges bounced across the floor. She reentered the church, the door hanging crooked behind her. The priest jumped up from his position leaning against a pew, this time backing away only a few steps and managing not to fall backward onto the ground. The short blonde woman with stark blue eyes and a boyish face smiled apologetically, her hands wringing in front of a black leather push-up top with ammunition belts crossed over it. “Hey, sorry we surprised you, Father-sir. It’s just that we thought you would be able to help us. After all, you are a priest and we’re nuns.” PAAC 4-6-23 meeting packet page 75 “Oh, okay. Sure,” said the priest, an expression of relieved confusion on his face. “What kind of nuns are you?” “Renegade Nuns.” He inhaled deeply and blew a deep breath. “I thought you were here to kill me. That woman who kicked open the door . . .” “Yeah, we sort of always open doors that way on account of the zombies. We’re the reason they ain’t around no more. That’s what we do.” The strange woman raised her voice, and her eyes crossed twice. “We’re the Sisterhood of the Renegade Nuns on Wheels, Father-sir! We’ve killed three million zombies!” A moment of silence. The priest thought she was expecting him to acknowledge this statement in some way. Bad Annie continued in her normal tone. “Which is why we’re here. Did you see a kind of demonic tank come through here earlier? We been fighting these weird-ass tanks. The tracks show that one came through here earlier.” “Yes. I . . . I assumed you were with them.” “Is it still nearby?” “I don’t think so, but he said he was coming back.” “He? Who’s he?” “The . . . person in the tank.” Annie once again raised her voice. A bit of spit flew out of her mouth as she grabbed him by the shoulders. “Holy shit! There was a person in that tank? Killed six tanks, ain’t once seen no person in no hell-tank!” PAAC 4-6-23 meeting packet page 76 The priest stuttered, “I . . . I . . . I’m not sure it was a person.” Annie turned and began dragging the priest to the broken exit door. “Holy shit! Come with me, Father-sir. Sally’s gonna want to hear this!” Sally studied the ruins of what had once been a small Iowa town, lost in thought, focusing on the distance with all her senses, ears straining for the faintest murmur of a tank, only acknowledging the presence of the man crouching in the bushes when the dead branches rustled. She turned to see him smugly rising out of them. He was in his late sixties to early seventies, portly, wearing the Members Only jacket with racing patches sewn on, the old Ray-Ban sunglasses, the NASCAR cap, and the lamb chop sideburns that were the signature of an Autodueller, the bizarre subculture of men who were half duelers (as in the days of old, when rich people in funny hats shot each other after taking ten paces) and half amateur race car drivers, who had begun welding guns onto their cars in the years just before the apocalypse. In the Midwest, the sport had become quite popular, its pay-per-view events rivaling the UFC. In small towns, they used to rent out dirt tracks and fairgrounds where people would watch the two cars shoot at and ram each other until someone was dead. The “winner,” or state-sanctioned murderer as many believed, would gain celebrity status, a cash prize, and a small bowling trophy. Some had said their existence was one of the heralds of the apocalypse. Still, the Renegade Nuns had always gotten along with the Autoduellers. In the days and years following nuclear fire and wave after wave of zombie death, they had helped the sisterhood more than once, teaching Sally and Annie how to weld guns onto their motorcycles when they were just teenagers. PAAC 4-6-23 meeting packet page 77 The older man sauntered up to her with a strangely confident posture common to his kind, a tiny stick falling off his hat. “Well, well, well. Heard a lot about you. You must be Sally Jones.” Sally nodded. “Is it true that zombies run away when they see you?” “Yeah.” His smile opened wide to reveal missing teeth. He slapped his thigh. “Well, ten-four, that’s got to be the first time that’s happened in the history of zombies.” He stuck out his hand. “Name’s Fisty, Fisty Johanson, last of the Autoduellers.” They shook hands. “I thought you guys were all dead,” said Sally. “We are. About ten retired folks left, but I’m the only one who Autoduels. Ten-four. Up until last week, that is. Starter went bad on the old Prius. Been stranded.” “So you saw the tank that came through here.” “That’s a big ten-four, Sally Jones. Big and red with exhaust like goat horns.” From across the street, the husky voice of Iron Poon McGinsky called to her. “Hey, Sally, looks like these tank tracks loop around and head west from here.” Big Momma, a wide, six-foot-tall woman, and Hatchback, a small Japanese woman with a North Carolina accent, came marching up from around the back side of the church. They were both frowning. Hatchback gave the report. “We got people, Sister. About fifteen of ’em, with little kids too.” “That means it’s coming back for sure,” Sally said, more to herself than the others. “Ten-four. He said he’d come back.” PAAC 4-6-23 meeting packet page 78 All the nuns turned their heads toward Fisty. “Who said?” Sally demanded. Fisty opened his mouth to reply as the church’s side door burst open. The three turned again to see Bad Annie stomping toward them, dragging the priest behind her. “Hey, Sally, you got to hear this.” Behind them the door collapsed onto the dirt as she stepped around the priest and shoved him the last five feet toward Sally. “Go on, tell her what you said, Father-sir!” The priest stopped himself from bumping into Sally, flinching from her face, slowly bringing his arms down, mumbling toward the ground. “I said there was a . . . a . . . person in the tank.” Ella and Maud Dvorsky, auburn-haired twin sisters with matching thigh-high boots, came around from behind Marv’s Antique Shop, followed by a nun with flame-colored hair, Iron Poon McGinsky. They watched the priest as they walked up to the group. “Yup,” began Fisty. “I thought I might have seen another head poking out the hatch, but my sight line was obscured by the bushes, come on back.” Sally’s attention was still centered on the priest. “You spoke to this person?” “No, no, he just stopped his tank on Main Street and spoke through a bullhorn.” Hatchback spat tobacco juice on the ground. More of the nuns joined them. “What exactly did he say?” Sally demanded, her threatening presence making it difficult for the priest to think or speak. He wilted under the collective gaze of mean female eyes as he tried to remember. “Uh . . . well . . . a couple things. He said. . . . I don’t remember exactly, but first it was something like ‘Hello, fellow citizens.’” PAAC 4-6-23 meeting packet page 79 Project Name: “You Are Enough” Mural Applicant Name: Julia Winter City: Iowa City Project Date: 4/17/2023 Email: julia.winter@builtbycommunity.org Location: Buildings Specific Location: The “You Are Enough” mural will be located on the north-facing side of CommUnity’s 1121 S. Gilbert Court building, closest to the street. It’s estimated to take up one-third of the wall, or 1,053 square feet. This is a high-traffic location, as community members who receive support from Free Lunch Program, DVIP, Salvation Army, CommUnity, and other social service agencies regularly utilize services. Provide a brief description of the proposed project: CommUnity Crisis Services is committed to serving our neighbors during what may be the most difficult times in their lives. The stress of an emotional or financial crisis can be compounded exponentially by feelings of loneliness and inadequacy. Asking for help is an important step in overcoming crisis, but it's often also the hardest. We want to create a public art piece that exhibits the care and compassion clients can expect to receive once they walk through our doors. As part of a multi-phase renovation plan, CommUnity has entered into a contract with local artist Ali Hval to design and paint a mural on our 1121 S. Gilbert Court facility. The chosen design features a pair of hands nurturing a seedling, backlit by rays of sunlight with the phrase "You Are Enough." In addition to the artistic mural, the existing facade will be primed and painted with a durable, exterior bright white. Explain how this project is defined as “public art” and demonstrate that the artwork/event will be in an area open and freely available to the general public: While there are many definitions of “public art” in existence, a quote from the Association for Public Art resonates best with this project. It reads “Public art can express community values, enhance our environment, transform a landscape, heighten our awareness, or question our assumptions. Placed in public sites, this art is there for everyone, a form of collective community expression. Public art is a reflection of how we see the world…” Iowa City is a welcoming and inclusive community, made up of people from diverse backgrounds who come here to seek opportunities and a better life. As a community, we accept and value the qualities that make each of our neighbors unique. At CommUnity, we celebrate those differences and empower those who seek our services. The “You Are Enough” mural project will create a public display of our organization's values, for all the community to see. The selected space for this mural will be visible for those walking, biking, or driving down Gilbert Court. Describe the intended audience for this project and what efforts you will make to benefit the broader community: This message in this project is intended to be seen, and felt, by everyone. Gilbert Court is home to many nonprofits, including the Iowa City Bike Library, MYEP, Salvation Army, Free Lunch Program, DVIP, and CommUnity. The primary audience for this public art project is the community members that use the services provided by these organizations face issues ranging from domestic abuse to mental health crisis, food insecurity to homelessness, living with disability to living in poverty. Another audience that will benefit from the installation are the volunteers and staff that provide these services, who often deal with secondary trauma and burnout, causing high levels of turnover. PAAC 4-6-23 meeting packet page 80 Finally, perhaps the “You Are Enough” mural will draw members of the community who wouldn’t typically frequent Gilbert Court, leading to a better general understanding of the resources available in our community. Received funds in the past? No Total Project Cost Matching Fund Request 6560.00 3280.00 Outside funding sources Amount Anticipated/Committed In-Kind Paint Donation from Sherwin Williams 500.00 Anticipated Explain specifically what matching funds will pay for: This grant award would provide payment for the artist’s labor, paint, supplies, and design fee, and partially cover the cost of preparation. In addition, receiving this grant would allow us to redirect dollars to other projects and program expenses. Explain how you will gauge a successful outcome of the project: Success of the project will be evaluated by monitoring public use of the mural as well as collecting feedback from clients, volunteers, and staff. Project Partners and their roles Ali Hval The Artist, responsible for mural design and installation Jon Swearingen, Right Way Painting The Prepper – responsible for priming and painting the mural space, in addition to the rest of the exterior. Files uploaded with application: PAAC 4-6-23 meeting packet page 81 PAAC 4-6-23 meeting packet page 82 COMMUNITY CRISIS MURAL CONTRACT This agreement is made on 10/28/2022 between: Ali Hval (herein called “the Artist”) and _____________ (herein called “the Client”). Whereas the Client seeks to have the Artist design and complete a mural; and whereas the Artist desires to enter into contract with the Client in performing such work; Now, therefore, in consideration of the promises and mutual covenants herein set forth, the parties do hereby agree as follows: OBLIGATIONS 1. The mural shall be painted on the side of the building facing the parking lot. The mural will take up the first ⅓ of the area to be primed closest to the street for visibility. 2. The Artist will create an original design and be responsible for painting and varnishing the mural with proper exterior paints and sealant. The design will not be painted/installed until both Client and Artist agree on a final design in good faith. The Artist and the Client will make best efforts to finalize the design with a maximum of three changes to the preliminary design(s). 3. The Artist will use Novacolor exterior mural paint and varnish with the best lightfastness, longevity, and quality. 4. The Artist will complete the mural in a timely manner. If any delays or schedule alterations may arise, the Artist must immediately notify the Client as to the reason and propose steps to be taken to successfully complete the project by the agreed upon completion date. If, for reasons beyond the control of the Artist (e.g. sickness, inclement weather, personal injury), the mural cannot be completed by the completion date, the Artist will notify the Client immediately and propose steps to complete the mural as soon as reasonably possible. 5. The Artist will provide a minimum of 24 hours notice to the Client before commencing work on the mural. 6. All costs and the payment schedule for the mural will be outlined in the contract below. 7. The Artist will be responsible for personal accident and/or artist insurance during the execution of the mural. The artist holds general liability insurance. 8. The Artist will be responsible for the security of any supplies borrowed, bought, or rented. The Artist will keep a clean worksite (putting down tarps, not splashing paint on furniture, storing supplies after use, etc). 9. The Artist guarantees (“the guarantee”) repair on the mural due to any issues with the integrity of the paint and application (for instance, de-lamination) for the first year after completion of the mural. This does not include pre-existing structural damage (i.e. water damage). For damage beyond the first year or for damage due to causes other than the integrity of the paint and application (“damage not covered by the guarantee”), the Artist will have first right to work on repairs or updates for the mural. The Artist’s rate for repair will be $35/hour (plus equipment, travel, and material fees) to fix the mural. PAAC 4-6-23 meeting packet page 83 In the case the Artist is unable to fix the mural, a different artist will be selected and guided through the process to fix the mural. Incidents of vandalism shall not be covered by the guarantee. If the Artist is unavailable to make necessary repairs to damage not covered by the guarantee and the Artist is unable to find another artist, the Client may hire another party to complete any repairs to the mural. 10. The Artist will adhere to all government safety regulations as outlined by the Occupational Health and Safety Administration (OSHA) of the United States Department of Labor. PAYMENT/BUDGET WITHOUT PRIMING ➢ Total payment for the mural is $1,560. This total sum is all-inclusive of the design fee, any supplies needed, travel costs, and painting labor. ➢ The Artist will request $300 up front for the design fee. The Artist will have up to two weeks to complete an initial set of designs. ➢ The Artist and Client will work back and forth on the design(s). A maximum of three back-and-forth iterations is allowed during the mural design process. ➢ Once a design is decided upon, the Artist will give 24hrs notice to the Client before beginning to paint the mural. ➢ The artist will paint the mural and seal it twice with a non-yellowing exterior matte varnish. ➢ Upon completion of the mural, the Artist will invoice the Client for the remaining $1,260.00 after the mural is completed. The Client has 30 days from the invoice date to pay the invoice. ➢ The Client agrees to renegotiate payment if the Client requests a change to the mural that necessitates altering the scope of work for the project, and which may cause anticipated costs for mural completion to increase. ➢ The Client agrees to renegotiate payment in good faith if an unexpected expenditure occurs that was not budgeted in the project proposal submitted by the Artist. ➢ If the mural is not completed to the satisfaction of the Client, the Artist will work with Client in good faith to resolve any remaining issues. Cost to paint, including tax: Design Fee: $300 Novacolor paint, approx. 2 gal: $90 Novacolor matte varnish, approx. 1 quart: $15 Brushes, 1-inch: $20 Brushes, detail set: $10 Tarp: $20 Tape: $5 Artist Labor: $1,100 PAAC 4-6-23 meeting packet page 84 Total: $1560.00 WITHOUT PRIMING ➢ Total payment for the mural is and priming the wall $4,347. $2787 will go toward priming the exterior walls behind and around the mural. This sum is all inclusive of the design fee, any supplies needed, travel costs, and painting labor. ➢ The Artist will request $300 up front for the design fee. The Artist will have up to two weeks to complete an initial set of designs. ➢ The Artist and Client will work back and forth on the design(s). A maximum of three back-and-forth iterations is allowed during the mural design process. ➢ Once a design is decided upon, the Artist will give 24hrs notice to the Client before beginning to paint the mural. ➢ The Artist will request $1000 to cover preliminary fees such as lift rental and paint supplies. ➢ The artist will paint the mural and seal it twice with a non-yellowing exterior matte varnish. ➢ Upon completion of the mural, the Artist will invoice the Client for the remaining $3,047 after the mural is completed. The Client has 30 days from the invoice date to pay the invoice. ➢ The Client agrees to renegotiate payment if the Client requests a change to the mural that necessitates altering the scope of work for the project, and which may cause anticipated costs for mural completion to increase. ➢ The Client agrees to renegotiate payment in good faith if an unexpected expenditure occurs that was not budgeted in the project proposal submitted by the Artist. ➢ If the mural is not completed to the satisfaction of the Client, the Artist will work with Client in good faith to resolve any remaining issues. Cost to prime, including tax: Lift Rental from Aero Rental, Scissor 20’ for 2 days: $267 Lift delivery fee (to and from): $50 10gal primer, Behr Premium Plus Exterior: $440 Roller covers: $10 Brushes: $20 Labor: $2000 Total cost to primel: $2787 Total cost to prime and paint mural: $4,347.00 PROJECT DESIGN PAAC 4-6-23 meeting packet page 85 The mural will consist of the phrase “YOU ARE ENOUGH” in the proper font alongside a graphic design on the third of the wall closest to the street. The design will evoke the mission and all services of CommUnity Crisis Service with a simple, clean design. PROJECT START DATE TBD/Spring 2022 as weather permits PROJECT TIMELINE 1-3 days ARTIST ADDRESS Ali Hval 718 S Summit Street Iowa City, IA 52240 ARTIST NAME: Ali Hval SIGNATURE: DATE: October 26, 2022 CLIENT NAME: _________ SIGNATURE: ____________ DATE:_______________ PAAC 4-6-23 meeting packet page 86 Project Name: Iowa City Poetry Alfresco 2023 Applicant Name: Lisa K. Roberts City: Iowa City Project Date: 4/29/2023 Email: iowacitypoetry@gmail.com Location: Another Location Specific Location: Iowa City Poetry Alfresco 2023 will be held in the Longfellow Neighborhood, outside at twelve participating businesses, private residences, and public parks. Current host sites include the following: 1. Deluxe Bakery - 812 South Summit Street 2. Home of Julie Easely and Lisa D’Aunno - 720 Clark Street 3. Home of Michelle and William Allen - 418 Clark Street 4. Home of Nina Lohman - 542 Clark Street 5. Longfellow Elementary - 1130 Seymour Avenue 6. Home of Chris Carman - 1519 Center Avenue 7. Home of Jennifer New - 921 South 7th Avenue 8. Shelter at James Alan McPherson Park - 1858 7th Avenue Court Street Provide a brief description of the proposed project: Iowa City Poetry Alfresco 2023 is an open-air progressive reading that invites 30+ local writers to share their work in socially distanced outdoor poetry readings. Scheduled for the end of National Poetry Month, the readings will take place on a Saturday evening, April 29, 5:00-8:00 pm, in the Longfellow Neighborhood. The mapped route includes participating businesses and private residences between Summit and Muscatine, culminating at James Alan McPherson Park. Iowa City Poetry Alfresco engages poets of all ages, races, backgrounds, poetic styles, and experience levels to share their work with the larger public. Building on past success, this year we seek to engage 400+ audience members in this open-air celebration of diverse and powerful poetic voices in our community. Explain how this project is defined as “public art” and demonstrate that the artwork/event will be in an area open and freely available to the general public: Iowa City Poetry Alfresco 2023 is public art in two important ways: its physical location is freely accessible to the general public and its numerous featured artists represent a true cross section of the Iowa City public. By design, Iowa City Poetry Alfresco is held outdoors on the easily accessible sidewalks of local businesses, in the front yards of host private residences, and in the open-air shelters of city parks. The 2023 event will be held outdoors in the Longfellow Neighborhood, beginning on Summit Street and culminating in a final reading at James Alan McPerson Park. With the permission of participating businesses, homeowners, and Iowa City Parks & Recreation, each of the 12 different readings are held on sites freely available to the general public. Also by design, Iowa City Poetry Alfresco invites all members of the general public to sign up to perform their poetry during the event. We publicize an open call for readers of all backgrounds and ages, and we reach out to different organizations in our community to ensure that we include readers of all ages, races, ethnicities, genders, sexual orientations, educational backgrounds, and experience levels. Our goal is to make the event a real gathering place for all poets and poetry lovers in our community. PAAC 4-6-23 meeting packet page 87 Describe the intended audience for this project and what efforts you will make to benefit the broader community: The intended audience for our project is local writers, lovers of literature, and anyone who seeks a beautiful spring evening outside enjoying art in our city. By featuring readers from different organizations, age groups, racial backgrounds, genders, sexual orientations, and poetic styles, we seek to welcome and affirm all members of the Iowa City community. Our goal is to introduce community members in the audience to a diversity of voices, perspectives, styles, and viewpoints. In this way we aim to inspire listeners toward empathy for and understanding of their fellow Iowa City citizens. We also aim to inspire community members to pursue their own creative potential. Received funds in the past? No Total Project Cost Matching Fund Request 1131.00 555.00 Outside funding sources Amount Anticipated/Committed Donations 281.00 Committed Revenue from other ICP programs 300.00 Committed Explain specifically what matching funds will pay for: If we are lucky enough to receive matching funds, those funds will pay for event promotion, signage, and space rental. The costs breakdown as follows: IPR livestream promotion, $175 ($7/spot x 25) Promotional poster printing, $35 Webdesign, $170 ($85/hr x 2) Yard signs for site hosts, $52 ($13 x 4) Printing of onsite map handout, $85 Rental of park shelter, $38 Explain how you will gauge a successful outcome of the project: Our team will gauge the successful outcome of the project based on the number of audience members in attendance, the number of community partnerships developed, and the diversity of poets who will be reading. . To track audience attendance, we ask volunteers at each of the twelve host sites to take a headcount of those attending and report back to event organizers. This year we aim for 400+ to attend Iowa City Poetry Alfresco. To ensure enthusiastic community participation and support, we reach out to many different area organizations, businesses, and individuals as hosts, partners, and supporters. This year we aim to partner with five or more community organizations, including Iowa City UNESCO City of Literature, Iowa Youth Writing Project, LGBTQ Iowa Archives & Library, Center for Afrofuturist Studies, and The Senior Center and two local businesses, Deluxe Bakery and Thoma’s Meat Market. PAAC 4-6-23 meeting packet page 88 It’s crucial to our mission that we engage a real diversity of poets and poetic voices to read at the event. With that in mind, we actively invite poets of color, poets from LGBTQ+ communities, poets with and without publications, as well as youth and seniors. Partners and their roles: Iowa City UNESCO City of Literature – Executive Director John Kenyon has agreed to promote Iowa City Poetry Alfresco to his organization’s wide social media following. Our team is indebted to the City of Lit for their enthusiastic support of the project. Iowa Youth Writing Project – Director Mallory Hellman and her team will bring 7-10 students from Iowa City elementary schools to read at the event. These students will be invited from the IYWP’s afterschool Writing Clubs at various schools and community centers in our area. LGBTQ Iowa Archives & Library - Associate Director Ann Kreitman will engage LGBTQ poets with whom she works to read at the event. As the Iowa State Legislature seeks to erase and silence LGBTQ voices in Iowa, this site reading will be dedicated to spotlighting and celebrating the LGBTQ artists in our community. Files uploaded with application: Images, Site Plan, Letter, Additional Info, Resume PAAC 4-6-23 meeting packet page 89 PAAC 4-6-23 meeting packet page 90 President Jesse Singerman Vice President Nick Kaeding Treasurer Linda Farkas Secretary John Culshaw Board Aron Aji Megan Alter Alison Ames Galstad Venise Berry Anna Barker Elsworth Carman Maeve Clark LaTasha DeLoach Kellee Forkenbrock Jon Green Judith Leavitt Lyz Lenz LaTanya McQueen Karen Miller Caleb Rainey Steve Semken Iowa City UNESCO City of Literature 123 S. Linn St. Iowa City, IA 5240 (319) 887-6100 www.iowacityofliterature.org info@iowacityofliterature.org March 24, 2023 I am writing to express our enthusiastic support for Iowa City Poetry Alfresco, a free community-wide celebration of poetry in our area. Iowa City is a UNESCO City of Literature because of projects like this. While we are recognized for the institutional excellence of so many programs, it is grassroots work like this that emphasize the “City” part of our title. This community spirit is exemplified by the title: Al Fresco – it makes poetry accessible to everyone by producing free, open-air events. It goes beyond the academy to provide a space and an audience for local poets whose work is just as deserving of attention as those with a higher profile. And the egalitarian aspect – blending authors and audience of all ages, backgrounds, and levels of interest and experience – makes this an important community-building event. This year’s event, a progressive reading that will feature more than 30 writers sharing their work in socially distanced outdoor poetry readings, builds on past success. I enjoyed biking around the College Hill neighborhood in 2022 to take work from many poets who were new to me and look forward to doing so again as I wander among the 12 host sites his year in the Longfellow Neighborhood. Another aspect of this annual event to be lauded is the growing number of partnerships involved. Each year, new partners are brought aboard, creating connections that bear fruit long after the last verse is recited. I strongly encourage Iowa City’s Public Art Advisory Committee to provide support for this event through the Matching Grant fund program. This investment will provide opportunities for poets, create community, build partnerships, and help to celebrate what makes this city so unique as a City of Literature. Yours, John Kenyon Executive Director PAAC 4-6-23 meeting packet page 91 # R30259 ApprovedStatus Page 1 of 2 1 recource(s)1 booking(s)Subtotal: $38.00 Payer Lisa Kae RobertsSystem User KK Primary Phone Number (402) 310-9377 Cell Phone Number (402) 310-9377 Email Address iowacitypoetry@gmail.com Customer Name Lisa Kae Roberts - 77460 Customer Type Private Individual Mailing Address 2625 Rushmore Dr. Iowa City, IA 52246 Permit #R30259 Status Approved Date Mar 23, 2023 12:03 PM Iowa City Parks and Recreation Department 220 South Gilbert St. Iowa City, IA 52240 PHONE:(319) 356-5100 FAX:(319) 356-5487 EMAIL:icrec@iowa-city.org Permit Rental Fee $38.00 Discounts $0.00 Subtotal $38.00 Deposits $0.00 Deposit Discounts $0.00 Total Permit Fee $38.00 Total Payment $38.00 Refunds $0.00 Balance $0.00 Iowa City Poetry Alfresco Booking Summary James Alan McPherson Shelter(Max.36/$38) (Park Shelter - Less Than 5 Hours)Center: James Alan McPherson Park START DATE/TIME END DATE/TIME ATTENDEE AMT W/O TAX Apr 29, 2023 6:00 PM Apr 29, 2023 10:00 PM Cleanup 9:30 PM - 10:00 PM 20 $0.00 Resource level fees $38.00 Park Shelter (5 Hours or Less) $38.00 / Day x 1 $38.00 Facility Notes Water access and full restroom facilities available approximately May 1 to October 1. City ordinance allows consumption of canned/bottled beer and wine on the shelter's concrete pad. Kegs, hard liquor and alcohol sales are prohibited. Custom Questions QUESTION ANSWER City Ordinance #21-4855 allows consumption of canned/bottled beer and wine in rented park shelters (Kickers Soccer Park and Napoleon Park excluded). Alcohol must stay on the shelter’s concrete pad. Kegs, hard liquor and alcohol sales are prohibited. City Ordinance #21-4855 will be followed Does your event require use of surrounding park and/or trails outside of the shelter area (Ex: walk/run/race, concert, parade, etc.)? If yes, you must obtain prior authorization. Call (319)356-5100 for more information. No PAAC 4-6-23 meeting packet page 92 # R30259 ApprovedStatus Page 2 of 2 X: :Date Lisa Kae Roberts Customer Id: 77460 Mailing Address: 2625 Rushmore Dr., Iowa City, IA 52246 Primary Phone Number: (402) 310-9377 Cell Phone Number: (402) 310-9377 Email Address: iowacitypoetry@gmail.com X: :Date Iowa City Parks and Recreation Department Mailing Address: 220 South Gilbert St., Iowa City, IA 52240 Phone Number: (319) 356-5100 Fax Number: (319) 356-5487 Email Address: icrec@iowa-city.org Payment and Refund RECEIPT #DATE FEE DESCRIPTION EVENT RESOURCE PAYMENT / REFUND 1212406.002 Mar 23, 2023 Park Shelter (5 Hours or Less) Iowa City Poetry Alfresco James Alan McPherson Shelter(Max.36/$38) $38.00 PAAC 4-6-23 meeting packet page 93 LISA K. ROBERTS 878 Kennedy Parkway Iowa City, Iowa 52246 iowacitypoetry@gmail.com lisakaeroberts@gmail.com 402-310-9377 EDUCATION 1989-92 Courses and exams completed for Ph.D., English Literature, University of Virginia 1986-89 All work completed for M.A., English Literature, University of Virginia 1980-84 A.B., English Literature, Princeton University, Magna Cum Laude TEACHING 1997-2003 University of Nebraska, Lincoln, Department of English, Lecturer 1994-1995 University of Nevada, Las Vegas, Department of English, Lecturer 1988-1990 University of Virginia, Department of English, Graduate Teaching Assistant 1984-1986 Chinese University of Hong Kong, Shatin, Hong Kong, Lecturer in English AWARDS 2021 Bravo Award Recipient, Think Iowa City 2017 Friend of Education Award, Iowa City Education Association 2015 Four Oaks Friend of Children Award Nomination, Iowa Family and Children’s Service Coalition 2004 Parents Association Teaching Award, University of Nebraska 2002 Parents Association Teaching Award, University of Nebraska 1992 Graduate Teaching Assistant Award, University of Virginia, English Department 1984 Senior Thesis Prize in Aesthetics, Princeton University NON-PROFIT ADMINISTRATION 2020-present Iowa City Poetry, Director • Planned large community-wide events, including Iowa City Poetry Alfresco and Mic Check Poetry Fest • Managed an $85,000 budget • Recruited and managed instructors to lead writing workshops PAAC 4-6-23 meeting packet page 94 • Oversaw Advisory Council • Conducted outreach to community partners • Ran promotional campaigns for all programs 2017-2019 Iowa Youth Writing Project, Assistant Director • Planned large events, including Jr High Writing Jam, Jr High Writing Conference, and Prairie Lights Reading • Mentored UI Undergraduates as interns and volunteers • Served as liaison to community partners • Recruited students for special events and weekly workshops • Collected data on volunteers engaged, volunteer hours donated, students served, and programs completed June-July 2016-2019 Iowa Youth Writing Project, Director of Summer Programming • Over four summers, grew number of camps from 8 to 23 and volunteer hours from 407 to 1,130 • Oversaw all weekly workshops, weeklong camps, and special events • Oversaw 17 UI Undergraduates performing Intern Projects • Recruited camp instructors and advised on curriculum • Recruited, trained, and organized volunteers • Served as primary liaison to community partners • Developed and maintained ties to camp families 2015-2016 Iowa Youth Writing Project, Development Officer and Community Liaison • Wrote winning grant proposals • Directed Annual Giving Campaign • Mentored Development Interns • Planned and promoted events FUNDRAISING 2016 $5,000 Grant from The Iowa Women’s Foundation to the IYWP • Wrote and administered grant, ‘Writing for Change,’ to serve at-risk girls, John MacDonald Residential Treatment, Monticello, Iowa 2016 $2,200 Grant from the Community Foundation of Johnson County to the IYWP • Wrote grant, ‘Play with Your Words’ to serve Iowa City children in IYWP summer programs PAAC 4-6-23 meeting packet page 95 2015 $5,000 Grant from The Iowa Women’s Foundation to the IYWP • Wrote and administered grant, ‘Writing for Change,’ to serve at-risk girls at John MacDonald Residential Treatment, Monticello, Iowa 2015 $2,500 Grant from the Iowa Arts Council to the IYWP • Wrote grant, ‘Junior High Writing Conference,’ to serve 150 students 2015 $25,000 Individual Gift from Gerald and Karen Knox to the IYWP • Played major role in securing largest private IYWP donation to date 2015 $9,000 Annual Giving for the IYWP • Directed ‘Community Cares Campaign’ for Community Advisory Council 2014 $5,400 Annual Giving for the IYWP • Directed ‘Community Cares Campaign’ for Community Advisory Council COMMUNITY ARTS ORGANIZING 2013-2020 Iowa City Poetry, Founder and Editor • Created virtual resource for poetry happenings in Southeast Iowa 2014-present Free Generative Writing Workshop, Founder and Co-Sponsor • Founded only monthly generative writing workshop for adults in Iowa City that is free to participants and led by invited renowned writers VOLUNTEERISM 2020-present The James Gang, Board Chair • Oversaw Executive Committee • Organized and ran Board Meetings 2017-2018 Antelope Lending Library, Board Member • Organized ‘Keep It Rolling Campaign’ yielding $6,000 in donations 2014-2016 Iowa Youth Writing Project, Founding Chair, Community Advisory Council • Recruited members from local business owners, UI and ICCSD educators, and area non-profits • Planned and ran monthly meetings, as well as oversaw committee work • Planned and ran fundraising campaigns 2014-2016 Iowa Youth Writing Project, Site Coordinator, Writing for Change Workshop, John MacDonald Residential Treatment, Monticello, Iowa • Wrote and administered winning grant PAAC 4-6-23 meeting packet page 96 • Coordinated volunteers • Created programming 2012-2015 Iowa Youth Writing Project, Volunteer and Site Coordinator • Led creative writing workshops for K-12 students • Organized and promoted events • Coordinated volunteers 2009-2011 Lincoln Literacy Council, Lincoln, Nebraska, Volunteer Writing Instructor • Taught ELL workshops • Tutored ELL students PUBLICATIONS ‘On Forgetting Names,’ Little Village: Iowa City’s News & Culture Magazine, March 26, 2014. ‘The Space Between,’ ‘Portrait Studies, Days 1 to 22,’ ‘Young Lady,’ The Untidy Season: An Anthology of Nebraska Women Poets. Heidi Hermanson, Liz Kay, Jen Lambert, and Sarah McKinstry-Brown, Eds. Backwaters Press, 2013, pp. 142-148. “Love Poem with Silverware,” Plainsongs, Corpus Callosum Press, October, 2011 INVITED SPOKEN WORD PERFORMANCES 2023 November Poetry in Motion, The James Theater, Iowa City, Iowa 2017 May NewBo PoJam with Akwi Nji, NewBo Market, Cedar Rapids, Iowa 2014 October NewBo PoJam with Akwi Nji, Lion Bridge Brewery & Taproom, Cedar Rapids, Iowa 2014 March Hot Tin Roof Reading, Trumpet Blossom Café, Iowa City, Iowa 2014 January Was the Word, The Englert Theatre, Iowa City, Iowa 2013 December VoiceBox Winter Showcase, CSPS, Cedar Rapids, Iowa PAAC 4-6-23 meeting packet page 97 Project Name: Splatter Shack Applicant Name: M Renee Vogt City: 940 S. Gilbert St., Iowa City Project Date: start 5/1/23 Email: rcc1616@gmail.com Location: Art Studio – Renees Ceramic Cafe Specific Location: Provide a brief description of the proposed project: I would like to install a shed in my studio for customers to experience. They will use UV paint to create their masterpieces. Everyone will be given a UV light to ho with each project created. This is a unique and fun experience. Explain how this project is defined as “public art” and demonstrate that the artwork/event will be in an area open and freely available to the general public: Everyone loves to create! But rarely are they given the exciting opportunity to paint with UV light. This is truly unique and educational to learn how UV light works. Every piece will be unique and beautiful! Describe the intended audience for this project and what efforts you will make to benefit the broader community: This project is for anyone that can use a paint brush. All ages live to create and I intend for this to be accessible to everyone. Received funds in the past? no Total Project Cost Matching Fund Request $1000 $500 Outside funding sources Amount Anticipated/Committed M Renee Vogt $500 committed Explain specifically what matching funds will pay for: The physical shed, UV paint, protective ponchos and safety goggles, brushes, canvas. Explain how you will gauge a successful outcome of the project: Raising awareness on social media and business platforms Partners in the project and their role: N/A Files uploaded with application: PAAC 4-6-23 meeting packet page 98 Project Name: South District Market Patio Mural Applicant Name: South of 6 Iowa City Business District City: Iowa City Project Date: 7/1/2023 Email: angie@southof6.org Location: Buildings Specific Location: Outdoor patio space wall of the new South District Market located at 947 HWY 6 East in Iowa City. Provide a brief description of the proposed project: This project is a part of an arts initiative in the South of 6 Iowa City Business District. Specifically, this patio project will be the design and installation of a mural in the Pepperwood Plaza on the new patio space–a former cart return site–of the new South District Market. This project positively rewrites the narrative of the South District and promotes a welcoming, inclusive and diverse part of town that inspires and celebrates the people who live, work and play here. This increased access to the creation and experience of public art not only allows opportunity to redefine and reuse spaces in the South District, but also shares the power of art with a side of town that has been marginalized throughout the history of Iowa City. Additionally, this project elevates a local artist and encourages participation from underestimated populations. Also, the project revitalizes and unifies the neighborhood and commercial sectors while supporting economic development within a new business district. Furthermore, it elevates underestimated populations of entrepreneurs that are incubating their business to build generational wealth in the South District Market. The art will be a reflection of the people who live on this side of town to not just share their cultural diversity, but also to create a familiar, positive physical space to help build a sense of belonging even if they are not originally from the Iowa City area. This creates a new narrative of the South District such that it feels more like home to those coming from afar while also gifting visitors into the space with new found awareness of the many cultures around them. This mural has the rare opportunity to redefine a space and create a visually unique experience that would showcase the power of diversity and inclusivity through art to a large number of people from all walks of life. The South District is a densely populated, residential, working-class part of town with many different cultures and languages spoken who frequent the Pepperwood Plaza for various goods and services. Furthermore, there are a variety spaces and places to for visitors to come or shop within the Pepperwood Plaza, where the mural would be located, such as the Post Office, African & Oriental Market, CommUnity Food Pantry, Table to Table, Field to Family, JD Beauty Supply, The Spot youth center, Parkview East Church, Quick Shine Express Car Wash, Taco Bell, Sherwin Williams, Crowded Closet, Defy Trampoline Park, Midwestone Bank, a new Popeyes (on it’s way!) and Stuff Etc. Consignment This project will be informed by neighborhood and commercial south side stakeholders so that the art is place-making as well as place-keeping. It adds value to the side of town in a relevant and impactful way to the people who see it everyday while attracting visitors to experience the ambiance and atmosphere on the patio space. This patio space with outdoor seating and potential to host events in a sheltered space for arts/entertainment and social gatherings has never existed on this side of town which is a major part of continuing to revitalize the South District area in general. PAAC 4-6-23 meeting packet page 99 The artist will lead the process for design and gain input from south side stakeholders and the property owners all while being able to bring their talent and vision to the South District and the Iowa City community as a whole. They will have the opportunity to mentor other area artists in the form of mural art during this process. Vendors of the South District Market are in an incubation space for entrepreneurs and are predominantly small businesses owned by women and underestimate populations. Having art outside their establishment will help to create a welcoming, attractive and unique space that can only be found in the new South of 6 Iowa City Business District. This will help grow their customer base and unite the vendors as a community in general as they all will be associated with this landmark. Explain how this project is defined as “public art” and demonstrate that the artwork/event will be in an area open and freely available to the general public: This project continues the South District tradition of a grassroots effort to bring more public art into the south side of Iowa City. Currently, the neighborhood has led efforts to fundraise and coordinate the “Our Children Spoke” a 4,400sq ft mural on Broadway Street, guest artists at the neighborhood elementary schools, the “Four Seasons'' mosaic trail head pillars on Lakeside Drive, the creation of the south side bookmark and persuasive essay contest, “The Mermaids'' mural at Fairmeadows Park, has supported and financially contributed to local performing artists at the South District Diversity Markets while also supporting and engaging structural art such as “Birds in Flight on the Sycamore Greenway Trail, the rotating art installations at Terry Trueblood Recreation Center and more! This project will include a completed project, the mural, and it is also important to note that throughout the process the Colectivo Luchart will be making a series of videos about the creative process of the mural and community participation. This will also be shared on social media. This will allow for gathering data and for community engagement. Furthermore, the Colectivo Luchart will create hashtags that will allow the participation of the whole community of Iowa City to be part of the South District’s transformation to include more informed public art. The Association for Public Art shares that, “Public art is a reflection of how we see the world – the artist’s response to our time and place combined with our own sense of who we are. Public art is a part of our public history, part of our evolving culture and our collective memory. It reflects and reveals our society and adds meaning to our cities. As artists respond to our times, they reflect their inner vision to the outside world, and they create a chronicle of our public experience” (Balk). The public facing location of this mural in the Pepperwood Plaza has undergone so much evolution from the days back when it had an Econofoods grocery store and Best Buy, before the Coral Ridge Mall. This part of town has negative associations within our collective memory, and regardless of the facts, this project is about creating the change we seek from the inside out in the South District. It’s about shaking the past and creating a new narrative that actually speaks the truth of those who know and love this side of town and this can be done through our arts initiative and through this very mural project. Reference: Public Art in Philadelphia by Penny Balkin Bach, Temple University Press, Philadelphia, 1992. Describe the intended audience for this project and what efforts you will make to benefit the broader community: The intended audience of this project is all who live, work, study, play and visit the South District. According to Habitat for Humanity’s Quality of Life Framework, systemic and sustainable change that happens in a neighborhood comes about through the holistic nature of priorities to create the change across multiple sectors. Those sectors include: transportation, safety, housing, health, PAAC 4-6-23 meeting packet page 100 education, economic opportunities and amenities. “In order to create change that leads to an improved quality of life, community efforts” need to focus on the three foundational outcomes: sense of community, social cohesion and collective action. This mural is one of those important amenities that not only increases the quality of life in the South District, but it also creates a cohesive sense of community pride through impactful, expressive action–through public art. This positively benefits the entire community–when one side of town rises, all rise. Reference: How are we Revitalizing Neighborhoods: The importance of healthy neighborhoods and giving back to the community (habitat.org) Received funds in the past? No Total Project Cost Matching Fund Request 10000.00 3500.00 Outside funding sources Amount Anticipated/Committed South of 6 Iowa City Business District 3500.00 Anticipated Southgate Properties 1000.00 Anticipated South District Neighborhood 500.00 Anticipated Corporate Sponsors and other private donors 1500.00 Anticipated Explain specifically what matching funds will pay for: Design Costs/Artist Fee $5000 Community engagement program $1000 Site Preparation $1000 Materials $2500 Lift $500 Explain how you will gauge a successful outcome of the project: Success will be gauged by the completion of the mural that reflects the information collected from community outreach/input and opinion that positively impacts the South District Neighborhood revitalization and economic development efforts. Partners and their roles: Southgate Companies – providing wall space Colectivo Luchart – Design and paint in conjunction with community South District Neighborhood Association – community outreach and promotion South District Market – key stakeholder and promotion Files uploaded with application: PAAC 4-6-23 meeting packet page 101 Location & Possible Mural Idea: The first photos are of the wall as seen off the street: PAAC 4-6-23 meeting packet page 102 PAAC 4-6-23 meeting packet page 103 On the flat brick wall, this project can add other elements on the flat brick side wall, that would be possible to paint a design with the community. By making a few portraits of the diverse community and painting them on the flat walls In the photo below in particular the wall has a strong texture element that needs to be considered as part of the design, since the strong texture of the wall will be difficult to paint. A vertical design will be needed. PAAC 4-6-23 meeting packet page 104 This idea is inspired by the classic Mexican Serape or "Zarape de Sinaloa"in Mexico this textile became an icon as a symbol of pride, national liberty, and its struggle for liberty and democracy. PAAC 4-6-23 meeting packet page 105 COLECTIVO LUCHART Sesso Marentes Multi discipline Artist Artista Multidisciplinario @sesomarentes https://www.sesomarentes.com Johamy Narvaez Painter and Tattoo Artist Pintora y Atista de Tattoo @imazonne https://www.artmajeur.com/johamy-narvaez?view=grid&saleOptions=sale Richard Alvarenga Photographer and Filmmaker Artist @alvarengaart https://alvarengaart.com/ Isabela Larios Sculptor, Maker & mixed-media Artist @isa_kaos Miriam Alarcón Avila Photographer, Multimedia & Storytelling Artist @miriamalarconavila https://www.miriamalarconavila.com INTRODUCTION: With the need and desire to find other artists of Latinx origin, who are creating in the state of Iowa. I gave myself the task of looking for creators through my walks through different Latino festivals, that's how I met Seso, Johamy and Isabella. I knew it was important since we are few, and we share the same obstacles as a creative minority. PAAC 4-6-23 meeting packet page 106 In November 2021 we collaborated together on the Dia de Muertos Altar for the City of Iowa City. We knew that together we could help each other, and we decided to continue collaborating as a Collective, we continued to look for more Latinex creative artists, and we found Richard, and we formed the Colectivo Luchart. -Miriam Alarcón Avila WHO ARE WE? Seso: I’m Seso, an Iowa born Artist from Des Moines. I don't like being boxed in. I have many talents that time and experience has given me. Life is my medium of choice. One day you will find me painting the next, as my process I'm making odd videos of my Art. Tomorrow I could be printing. My goal is to express my Art through the many ways I live. Im creating a philosophy and way of life. Johamy: I’m Johamy Narvaez, an Italian-Ecuadorian visual artist, educator, and second-generation immigrant, based in West Liberty Iowa. I paint and experiment with different art mediums on walls, and streets but mainly canvases and digital illustrations. My goal is to find and define a place I can call home. This place is a social place of community and cultural sharing. I want to contribute, through colors, shapes, and narrative, in expanding the critical sense of the people who look at my creations. Richard: I’m Richard Alvarenga, a creative from Des Moines native. I love being full time in a field, I enjoy and can be as creative as I want. I love to tell stories and evoke emotions through my work. I don’t like putting myself into one field. I do various kinds of works. I’d say my biggest strength is working with light. I love photography, cinematography, charcoal and acrylic. In the past, I’ve Volunteered countless hours for my church. I also teach others photography both at an institution and privately. Isabela: PAAC 4-6-23 meeting packet page 107 I’m Isabela Larios, Mexican Artist creating and reclaming my space in the United State. I’m working in the transition at the end of the road, transforming and mixing materials and mediums. I work with textiles, painting, print making , and sculpture inspired by my mexican culture. Miriam: Yo soy, Miriam Alarcón Avila, I’m a photographer, and a visual, multimedia, and storytelling artist. A Latina Immigrant from Mexico, based in the Iowa City Area. I’m a creative force that is always looking to inspire others to see far beyond limitations, stereotypes, and differences. With the mission to pursue my bliss of flow, by creatively producing strong works of art that leave a legacy for a better, sustainable, and inclusive world. I want to inspire, connect, encourage, educate, support, and help others experience and engage with a borderless world. As a Collective we'll like to invite you to: Open your eyes and create stories and beautiful Art through the lens of creativity and diversity. Advocate and support minority artists to make a strong and resilient creative Iowa. El arte es para todos, The Art is for everyone. PAAC 4-6-23 meeting packet page 108 Project Name: Open Aire Media Festival at PS1 Applicant Name: Zen Cohen City: Iowa City Project Date: 6/3/2023 Email: zencohenprojects@gmail.com Location: Another Location Specific Location: The 2023 festival will take place outdoors at PS1 Close House at 538 S Gilbert St, a historic mansion, grounds and parking lot situated on the busy corner of Bowery and Gilbert Streets. Provide a brief description of the proposed project: Open Air Media Festival (OAMF) invites Iowa-based artists to create site specific installations, video projection works and performances in outdoor locations throughout Iowa City. Through generous support from our event partner and fiscal sponsor, Public Space One, and previously receiving funds from the Iowa City Public Art Matching Fund Program, our events are free and open to the public. The fourth annual OAMF will take place on Saturday June 3rd, 2023, for a single evening at Public Space One’s (PS1) Close House at 538 S Gilbert St. The art event is organized and curated by Zen Cohen and Dana Potter with support from PS1’s Media Arts Co-Op (MAC). Through two open calls for artist participation this year, OAMF curators selected 12 projects ranging from media installations to performances made by Iowa-based artists and 19 film/video works to be included in our screening program. Over the past four years, both the curatorial and event organizing process has evolved to enhance overall festival programming. After OAMF in May, 2022, we created a catalog of past works and distributed an audience feedback survey. The catalog compiled works from the three festivals to date and allowed the curators examine themes between the years, projects, and art mediums as well as identify gaps in programming. This year, we desired a wider variety and number of film/video works for our screening series as a way of increasing the number of participants, including artists from across Iowa, and increasing the number of video projections at the event. We offered our open calls in two categories: our usual open call for installations and performances made by Iowa-based artists and the other open call for film/video works made by regional, Midwest-based artists. This year, curatorial decisions were also driven by the data obtained from last year's audience feedback survey. The survey revealed that the most "seen" work in the festival was a street-facing sculptural piece lit by the street lighting that surrounds PS1 Close House on Gilbert Street. We plan to position more work this year on the front lawn, closer to the property's edge, to draw in more of the public from Gilbert and Bowery Streets. In total, OAMF curators have selected 31 artists/projects to participate this year, making this our largest artist pool to date. This year's participants are also the most diverse pool of artists in our festival history; diverse in terms of identities, abilities, and socio-economic class. As we enter the fourth year of festival programming, OAMF has become a platform for Iowa City artists to experiment, present new ideas, and professionalize their work. This year’s local projects include 4 returning artists/teams (two from 2022 and two from prior years) and 8 new artists/teams. The screening program includes 18 new artists. Iowa-based artists creating installations and performances are invited to propose works in progress through our open call and present to the public outside of traditional art institutions (academic) or gallery. This allows artists to expand an idea, obtain support, and challenge their abilities in ways that PAAC 4-6-23 meeting packet page 109 other spaces might impose limitations. The nature of media art installations and performance art is laborious, ephemeral, and often responsive to audience engagement. OAMF provides power in numbers due to the nature of a group show including support during install from PS1 personnel, as well as increased visibility towards their work as an established event and through marketing on social media. Exhibiting work helps lead an artist to more opportunities through credibility. OAMF furthers this credibility by sharing individual artists through our social media, website, and catalog publications and documenting the event on artists behalf. Artists need documentation of their work and proof of previous installation to gain further funding or exhibition opportunities. OAMF provides Iowa-City based artists who work in video, sound, performance, installation, and writing the opportunity to come together in a larger group exhibition to establish professional connections, become inspired by new ideas, and ultimately strengthen the legacy of media arts in Iowa City. Open Air Media Festival is requesting funds from the Iowa City Public Art Matching Fund Program to enable us to pay artists directly and quickly. As an artist-run, community-driven event, most national grants cycles are not conducive to the application timeline for artist participation. The PAAC allows us to adequately divide our funds between venue rental, volunteers, and marketing and provide stipends to participating artists. Stipends are the best way to compensate these works as they are event-oriented, performance-based, or ephemeral, and therefore the cost to the artist comes in the form of time and utilization of their own equipment. For this year's event PS1 has secured $2000 in funding from the Iowa Arts Council and Veridian Credit Union to cover other event costs and fees for non-Iowa City based artists, as well as an in-kind donation of advertising from Little Village. Explain how this project is defined as “public art” and demonstrate that the artwork/event will be in an area open and freely available to the general public: The entirety of the 2023 festival will be hosted in a highly visible, outdoor, and public location. PS1 Close House at 538 S Gilbert St is a historic mansion situated on the busy corner of Bowery and Gilbert. It connects a residential neighborhood to a collection of businesses and restaurants on the adjacent corner and provides artists with a corner lot, high in pedestrian traffic. Close House’s large lawn encircling the building, the parking lot, and the secondary building, an old carriage house, will serve as ample space for a number of projects to live together. The closeness of the works will entirely change an otherwise open yard and innocuous concrete lot into an inviting and illuminated landscape. OAMF is the only public media arts event of its kind in Eastern Iowa. These kinds of media art spectacles are more common in larger cities across the US and we believe Iowans are deserving of this awe- inspiring, communal experience that makes these events lasting memories for both participating artists and the public. The inaugural OAMF was created in summer 2020 at the height of the pandemic to provide exhibition opportunities for media artists and art viewing for the public to enjoy in safe, outdoor locations. Our 2023 festival will continue this mission of illuminating the Close House property with inspiring, challenging, and thought-provoking works and inviting the public to explore larger-than-life art experiences. The public is invited to this outdoor arts event to witness light, sound, and ideas transform the night into an immersive public arts installation. Describe the intended audience for this project and what efforts you will make to benefit the broader community: For promotion, the public will be notified about OAMF through PS1 and Media Arts Co-op social media campaigns, newsletters, and through printed materials available at PS1 locations well in advance of the event date. Printed promotion will be distributed widely in community spaces. We will bolster print and digital advertising in Little Village with additional social media adverts. We have connected with FilmScene, Summer of the Arts and other Iowa City organizations, to amplify our event. PAAC 4-6-23 meeting packet page 110 To further draw a wider audience, we scheduled this year’s festival the same weekend as the Iowa Arts Festival. We intend to cross-promote our events, make some installations and performances visible before sundown, and display event signage to promote the event throughout the weekend. We also plan to purchase additional social media advertising to boost attendance. The intended audience for our event is the broader public who pass by the festival on Gilbert Street, individuals traveling from out of town to attend Iowa Arts Fest and the local Iowa City arts community. This includes people who discover our event through our promotional materials in addition to residents and visitors to the city who would unexpectedly encounter the event. The pace and accessibility of a projection art exhibit is comparable to any art exhibition in which viewers experience the work in a non- linear, come and go fashion. All timed programming and performances will be publicized and a program provided on-site. In continuation with last year, OAMF organizers will present sounds from the event via live radio broadcast on KRUI FM. This offers a wider audience beyond Iowa City to connect with the event. The content of the radio broadcast includes interviews with artists to share the ideas behind the work and interviews of the audience describing their experience and reaction to others. From our community feedback survey we learned that 23% of attendees were not aware of the radio broadcast. This year we plan to publish a radio-specific schedule, advertise the program, and make the audio recording of the radio broadcast available post-festival. From our community feedback survey last year, we learned more about our OAMF audience. Attendees learned about the event primarily through word-of-mouth (invited by a friend) and secondarily through social media (instagram specifically). We also learned that the most common reason for attending was because a friend invited them or they wanted to see a particular artist. We believe the mixture of new and returning local artists as well as the expanded single-channel video series will increase audience draw in this category. Most notably we learned that 60% of the survey responders said the 2022 event was the first time they attended OAMF. We hope to expand the number of first-time audience members this year. Received funds in the past? Yes Total Project Cost Matching Fund Request $11,852.00 $3,500.00 Outside funding sources Amount Anticipated/Committed Iowa Arts Council $1500.00 Committed Veridian Credit Union $500 Committed Public Space One $3775 Committed Curators $2300 Committed Little Village $527 Committed Total outside sources $8,6012 Explain specifically what matching funds will pay for: Iowa Arts Council: These funds will go towards compensating PS1 staff, PS1 overhead including use of facilities, power draw, space rental, and website hosting. PAAC 4-6-23 meeting packet page 111 Veridian Credit Union: These funds will be used to offer a modest artist stipend to participating artists in our screening program. Public Space One: equipment donation Zen Cohen & Dana Potter (curators): equipment donation & graphic design Little Village: advertising Explain how you will gauge a successful outcome of the project: For our 2023 event, we set a goal to grow the number of submissions to our open call. We were able to achieve this by tripling the number of submissions we received by (1) beginning promotion of the festival and launching the open calls at the MidWay Arts Fair in Chicago last October, (2) through opening submissions for the screening program to artists from the greater midwest region and (3) by continuing to offer our open calls without submission fees. Due to the increase in submissions, we were able to double the number of participating artists for this year's event. We also set a goal to increase audience attendance and engagement. We aim to measure the success of these goals via our audience survey that will include questions pertaining to artworks viewed, experiences/opinions of artworks, event accessibility, how they learned about the event and more. In addition to distributing the audience survey post-event through social media channels, we plan to have dedicated event volunteers to welcome event attendees, audience head-count, and administer the survey on site during the event to collect feedback and data. Additionally, we plan to gather feedback from our participating artists about their experience as another means of measuring the success of organizing efforts. Partners and their roles: Public Space One – Public Space 1 provides OAMF with space for the project location, staff assistance during the event, and equipment for artists to use in the presentation of their work. Files uploaded with application: Site plan, images and budget PAAC 4-6-23 meeting packet page 112 Open Air Media Festival Participating Artists / Installations & Performances / 2023 PAAC 4-6-23 meeting packet page 113 Hag Cycle is a collaborative performance that uses shadow theater to engage a contemporary audience. The performers, Johanna Winters and Sarah Minor, are artists working across disciplines who are interested in using analog technologies to think about how image, text, and sound work in tandem, live. This performance will extend the traditional methods of shadow theater by utilizing vintage overhead projectors and two 6 x 6’ scrims. The audience will be seated outside of the screens, while the projected silhouetted imagery is animated from within. A live score, and a sequence of dialogue recited by the performers, will provide the soundscape. These three layers – image, text and sound – will prompt the audience to consider themes of isolation, invisibility, ugliness, and the history of “ululation,” a vocalization of grief once considered too offensive to be heard within a city’s walls, suitable only for wilderness. Johanna Winters and Sarah Minor / Hag Cycle PAAC 4-6-23 meeting packet page 114 Born and Bred is a large scale, 3D Printed installation consisting of 10 life sized corn stalks made up of around 360 3D prints in total, wherein the kernels on the ears of corn have been replaced with the heads of babies. Each stalk contains two ears, viewers are invited to walk through the installation and take in the surreal form. This work is an exploration into the homogenous ritual and culture of the Midwest region, questioning the perceived sameness in practices such as fashion, religion, cuisine, and even ritualistic practices such as the Midwest Goodbye. Through surrealism and humor, this work examines the conformist practices, combined with the notion of the Midwest as being a major source of agriculture [Corn], with the ideals of the nuclear family, and reproduction/procreation being normalized, and even encouraged in some circles, while the idea of being childless is still considered radicalized. Viewers will be able to walk into this installation, and see 10 duplicate life sized corn stalks made of 3D prints and wood, painted in a shade of green reminiscent of John Deere. This work is static, and is meant to surround the viewer as they ponder their relationship to the Midwest, their identity, and their values. Devlin Caldwell / Born and Bred Devlin Caldwell is a New Media Artist Living and Working in Cedar Rapids, Iowa. He is an Assistant Professor of Art at Mount Mercy University since the Fall of 2020. Originally born in Manhattan, KS, he dual majored in Printmaking and Digital Experimental Media at Kansas State University before graduating in 2016. In 2020, he Graduated from the University of Florida with a Master's of Fine arts with a concentration in Art and Technology. PAAC 4-6-23 meeting packet page 115 Ellen Oliver / Pulling Plastic Pulling Plastic is an interactive sculpture installation with projection loop and live feed camera. The words “pulling plastic” come from climbing jargon and translates to climbing on plastic holds. This work moves to deconstruct the binaries of sport and recreation in rock climbing by offering a reimagined form of climbing in a mediated rock landscape. The sculpture is built from rock climbing materials, including climbing ropes and plastic hand holds to form the body of a small artificial boulder. The boulder, placed in an outdoor environment at PS1, is the surface of a video loop projection. The projection features videos of local climbers on a green screen climbing wall. The green screen is keyed out and mapped onto the sculpture. The sculpture becomes the rock wall as the climber’s movement is distilled and warped into choreographic sequences, blurring the lines between climbing and expressive movement. The climber’s silhouette also fades to reveal images of outdoor climbing cliffs in Iowa, suggesting the impact of rock climbing in local outdoor environments. Furthermore, a live feed camera will be stationed above a green screen pedestal. Audiences are invited to place their hand beneath the live feed camera to see their own mediated hands on the rock surface. This project urges audiences to reimagine broader definitions of climbing through deconstructing verticality and route within the sport. PAAC 4-6-23 meeting packet page 116 A new experiment featuring a live VJ set of custom videos projected onto bubbles filled with fog. The fog bubbles will be contained within a 10x10’ pop-up tent. Projections will include slow-motion videos created using a high-frame rate camera and previously recorded videos from the artists’ archives. We are drawn to the ephemeral and whimsical nature of the fog bubbles and how they will reflect projected light. We are especially interested in creating a feedback loop, where we project slow-motion video of the fog bubbles back onto the live fog bubbles. Creative collaborators and life partners, new media/video artist Daniel Fine and still photographer Dana Keeton create art that explores their interest in natural forms, scale, photography, video and projection. Daniel Fine and Dana Keeton / Structured Improvisations for Fog Bubbles and Video Projections Image: Impermanence, 20-minute performance by Daniel Fine and Dana Keeton from the inaugural Open Air Media Festival in 2020 PAAC 4-6-23 meeting packet page 117 M Denney (sometimes Em, sometimes nothing) is a composer, electronic musician, guitarist, and improvisor. Her practice is autobiographic, and often deals with ideas of “the natural,” the human perspective and place within natural systems, and audio feedback as a model for understanding these systems. They also focus on the use of ritual, repetitive action, and technology as ways of engaging with memory and ideas of the past. She collaborates frequently with Iowa City dance artists, including Christopher-Rasheem McMillan, Stephanie Miracle, and Jennifer Kale. They are a member of composer’s collective This Machine, a member of experimental guitar ensemble Trio Ampliphonic, and she releases ambient music as Lithops. M Denney / Radioplace Live sound collage featuring a randomly scanning terrestrial radio. The artist will live sample, loop, crush, freeze, and otherwise manipulate the audio using a laptop and a small synthesizer. PAAC 4-6-23 meeting packet page 118 Elizabeth Rodriguez Fielder - Susto ritual Part medical clinic, part botanica, part discount retail store, the environment of _susto ritual_ is a mixed-media performance meant to manifest the modalities of healing I’ve witnessed among my home community in Queens, New York. Susto translates to shock or fear, but carries another definition, “soul wound” (Patrisia Gonzales), and describes the way pain emerges from within a body that has experienced trauma. Even though traditional pan-indigenous rituals to heal susto have been diluted and obfuscated in the relentless colonizations of Latin America, the Caribbean, and the U.S., alternative epistemologies survive through dialogue, shared resources, prayer, divination, and gossip. I do not seek to romanticize these practices or make any claim about Western medicine, but rather to present them in their beauty and absurdity, holding onto the vision and experience of an intricate care network. Susto ritual is divided into three parts. The first is _susto ritual: dialogue_ an interactive performance where people can converse with me about their bodies and I incorporate their stories into three dimensional sculptural material, as a way to materialize the desire to see and touch pain, to make it feel tangible. The second is _maxxed out_, which offers an essential, yet whimsical aspect of the healing process, discount retail shopping, where sculptures of body systems are placed on hangers on a rack. The third is _susto: diagnosis_ a video and mixed-media installation that transforms my body into the blank base for which others can overlay transparencies of anatomical illustrations of organs and systems, annotated with medical terminology alongside my personal and poetic lexicon of how chronic pain manifests in my body. Elizabeth Rodriguez Fielder is an Iowa City-based writer, creator, scholar, and dancer from Queens, New York. Her creative work explores the dialogues between the body and identity structures such as latinidad, queerness, social and familial history and gazes into autonomic modes of being. Her writing explores intimacy and performance in social movement activism and how processed of migration have been reflected in literature and art. PAAC 4-6-23 meeting packet page 119 A 16mm film expanded cinema performance (for one audience member at a time) that is back-projected on the viewer’s eyelids. Auden Lincoln-Vogel is a filmmaker whose work spans both animation and live action. His films have been screened at festivals including the Cannes Film Festival, Slamdance Film Festival, Black Nights Film Festival, Filmfest Dresden, and the European Media Arts Festival. He currently teaches and makes films in Iowa. More of his work can be found at audenlincolnvogel.com Auden Lincoln-Vogel / LOOKLOOKLOOKLOOK… PAAC 4-6-23 meeting packet page 120 Emily Berkheimer / Goop Goop is a four-walled, interactive projection. To make this project interactive with users' location, a Kinect depth camera feed is utilized to track visitors, opening up organic, localized windows in the foreground texture to expose a surreal, drawn landscape with a sky and mountains generated in Unreal Engine. Emily Berkheimer is a digital media artist specializing in interactive installations and projection design. Utilizing game engines and user input technologies, Emily creates immersive experiences that give audience members agency and allow them to explore digital environments in thought provoking ways. PAAC 4-6-23 meeting packet page 121 Site Plan / 2023 PAAC 4-6-23 meeting packet page 122 Budget Item Item Description PAAC Funds Item Description MATCH FUNDS Artists pay (installations) 13 artist/teams @ $175 each $2,275 Artists pay (screening) 20 artists approx $25 each (Veridian Credit Union) $500 Curator(s) stipend 2 curators @ $175 each $350 Video Projection Equipment 3 PS1 Projectors @$500 2 Curator Projectors @$500 2500 Computers/Media Players 2 PS1 mac mini @$800 1 curator mac mini @$800 6 PS1 media players @$50 $2,700 Sound Equipment 3 PS1 speaker/mixers @ $125 $375 Projection Screens/structure support Materials for fabrication (PVC, wood, fabric, rental) $150 Supplies safety/signage $125 Vehicle Rental for Projection 4 hours @$25 per hour $100 KRUI FM personnel $100 Documentation event photo/video $150 Promotion Digital ads - $200 100 printed postcards $50 $250 Little Village printed ads (in-kind)$527 Poster Design Dana Potter, graphic design (in-kind)$250 PS1 overhead Electricity, facilities, spaces (Iowa Art Council) $1,000 PS1 staff time 25 hours x $20 per hour (Iowa Art Council) $500 TOTAL PACC Funds Request: $3,500 Match Funds Total:$8,352 TOTAL PROJECT COST: $11,852 PAAC 4-6-23 meeting packet page 123 Open Air Media Festival Participating Artists / Installations & Performances / 2023 PAAC 4-6-23 meeting packet page 124 Hag Cycle is a collaborative performance that uses shadow theater to engage a contemporary audience. The performers, Johanna Winters and Sarah Minor, are artists working across disciplines who are interested in using analog technologies to think about how image, text, and sound work in tandem, live. This performance will extend the traditional methods of shadow theater by utilizing vintage overhead projectors and two 6 x 6’ scrims. The audience will be seated outside of the screens, while the projected silhouetted imagery is animated from within. A live score, and a sequence of dialogue recited by the performers, will provide the soundscape. These three layers – image, text and sound – will prompt the audience to consider themes of isolation, invisibility, ugliness, and the history of “ululation,” a vocalization of grief once considered too offensive to be heard within a city’s walls, suitable only for wilderness. Johanna Winters and Sarah Minor / Hag Cycle PAAC 4-6-23 meeting packet page 125 Born and Bred is a large scale, 3D Printed installation consisting of 10 life sized corn stalks made up of around 360 3D prints in total, wherein the kernels on the ears of corn have been replaced with the heads of babies. Each stalk contains two ears, viewers are invited to walk through the installation and take in the surreal form. This work is an exploration into the homogenous ritual and culture of the Midwest region, questioning the perceived sameness in practices such as fashion, religion, cuisine, and even ritualistic practices such as the Midwest Goodbye. Through surrealism and humor, this work examines the conformist practices, combined with the notion of the Midwest as being a major source of agriculture [Corn], with the ideals of the nuclear family, and reproduction/procreation being normalized, and even encouraged in some circles, while the idea of being childless is still considered radicalized. Viewers will be able to walk into this installation, and see 10 duplicate life sized corn stalks made of 3D prints and wood, painted in a shade of green reminiscent of John Deere. This work is static, and is meant to surround the viewer as they ponder their relationship to the Midwest, their identity, and their values. Devlin Caldwell / Born and Bred Devlin Caldwell is a New Media Artist Living and Working in Cedar Rapids, Iowa. He is an Assistant Professor of Art at Mount Mercy University since the Fall of 2020. Originally born in Manhattan, KS, he dual majored in Printmaking and Digital Experimental Media at Kansas State University before graduating in 2016. In 2020, he Graduated from the University of Florida with a Master's of Fine arts with a concentration in Art and Technology. PAAC 4-6-23 meeting packet page 126 Ellen Oliver / Pulling Plastic Pulling Plastic is an interactive sculpture installation with projection loop and live feed camera. The words “pulling plastic” come from climbing jargon and translates to climbing on plastic holds. This work moves to deconstruct the binaries of sport and recreation in rock climbing by offering a reimagined form of climbing in a mediated rock landscape. The sculpture is built from rock climbing materials, including climbing ropes and plastic hand holds to form the body of a small artificial boulder. The boulder, placed in an outdoor environment at PS1, is the surface of a video loop projection. The projection features videos of local climbers on a green screen climbing wall. The green screen is keyed out and mapped onto the sculpture. The sculpture becomes the rock wall as the climber’s movement is distilled and warped into choreographic sequences, blurring the lines between climbing and expressive movement. The climber’s silhouette also fades to reveal images of outdoor climbing cliffs in Iowa, suggesting the impact of rock climbing in local outdoor environments. Furthermore, a live feed camera will be stationed above a green screen pedestal. Audiences are invited to place their hand beneath the live feed camera to see their own mediated hands on the rock surface. This project urges audiences to reimagine broader definitions of climbing through deconstructing verticality and route within the sport. PAAC 4-6-23 meeting packet page 127 A new experiment featuring a live VJ set of custom videos projected onto bubbles filled with fog. The fog bubbles will be contained within a 10x10’ pop-up tent. Projections will include slow-motion videos created using a high-frame rate camera and previously recorded videos from the artists’ archives. We are drawn to the ephemeral and whimsical nature of the fog bubbles and how they will reflect projected light. We are especially interested in creating a feedback loop, where we project slow-motion video of the fog bubbles back onto the live fog bubbles. Creative collaborators and life partners, new media/video artist Daniel Fine and still photographer Dana Keeton create art that explores their interest in natural forms, scale, photography, video and projection. Daniel Fine and Dana Keeton / Structured Improvisations for Fog Bubbles and Video Projections Image: Impermanence, 20-minute performance by Daniel Fine and Dana Keeton from the inaugural Open Air Media Festival in 2020 PAAC 4-6-23 meeting packet page 128 M Denney (sometimes Em, sometimes nothing) is a composer, electronic musician, guitarist, and improvisor. Her practice is autobiographic, and often deals with ideas of “the natural,” the human perspective and place within natural systems, and audio feedback as a model for understanding these systems. They also focus on the use of ritual, repetitive action, and technology as ways of engaging with memory and ideas of the past. She collaborates frequently with Iowa City dance artists, including Christopher-Rasheem McMillan, Stephanie Miracle, and Jennifer Kale. They are a member of composer’s collective This Machine, a member of experimental guitar ensemble Trio Ampliphonic, and she releases ambient music as Lithops. M Denney / Radioplace Live sound collage featuring a randomly scanning terrestrial radio. The artist will live sample, loop, crush, freeze, and otherwise manipulate the audio using a laptop and a small synthesizer. PAAC 4-6-23 meeting packet page 129 Elizabeth Rodriguez Fielder - Susto ritual Part medical clinic, part botanica, part discount retail store, the environment of _susto ritual_ is a mixed-media performance meant to manifest the modalities of healing I’ve witnessed among my home community in Queens, New York. Susto translates to shock or fear, but carries another definition, “soul wound” (Patrisia Gonzales), and describes the way pain emerges from within a body that has experienced trauma. Even though traditional pan-indigenous rituals to heal susto have been diluted and obfuscated in the relentless colonizations of Latin America, the Caribbean, and the U.S., alternative epistemologies survive through dialogue, shared resources, prayer, divination, and gossip. I do not seek to romanticize these practices or make any claim about Western medicine, but rather to present them in their beauty and absurdity, holding onto the vision and experience of an intricate care network. Susto ritual is divided into three parts. The first is _susto ritual: dialogue_ an interactive performance where people can converse with me about their bodies and I incorporate their stories into three dimensional sculptural material, as a way to materialize the desire to see and touch pain, to make it feel tangible. The second is _maxxed out_, which offers an essential, yet whimsical aspect of the healing process, discount retail shopping, where sculptures of body systems are placed on hangers on a rack. The third is _susto: diagnosis_ a video and mixed-media installation that transforms my body into the blank base for which others can overlay transparencies of anatomical illustrations of organs and systems, annotated with medical terminology alongside my personal and poetic lexicon of how chronic pain manifests in my body. Elizabeth Rodriguez Fielder is an Iowa City-based writer, creator, scholar, and dancer from Queens, New York. Her creative work explores the dialogues between the body and identity structures such as latinidad, queerness, social and familial history and gazes into autonomic modes of being. Her writing explores intimacy and performance in social movement activism and how processed of migration have been reflected in literature and art. PAAC 4-6-23 meeting packet page 130 A 16mm film expanded cinema performance (for one audience member at a time) that is back-projected on the viewer’s eyelids. Auden Lincoln-Vogel is a filmmaker whose work spans both animation and live action. His films have been screened at festivals including the Cannes Film Festival, Slamdance Film Festival, Black Nights Film Festival, Filmfest Dresden, and the European Media Arts Festival. He currently teaches and makes films in Iowa. More of his work can be found at audenlincolnvogel.com Auden Lincoln-Vogel / LOOKLOOKLOOKLOOK… PAAC 4-6-23 meeting packet page 131 Emily Berkheimer / Goop Goop is a four-walled, interactive projection. To make this project interactive with users' location, a Kinect depth camera feed is utilized to track visitors, opening up organic, localized windows in the foreground texture to expose a surreal, drawn landscape with a sky and mountains generated in Unreal Engine. Emily Berkheimer is a digital media artist specializing in interactive installations and projection design. Utilizing game engines and user input technologies, Emily creates immersive experiences that give audience members agency and allow them to explore digital environments in thought provoking ways. PAAC 4-6-23 meeting packet page 132 Site Plan / 2023 PAAC 4-6-23 meeting packet page 133 EVENT CATALOG 2020 2021 & 2022 PAAC 4-6-23 meeting packet page 134 VIDEO DOCUMENTATION vimeo.com/731451809 VIEW ONLINE PAAC 4-6-23 meeting packet page 135 !INSTALLATION& PROJECTION Impermanence projection mapping by Dan Fine & Dana Keeton Open-Air 2020 PAAC 4-6-23 meeting packet page 136 Site Specific Projection Installation at Public Space One The Lovers Are the Audience Who Watch is a video-poem borrowing its title from a line of poetry by Juliana Huxtable. The video excavates moments of intimacy and shared attention from mass-produced digital artifacts. Anaïs Duplan is a trans* poet, curator, and artist. He is the author of a Blackspace: On the Poetics of an Afrofuture (Black Ocean, 2020), Take This Stallion (Brooklyn Arts Press, 2016), and Mount Carmel and the Blood of Parnassus (Monster House Press, 2017). His video works have been exhibited by Flux Factory, Daata Editions, the 13th Baltic Triennial in Lithuania, Mathew Gallery, NeueHouse, the Paseo Project, and will be exhibited at the Institute of Contemporary Art in L.A in 2021. 2020 Anaïs Duplan “The Lovers Are the Audience Who Watch” PROJECTION & INSTALLATION | Open Air Media FestivalPAAC 4-6-23 meeting packet page 137 2020“The Lovers Are the Audience Who Watch” by Anaïs Duplan PROJECTION & INSTALLATION | Open Air Media FestivalPAAC 4-6-23 meeting packet page 138 Site Specific Performance and Architectural Video Mapping at Iowa City Press Co-Op Impermanence was a 20-minute performance that combined live mandala creation, video projection mapping, real-time video, and music by percussion ensemble Loop 2.4.3. Informed by shared experiences during the pandemic, Impermanence contemplates cycles of change, repetition, creation, destruction, loss and regeneration. Dan Fine is an Assistant Professor of Digital Media for Live Performance at the University of Iowa. His research is grounded in theatrical, embodied, and cinematic storytelling techniques. 2020 Dan Fine & Dana Keeton “Impermanence” PROJECTION & INSTALLATION | Open Air Media FestivalPAAC 4-6-23 meeting packet page 139 2020“Impermanence” by Dan Fine and Dana Keeton PROJECTION & INSTALLATION | Open Air Media FestivalPAAC 4-6-23 meeting packet page 140 Site Specific Video Installation at Close House, Public Space One By using digital transportation and reconstruction, the video is an apocalyptic vision of the world seen through the Persian myth of an ancient fortress and a giant gluttonous worm. According to the myth of Haftv d and Ardeshir, the destruction of the worm is believed to have sealed a permanent curse on the city by causing drought and desertification. Nima Bahrehmand's artworks have been included in exhibitions and venues including Digital Native as part of Tbilisi Oxygen Biennial, Tbilisi; xCoAx, Graz; Aaran Gallery, Tehran; Kunstraum Potsdam, Berlin. Nima is currently a Ph.D. candidate at the Department of Critical Media Practices at the University of Colorado Boulder. Ramin Roshandel is a PhD candidate in Music Composition at the University of Iowa. His pieces have been performed at the Dancinema Festival, Opine Dance Film Festival, & Charlotte New Music Festival. 2022 Nima Bahremand & Ramin Roshandel “Walking on Sol” PROJECTION & INSTALLATION | Open Air Media FestivalPAAC 4-6-23 meeting packet page 141 2022 PROJECTION & INSTALLATION | Open Air Media Festival “Walking on Sol” by Nima Bahremand & Ramin Roshandel PAAC 4-6-23 meeting packet page 142 PROJECTION & INSTALLATION | Open Air Media Festival Site Specific Video Installation in the Carriage House at Close House, Public Space One 2-tah is a virtual recreation/draft of a utah-esque landscape which transports a Midwest audience to an environment geographically out of reach. A microphone captures the voices of participants which affects/controls aspects of the video feed (lighting/time of day within unreal engine) and triggers audio cues (desert animal effects, desert foley work, and drafted sound pieces). Jacob Smithburg is a transmedia designer from Fairfield, IA and Disney alum currently pursuing a degree in Cinema, Journalism, and Theatre at University of Iowa. Jacob's writing credits include Investigative Crustacean Salinization selected for Uiowa's 2021 Ten-Minute Play Festival (the University's first animated piece), Enamel Roleplay featured as a reading in the 2021-2022 production lineup, and comedic sketches nominated in short-film competitions. 2022 Jacob Smithburg “2-tah” PAAC 4-6-23 meeting packet page 143 PROJECTION & INSTALLATION | Open Air Media Festival 2022“2-tah” by Jacob Smithburg PAAC 4-6-23 meeting packet page 144 "Please let me go" animation by Jaehyun Jason Uhm Open-Air 2022 MOBILEPROJECTIONPROGRAM PAAC 4-6-23 meeting packet page 145 2022 2020 2021 MOBILE PROJECTION PROGRAM | Open Air Media Festival Mobile Projection Vehicle PAAC 4-6-23 meeting packet page 146 Single-Channel Video at Stuff Etc. Iowa City 2021 “Frozen Out” An immigrant artist in a foreign land retreats to frozen prairies, forests, and swamps, trying to find a meaningful story and escape from the anxieties of dislocation. Delivered as a film-letter to the protagonist’s little sister in rural China, the film considers his queer self-exile as well as identities that were too difficult to express back home. Hao Zhou (b.1992, China) is a screenwriter, director, and actor. In 2014, Zhou wrote, directed, and produced his first feature, "The Night," about queer, teenaged sex workers in urban China. The film premiered at the Berlinale and won top prizes at Geneva Independent, Nara, China Independent, Dong FF, and others. Hao Zhou MOBILE PROJECTION PROGRAM | Open Air Media FestivalPAAC 4-6-23 meeting packet page 147 2021“Frozen Out” Video Stills by Hao Zhou MOBILE PROJECTION PROGRAM | Open Air Media FestivalPAAC 4-6-23 meeting packet page 148 Single-Channel Video at Stuff Etc. Iowa City 2021 “Young Meadows” Young Meadows might be the story of longing for springtime in the midst of a deep winter. It might be the story of fantastical escape through secret portals after feeling closed in for way too long. It might be the story of overlapping imaginary worlds shared in tandem between two friends. It might be the story of our bodies moving through digital time and space and still emerging on the other side as more human. It might be all of those. Cinematography and Editing: Hao Zhou Sound design and Composition: Omar Zubair Choreography and Editing: Stephanie Miracle Hao Zhou, Omar Zubair, Stephanie Miracle, Sabrina Duke & Margaret Steimel MOBILE PROJECTION PROGRAM | Open Air Media FestivalPAAC 4-6-23 meeting packet page 149 2021“Young Meadows” Video Stills MOBILE PROJECTION PROGRAM | Open Air Media FestivalPAAC 4-6-23 meeting packet page 150 Single-Channel Video at Close House, Public Space One 2022 “Kingdom” MOBILE PROJECTION PROGRAM | Open Air Media Festival Kingdom's animations are created by feeding a particular set of keywords from each poem into an AI that uses textual prompts to create original images. Just as the poet's presentation of place is a balancing act between actual geography and the experiences, connotations, and moods conjured up within readers' minds, these AI animations depict a blurry threshold between concrete imagery and abstract impressions. Listening to the poems, viewers are able to conjure their own impressions of place. As they do so, they will simultaneously watch an artificial intelligence undertake its own version of that cognitive process. Michael Springer PAAC 4-6-23 meeting packet page 151 2021“Young Meadows” Video Stills MOBILE PROJECTION PROGRAM | Open Air Media FestivalPAAC 4-6-23 meeting packet page 152 PERFORMANCE& PARTICIPATION Milkweed Walk by Cicelia Ross-Gotta performative walk Open-Air 2021 PAAC 4-6-23 meeting packet page 153 Performance at Media Arts Co-Op 2021 “Violence/Visibility” This piece is an expanded poem that uses vocoder technology and language as a portrait of transgender identity, specifically the relationship between visibility and violence. The work is informed by research in both transgender and sound studies. Jake Jones (they/them, she/her) is an experimental artist from Oklahoma who just completed their M.A. and M.F.A. at the University of Iowa’s Intermedia program. Their MFA show, Taxonomy, featured video and performance artwork that explores relationships between the body and object through the conceptual lens of the instrument. Lorelei d'Andriole (Jake Jones) PERFORMANCE & PARTICIPATION | Open Air Media FestivalPAAC 4-6-23 meeting packet page 154 2021“Violence/Visibility” by Lorelei d’Andriole PERFORMANCE & PARTICIPATION | Open Air Media FestivalPAAC 4-6-23 meeting packet page 155 Performance at Public Space One 2021 “Touched and Touched By” Hannah Bonner Audience members are invited to touch through written instructions projected onto Bonner's body as she sits, unmoving, non-reactionary, and silent, for the duration of one hour. This embodied performance piece grapples with issues of consent and the affective currents of bodies moving through, and stilling within, sound, space, and time. Hannah Bonner's poems have appeared in Asheville Poetry Review, Pigeon Pages, Rattle, Schlag, So to Speak, The LaHave Review, The North Carolina Literary Review, The Pinch Journal, The Vassar Review, Tinderbox Poetry Journal, and Two Peach. She is the poetry editor for Brink. PERFORMANCE & PARTICIPATION | Open Air Media FestivalPAAC 4-6-23 meeting packet page 156 2021“Touched and Touched By” by Hannah Bonner PERFORMANCE & PARTICIPATION | Open Air Media FestivalPAAC 4-6-23 meeting packet page 157 Alleyway, Downton Iowa City 2021 “Milkweed Walk” Cicelia Ross-Gotta Milkweed seeds have a loftiness unlike any other, and can drift suspended with a grace that seems to slow time. Milkweed pods also dehisce. Dehiscence, in botany, describes when a part of a plant splits open at maturity along a built in line of weakness. For this performance/event, the artist reads to the audience about dehiscence and vulnerability then passes out milkweed pods that have been sewn closed along their dehiscence. As a group, artist and audience tear open the pods and release the seeds. PERFORMANCE & PARTICIPATION | Open Air Media FestivalPAAC 4-6-23 meeting packet page 158 2021“Milkweed Walk” by Cecelia Ross-Gotta PERFORMANCE & PARTICIPATION | Open Air Media FestivalPAAC 4-6-23 meeting packet page 159 Various Locations in Downtown Iowa City 2022 “The Parking Space Project PERFORMANCE & PARTICIPATION | Open Air Media Festival “The Parking Space” is a FREE site-specific, interactive listening experience focused on perspective, rest, and intention designed for the 4th floor of an unassuming parking ramp overlooking downtown Iowa City. Chaptered tracks correspond to numbered parking space. One can listen to the entire experience in sequence (25min in duration) or opt for the choose-your-own-adventure by listening to one chapter at a time over days or weeks. Listeners are invited to enjoy a safe, outdoor, public art experience. No car is necessary. Participants may arrive by foot, bicycle or car (parking $.75/hr). All that is needed are headphones and a personal device. Stephanie Miracle, Ramin Roshandel, and Steven Willis PAAC 4-6-23 meeting packet page 160 2022“The Parking Space Project” PERFORMANCE & PARTICIPATION | Open Air Media FestivalPAAC 4-6-23 meeting packet page 161 Close House, Public Space One 2022 “BRIM” Aaron Longoria BRIM is a VR experience where the viewer explores various chambers within a waterlogged labyrinth. Each space will represent different connotations of “overflowing.” The visual language is inspired by the suit of cups in the minor arcana. This experience will explore themes of mental health like depression and anxiety through motifs like cups and water. Aaron (he/they) is a multimedia artist whose work interrogates how media and technology affects our memory, sense of self, and our digital reflection. PERFORMANCE & PARTICIPATION | Open Air Media FestivalPAAC 4-6-23 meeting packet page 162 2022“BRIM” by Aaron Longoria PERFORMANCE & PARTICIPATION | Open Air Media FestivalPAAC 4-6-23 meeting packet page 163 PROMOTIONAL MATERIALS PAAC 4-6-23 meeting packet page 164 2021Event Poster by Zen Cohen PROMOTIONAL MATERIALS | Open Air Media FestivalPAAC 4-6-23 meeting packet page 165 2021Event Map by Zen Cohen PROMOTIONAL MATERIALS | Open Air Media FestivalPAAC 4-6-23 meeting packet page 166 2022Event Poster by Dana Potter PROMOTIONAL MATERIALS | Open Air Media FestivalPAAC 4-6-23 meeting packet page 167 2022Event Map by Dana Potter PROMOTIONAL MATERIALS | Open Air Media FestivalPAAC 4-6-23 meeting packet page 168 2021Radio Program Schedule KRUI.FM 89.7 PROMOTIONAL MATERIALS | Open Air Media FestivalPAAC 4-6-23 meeting packet page 169 2020Virtual Workshops with Aaron Longoria (top) and Lorelei d’Andgelio (bottom) VIRTUAL PROGRAMMING | Open Air Media FestivalPAAC 4-6-23 meeting packet page 170 openairmediafest@gmail.com publicspaceone.com/openair Zen Cohen founder & director Dana Potter, graphic designer & co-organizer PAAC 4-6-23 meeting packet page 171 1. Projection & Installation 2. Mobile Projection Program 3. Performance & Participation 4. Sample Promotional Materials TABLE OF CONTENTS This Catalog contains a selection of works in the following catagories from any year, 2020-2022. PAAC 4-6-23 meeting packet page 172 PAAC 4-6-23 meeting packet page 173 PAAC 4-6-23 meeting packet page 174 PAAC 4-6-23 meeting packet page 175 PAAC 4-6-23 meeting packet page 176 PAAC 4-6-23 meeting packet page 177 PAAC 4-6-23 meeting packet page 178