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HomeMy WebLinkAbout8.1 Prelim Discussion of Public Art Master Plan Update ,70� STAFF REPORT HERITAGE & CULTURAL ARTS COMMISSION SS ON DATE: March 9, 2017 TO: Honorable Chair and Commissioners FROM: Tegan McLane,Cultural Arts&Heritage Manager SUBJECT: Preliminary Discussion of Public Art Master Plan Update EXECUTIVE SUMMARY: The Commission will receive a report on the current Public Art Master Plan (adopted in 2006) and City Council direction regarding an update. FINANCIAL IMPACT: None. RECOMMENDATION: Provide input on items the Commission would like addressed in the Public Art Master Plan update. DESCRIPTION: At the December 20, 2016 meeting, the City Council requested a review of the existing Public Art Master Plan,which is now more than 10 years old, as the City begins the process of updating the Plan (Attachment 1). City Council reviewed the document at the February 21,2017 meeting and provided suggestions on items that should be addressed. Staff has reviewed the Plan and determined that much of the original material, including the goals, and most policies and procedures,are still applicable today and consistent with best practices in the field. The goals,as stated in Dublin's original 2006 Public Art Master Plan,are: ITEM NO.: 8.1 Page 1 of 3 Public Art Program Goals 1) Establish and enhance pedestrian friendly public spaces such as parks,plazas,pathways,public restrooms, parking lots and other places where people travel or gather. 2) Strengthen the unique character of individual neighborhoods, business districts and transit corridors with artwork that relates to the site's purpose,history and natural environment. 3) Provide numerous opportunities for Dublin's citizens to gain a deeper understanding and appreciation for visual art. 4) Enhance the City's identity and regional image by actively promoting Dublin's unique public art collection. 5) Encourage the creation of artworks that are integrated into the City's built environment, including signage, gateways, sidewalks, bus stops, bollards, parking structures, crosswalks and other public amenities. 6) Involve artists in the planning of public spaces such as parks,and transit corridors. 7) In existing neighborhoods and parks, ensure community support for the artworks through public participation in artist selection and artwork development. 8) In new developments, support the design themes, goals and objectives of City planners and private developers by working closely with these parties in the development of public art. 9) In rehabilitation of existing developments, further the design themes and goals of the area by working with residents and business owners as well as City planners and private developers in public art planning and development. The current Public Art Master Plan includes policies designed to: ❑ Encourage partnerships with non-profit organizations; ❑ Affirm artist rights and artistic freedom of expression; ❑ Require community involvement in each public art project; ❑ Require disclosure of potential conflicts of interest;and ❑ Prohibit discrimination. The current Public Art Master Plan also established many procedures, or guidelines, that continue to work well,including: ❑ An artist selection process; ❑ Methods of artist selection; ❑ Criteria for artist selection and artwork selection; ❑ Definition of eligible/ineligible artworks; ❑ Collection review and conservation plans;and ❑ Criteria for accepting donated artworks;and ❑ Guidelines for Art in Private Development. Staff has identified opportunities for improvements to the Plan in the areas of art placement, roles of various parties involved, and implementation measures that are either outdated or unclear. In addition to general clean up items to align the Plan with current conditions, Staff recommends the following items be reviewed, clarified,and/or updated: ❑ Opportunities for public art,including distribution throughout the City; ❑ Responsibilities of City Council, Heritage and Cultural Arts Commission, Staff and other City departments; Page 2 of 3 O Procedures regarding pre-qualified artist lists; O Deaccessioning procedures; ❑ Gift or loan procedures; ❑ Developer's options for fulfilling the requirement and obtaining occupancy; ❑ Community participation and outreach activities;and ❑ Public Art Fund procedures and allowable expenses. Staff also recommends these three new items be considered: ❑ Providing art guidelines by planning district to help begin to establish the"unique character" of each; ❑ Recording art requirements on the deed,to guarantee that Dublin's success getting private developers to install art are not lost when properties change hands;and ❑ Formalizing the creation of an art maintenance fund,to ensure that the City will always have sufficient funds to maintain its collection. The City Council expressed interest in exploring the possibilities of: O Using public art funds for temporary art exhibits; ❑ Using public art funds for programmatic activities,such as performances; ❑ Using public art funds for distinctive"living art" trees; O Using public art to activate the Downtown corridor; ❑ More opportunities to situate art in highly visible, high traffic areas that many people visit daily, as opposed to locations in residential developments and neighborhood parks. City Council has also requested a future Staff Report on the number of developers exercising their in-lieu option, versus installing art on their property, and background on the establishment of the public art ordinance,which dictates when a development"triggers" the public art requirement. Staff requests the Heritage and Cultural Arts Commission provide input on items it would like to see re- examined as part the Public Art Master Plan update. NOTICING REQUIREMENTS/PUBLIC OUTREACH: None. ATTACHMENTS: 1. City of Dublin Public Art Master Plan Page 3 of 3 ATTACHMENT 1 BACKGROUND In 2001, the Dublin Heritage and Cultural Arts Commission completed its first long-range The City of Dublin has seen remarkable change plan that called for the development of a over the last decade. Since the late 1990s, the Public Art Master Plan to identify City has grown dramatically with new housing, opportunities for public art and to also revise retail and office development, and public the Public Art Policy to identify alternate improvements. Additional housing and retail is funding sources and approval processes for currently under construction. public art. It was in this context of program growth and change that Wright & Associates Dublin's public art program has grown along was hired to develop a Public Art Master Plan with City development. Begun as a in July 2003. A Public Art Master Plan Task partnership with the nonprofit Dublin Fine Force was created to provide feedback and Arts Foundation in the late 1980s, the City guidance during the development of the plan. boasts a collection of 19 City owned works, two works on long-term loan, and four privately owned works displayed in public • • places throughout Dublin. ;w In 1997, the City of Dublin adopted its first Public Art Policy. The Policy encouraged 71.118/ Ai:development projects to include artwork in ,f f buildings and public spaces, and set out c Mir riteria for artwork selection and guidelines for implementation. The Policy identifies the Dublin Fine Arts Foundation to act in an advisory capacity to the City and developers r z on public art projects. � • 1ru ' •� r (, Since the adoption of the Public Art Policy, , •�°. ,'s:, many fine artworks have been created for the a • ' � ..-.• •' City of Dublin. However, many of the ' t; ' • �"' ,r 1 , j conditions on which the 1997 Policy was € b=. based have changed. In 1999, the Heritages .4:', and Cultural Arts Commission was established to act in an advisory capacity to City Council z ?`'} `' '? �4 C on matters pertaining to art, including public • art. City Departments were reorganized in -- 2000, to include arts and culture within the "GALA"by Ned Smyth(1990) Department of Parks and Community Services. In 2002 a full-time Heritage and Cultural Arts Supervisor position was created, with the management of public art as a major responsibility. City of Dublin March 2006 Public Art Master Plan Page 1 of 25 PUBLIC ART MASTER PLAN Staff responsibilities, procedures for site and artist selection, eligible artworks, collection This Public Art Master Plan describes the review,and funding options. principle methods used to develop public art in the City of Dublin including: Program Policies These policies will give the City Council, City Projects: Heritage and Cultural Arts Commission, Staff Projects developed and funded by the City of and the public guidance on issues that often Dublin. These projects are planned by City arise in the administration of a public art Staff in conjunction with the development of program. They reflect the best practices in the the annual Capital Improvement Program field, adjusted to fit the unique circumstance of based on available funding. the City of Dublin. City Projects in Partnership with Program Implementation Community Organizations: Strategies for implementation of the Public Art Projects developed in partnership with Program as well as potential funding nonprofit and community organizations such mechanisms for both City and private as the Dublin Fine Arts Foundation (DFAF) development projects are summarized in this which may be funded, in part, by the City of section. Dublin. Private Development: Projects on private property funded and constructed by private developers. The Plan outlines opportunities, guidelines and policies for the City's Public Art Program as I_ well as implementation strategies. :} ti Public Art Opportunities • The Plan summarizes potential opportunities L for the placement of public art both on public 7 and private property. Opportunities were 1 developed based on a review of the existing City infrastructure, proposed City specific • plans, private development projects and •,,„ proposed City capital projects. Public Art Guidelines 1111111*. The guidelines establish administrative procedures for implementing the proposed Public Art Program including City Council, Heritage and Cultural Arts Commission and The Rising Blue"by Yoshio Taylor(2003) City of Dublin March 2006 Public Art Master Plan Page 2 of 25 PUBLIC ART PROGRAM - 3) Provide numerous opportunities for OVERVIEW Dublin's citizens to gain a deeper understanding and appreciation for visual Public Art Vision art. The City of Dublin celebrates humanity and 4) Enhance the City's identity and regional promotes a healthy civic society through the image by actively promoting Dublin's administration of its Public Art Program. The unique public art collection. Public Art Program and its collection inspire 5) Encourage the creation of artworks that are residents and attract visitors with high quality integrated into the City's built artworks, both freestanding and incorporated environment, including signage, gateways, sidewalks, bus stops, bollards, parking in Dublin's public spaces. structures, crosswalks and other public The Public Art Program will create a unique amenities. sense of place and a strong identity for the 6) Involve artists in the planning of public City as a whole. This vision will be furthered spaces such as parks,and transit corridors. through the creation and promotion of a 7) In existing neighborhoods and parks, citywide collection of art works specifically ensure community support for the artworks placed within the community, which enhance through public participation in artist urban planning goals and portray the dreams selection and artwork development. and visions of the community. 8) In new developments, support the design themes, goals and objectives of City Public Art Program Purpose planners and private developers by The purpose of Dublin's Public Art Program is working closely with these parties in the to inspire civic pride among its residents and development of public art. strengthen the City's regional identity by 9) In rehabilitation of existing developments, enhancing public spaces, giving character to further the design themes and goals of the neighborhoods and business districts, and area by working with residents and providing numerous opportunities for people business owners as well as City planners to experience visual art. and private developers in public art planning and development. Public Art Program Goals 1) Establish and enhance pedestrian friendly public spaces such as parks, plazas, 34, pathways, public restrooms, parking lots • and other places where people travel or gather. a . giro. I 2) Strengthen the unique character of individual neighborhoods, business districts and transit corridors with artwork that relates to the site's purpose, history and natural environment. "Aaron and Dillon"by Katherine Keefer(2002) City of Dublin March 2006 Public Art Master Plan Page 3 of 25 PUBLIC ART PROGRAM - Dublin Library OPPORTUNITIES "Know Way"by Robert Ellison(2003) "Seasons"by Peter Mollica(2003) The City of Dublin has extensive plans to "Cutouts"by Mark Evans and Charlie Brown build new neighborhoods and rehabilitate (2003) others. As the plans are implemented, there will be many opportunities to involve artists in Dublin Senior Center the early design of urban development projects. Artists will be encouraged to work "Wisdom Through the Ages"by Rowland with the City's Heritage and Cultural Arts Cheney(2005) Commission and Staff, Community Development Department, private developers, Art in the Parks neighborhood residents and business owners to Commissioned by the Dublin Fine Arts enhance constituents' goals and design themes Foundation for each neighborhood. Shannon Park: "Sirius" by Peter Voulkos (1990) This opportunities section summarizes existing Stagecoach Park: "Mosaic Tile Seating public art projects both public and private and Area/Wagon Wheel"by Twyla Arthur(1996) identifies potential projects for the placement Alamo Creek Park: "Black Pool"by Alan of public art in the City of Dublin. Counihan(1997) Mape Memorial Park: "Archway"by Donna Existing Public Art—City Projects Billick and Troy Corliss(1999) Beginning in 1990, the City has actively Kolb Park: "Dust in the Universe"by John pursued the development of public art. King(2000) Identifying public art opportunities at local Ted Fairfield Park: "Birdwatch"by Johanna parks and City facilities, Dublin's collection Poethig(2002) now includes 21 artworks for public display. A listing of the public artwork and locations Dolan Park: "Dreams of Longing After follows. Nothing"by Bryan Tedrick(2004) Emerald Glen Park: "Divided Sea" by Ned Dublin Civic Center Kahn, (2004) "GAIA"by Ned Smyth(1990) "Gail"by Katherine Keefer(1994) Underpass Murals 1-680 at Dublin Boulevard and 1-680 at "Aaron and Dillon" by Katherine Keefer Amador Valley Boulevard (2002) "Historic Crossroads"by Daniel Galvez,John "201 Anniversary Quilt"by Linda Schmidt Pugh, and John Wehrle(2003) (2002) "Sisyphus"by Roger Berry(1989, on loan Bus Shelter Art since 1992) Dublin Boulevard, north at Village Parkway "Steel Water Color#99"by Fletcher Benton Dublin Boulevard north and south at Golden (1989,on loan since 1996) Gate Drive. By Dan Dykes(2003) City of Dublin March 2006 Public Art Master Plan Page 4 of 25 Existing Public Art—Private Development students in collaboration with artist Johanna In 1997 the City of Dublin adopted its first Poethig(1997). Public Art Policy. The Policy encouraged Nielsen Elementary School: "We Make the development projects to include artwork in World" an entry-way mural created by 200 buildings and public spaces. To date four private development projects have included students in collaboration with artists Gary artwork. A listing of the artwork and locations Carlos and Jennifer Trammel (1998). follows. Dublin Elementary School: "Soaring to New Dublin Boulevard Safeway: "Dublin Time" Heights" a mural created by students from by Dan Dykes(2004) kindergarten through 6th grade in collaboration with artist Argunnur Yr Gylfadottir(1999). Expo Design Center: "Indesign" by Ray Lamb (2001) Public Art Opportunities—City Projects Archstone Apartments: "Ironhorse Trail"by Vickie Jo Sowell (2002) Capital Improvement Projects Waterford Shopping Center: "The Rising A Capital Improvement project means any Blue"by Yoshio Taylor(2003) permanent public improvement project paid for wholly by monies appropriated by the City Existing Public Art- School Projects to construct, improve, or renovate a building, including its appurtenant facilities, a In 1994, the Dublin Unified School District decorative or commemorative structure, a and the Dublin Fine Arts Foundation formed a park, a sidewalk, a parking facility, a utility, or partnership to create permanent art projects in any portion thereof, within the City limits or each of Dublin's schools involving a under the jurisdiction of the City. collaboration between professional artists and the students, using Measure "B" monies. The In large capital projects it is recommended that goal of the project was to create works that artworks be located on site, using a general would enhance the environment of each school budget guideline of 1% - 2% of the total and create a sense of ownership for the capital project budget. Potential capital students as well as providing much needed arts projects include: education. A listing of the artwork and locations follows. • Shannon Community Center Reconstruction Murray Elementary School: "A Cultural • Emerald Glen Park Recreation and Aquatic Voyage" a courtyard mural created by six Center classes from 1st through 5th grade under the • Emerald Glen Park Community Center supervision of artists Sofie Siegmann and • Community Theater/Cultural Arts Center Kenneth Huerta(1995). Wells Middle School: "Tell me and I will Parks forget. Show me and I may not remember. Public art should be included in neighborhood Involve me and I will understand" and and community parks. Potential artwork "Equations" a tile wall pattern created by locations should be identified as part of the park design. Installation of art shall occur at such time that occupancy of the surrounding City of Dublin March 2006 Public Art Master Plan Page 5 of 25 development reaches a minimum of 25%. development. Artworks should be located in Neighborhood Selection Committees should an area which is accessible to the public and be convened to assist with artwork selection. allow for unrestrained viewing from a variety Coordination with the Dublin Fine Arts of vantage points. Sites may include urban Foundation on the award winning "Art in the gateways, vistas, public spaces and plazas, or Parks"project should be continued, as deemed other interior or exterior, publicly accessible appropriate. Potential park projects include: places. • Bray Commons As a condition of approval, public art will be • Dublin Ranch Neighborhood Parks included in the following private development • Dublin Historic Park projects: • Fallon Sports Park • Fallon Village Neighborhood and • Gateway Medical Center Community Parks • General Motors • Schaefer Ranch Parks • Ikea • Transit Center Park • Metropolitan Dublin Station • San Ramon Village Public Art Venue • Sorrento A Public Art Venue is a location where several • Tralee pieces of public art are on display in a • Ulferts consolidated area. The size of the site can typically vary from 1/3 acre to 10 acres in a Other potential private development projects park location, or in the case of a streetscape, may include,but are not limited to: one to several blocks long. Usually, a large number of different types of art sculptures are • Camp Parks on display for the public's view, in some • Dublin Land Company cases, surrounded by a garden like setting. • Dublin Place Shopping Center Some Venues are thematic in nature whereas • Dublin Transit Center others can be educational. Public Art Venues • Emerald Place can range in cost from $350,000 up to $5 • Fallon Villages million or more, depending on the amount of • Wallis Ranch art pieces and possible land costs. Potential • West Dublin BART locations for a Public Art Venue include: Site Selection Process • Camp Parks • Dublin Historic Park Sites will be selected based on the Public Art • Emerald Glen Park Master Plan and goals of the public art program: Public Art Opportunities—Private Development 1) Establish and enhance pedestrian friendly public spaces where people travel or As the City embarks on development of area gather. specific projects, opportunities for public art thrive. Public art can be included in a single development project or part of a larger planned City of Dublin March 2006 Public Art Master Plan Page 6 of 25 2) Sites that are accessible to the public a minimum of eight hours a business day may be considered suitable locations for public art. 3) Site spaces may be interior or exterior. 4) Locations can include surface treatments of buildings, retaining walls and bridges. The definition of "location" can also be expanded by an artist's ability to extend the possibilities for public art, and would then be determined on a case-by-case basis. 5) Strengthen the unique character of individual neighborhoods, business districts and transit corridors with artwork that relates to the site's purpose, history and natural environment. 6) Provide numerous opportunities for Dublin's citizens to be exposed to and gain a greater appreciation for visual art. 7) Enhance the City's identity and regional image by actively promoting Dublin's unique public art collection. In addition, sites should have maximum public exposure. For site selection to be maximized, the artist will work with developers, city planners, residents and business owners so that the theme and development goals of the project are enhanced. This will allow the artist and community to decide if a work is best incorporated into the building or other infrastructure, or created as a freestanding artwork. This process underscores the importance of involving the artist at the same time as the project architect. City of Dublin March 2006 Public Art Master Plan Page 7 of 25 PUBLIC ART PROGRAM - • Review and recommend proposed gifts of GUIDELINES FOR CITY public art to the City, as well as loans and PROJECTS long term exhibitions of public art on City- owned property; The guidelines outlined below establish • Review and recommend accessioning procedures for the implementation of the (acquisition) and de-accessioning Public Art Program for City projects. (removal) of artworks from the Public Art Collection; and Responsibilities • Periodically review and recommend changes to the Public Art Program The City Council shall: guidelines,policies and procedures. • Adopt policies and procedures under which the Public Art Program operates; City Staff shall: • Review and approve the annual workplan • Steer the overall work objectives of the presented by Staff on behalf of the Public Art Program, such as project Heritage and Cultural Arts Commission administration, artist project management, that shall include identification of eligible short and long-term planning and capital improvement projects and community outreach; recommended funding appropriations; • Lead the development of the annual public • Appropriate monies for individual capital art workplan that shall include improvement projects as part of the annual identification of eligible capital capital budgeting process; improvement projects and funding • Approve all contracts with artists; and appropriations and submit to the Heritage • Approve all public works of art. and Cultural Arts Commission; • Monitor the overall development of the The Heritage and Cultural Arts Public Art Collection, including ensuring Commission shall: that the Collection policies are followed; • Provide oversight of the Public Art • Oversee the existing public art collection, Program; survey the works quarterly, update the • Review and recommend the annual public maintenance survey and communicate art workplan to City Council; maintenance needs to appropriate staff • Recommend guidelines, policies and and/or consultants; procedures for the selection, • Advise the Heritage and Cultural Arts implementation and conservation of public Commission and the artist selection panel; art in Dublin to the City Council; • Act as liaison to the artist selection panels; • Receive and review the recommendations • Act as a liaison to the Dublin Fine Arts of the Artist Selection Panel and forward Foundation; to the City Council; • Provide services to assist private • Review and approve Staff developers in creating and implementing recommendations regarding the care and their public art plans; maintenance of the Public Art Collection; • Present recommendations to the Dublin • Support Staff in community outreach City Council on behalf of the Heritage and efforts; Cultural Arts Commission; and City of Dublin March 2006 Public Art Master Plan Page 8 of 25 • Ensure community outreach and citizen costs available for public art and whether participation in the Public Art Program. the project is appropriate for artist involvement; Artist Selection Panels shall: • Provide the Heritage and Cultural Arts • Be ad-hoc panels formed for a limited Staff with information on the capital period of time and be appointed by the improvement program, budgets and Mayor with the consent of the City schedules; Council with the responsibility of • Designate a departmental representative to recommending artists for individual City participate in the artist selection process if projects or groups of projects; appropriate; • Be comprised of individuals representing • Review the maintenance needs survey for the following interests: arts professionals, artworks located at the site; and community leaders, business owners, • Inform the project architect of the artist residents, gallery owners and art educators, involvement in the capital improvement and project and the method of artist selection. o One or more panelists shall be a representative from the Heritage and Construction Project Managers shall: Cultural Arts Commission • Collaborate with the Heritage and Cultural o At least half the panel shall be Dublin Arts Staff on the development of public art residents projects; o One or more panelists shall be • Coordinate with the Heritage and Cultural professional artists, architects or Arts Staff on all issues related to the Public landscape architects with experience in Art Program and the overall project public art including safety, liability, timeline, code • Have strong representation from partnering requirements and installation deadlines, nonprofit organizations,when appropriate; etc.; and • Recommend to the Heritage and Cultural • Provide Heritage and Cultural Arts Staff Arts Commission an artist or artists to be and artist with the appropriate commissioned for projects; documentation necessary for project • Review the credentials, prior work, compatibility and completion (i.e., proposals and other materials submitted by architectural design drawings and artists for particular projects; specifications, as-built drawings, structural • Look for the best fit between the artist and drawings, mechanical drawings, electrical the requirements in the project prospectus drawings, materials to support public and guidelines; and outreach efforts,etc.). • Be sensitive to the public nature of each project and the necessity for cultural diversity in the Public Art Program. City Departments shall: I : 1104 • Determine, in consultation with the `` Heritage and Cultural Arts Staff, which are eligible for public art inclusion, the amount of eligible project City of Dublin March 2006 Public Art Master Plan Page 9 of 25 "Cutouts"by Mark Evans and Charlie Brown(2003) City of Dublin March 2006 Public Art Master Plan Page 10 of 25 Artist Selection Process • If selected, execute and complete the Selecting the "right" artist — one whose artwork, conceptual work or design work, experience, artistic style, commitment to or transfer an existing work, in a timely collaboration, communication and facilitation and professional manner; skills matches the needs of the project — is • Work closely with Heritage and Cultural critical to the success of any project. Arts Supervisor, the project manager, Specifically, the goals of the selection process design architect and/or other design are to: professionals associated with the project; • Implement the goals of the overall capital • Make presentations to City Council, the improvement program through an Heritage and Cultural Arts Commission appropriate artist selection; and other reviewing bodies at project • Further the mission and goals of the Public milestones as required by contract; and Art Program; • Make public presentations, conduct • Select an artist or artists whose existing community education workshops, or do a residency at an appropriate time and forum public artworks or past collaborative in the community where the artwork will efforts have maintained a level of quality be placed,as required by contract. and integrity; • Identify the optimal approach to public art Methods of Artist Selection that is suitable to the demands of the particular capital project; The method of selection for individual projects • Select an artist or artists who will best shall be determined by City Staff in respond to the distinctive characteristics of consultation with the Heritage and Cultural the site and the community it serves; Arts Commission in accordance with the • Select an artist or artists who can work adopted Public Art Program guidelines and successfully as members of an overall policies. Any of the following methods may be project design team; and used, depending upon the requirements of a • Ensure that the selection process represents particular project. and considers the interests of all parties concerned, including the public, the arts Open Competition: An open competition is a community and the City department call for artists for a specific project in which involved. artists are asked to submit evidence of their past work. Any artist may submit credentials and/or proposals, subject to any limitations In consideration of selection of an artist for a established by the Artist Selection Panel. Calls City Public Art project, certain requirements for entries for open competitions will be of the artist will need to be met. These sufficiently detailed to permit artists to requirements include: determine whether their work is appropriate • Submit credentials, visuals, proposals for the project under consideration. and/or project materials as directed for consideration by artist selection panels; Limited or Invitational Competition: A limited • Conduct necessary research, including number of artists shall be invited by the artist attending project orientation meetings and selection panel to submit credentials and/or touring project sites,when possible; proposals for a specific project.Artists shall be invited, based on their past work and City of Dublin March 2006 Public Art Master Plan Page 11 of 25 demonstrated ability to successfully respond to spaces and giving character to the conditions posed by the particular project neighborhoods by supporting the larger (i.e., water features, light works, paintings, urban design themes of the neighborhood sound works, landscape works, design team or district. efforts, etc.), or based on other non-aesthetic • Permanence: Consideration shall be given Public Art Program goals (i.e., artists who to structural and surface integrity, reside in a particular neighborhood where a permanence and protection of the proposed project is occurring, local artists or regional artwork against theft, vandalism, artists, etc.). weathering, excessive maintenance and repair costs. Pre-qualified Artists List: Heritage and • Elements of Design: Consideration shall be Cultural Arts Staff will develop a pool of pre- given to the fact that public art is a genre qualified artists who can be selected for small, that is created in a public context and that community-based projects with budgets under must be judged by standards that include $25,000, where a separate selection panel may factors in addition to the aesthetic. Public not be warranted, if recommended by the art may also serve to establish focal points; Heritage and Cultural Arts Commission. terminate areas; modify, enhance or define specific spaces; establish identity; or Mixed Process: A mixed process may include address specific issues of urban design. any combination of the above means. • Community Values: While free artistic expression shall be encouraged, Criteria for Selection of Artists or Artworks consideration must be given to the • Qualifications: Artists shall be selected appropriateness of artworks in the context based on their qualifications as of local community and social values. demonstrated by past work and the • Public Liability: Safety conditions or appropriateness of their concepts to the factors that may bear on public liability particular project. must be considered in selecting an artist or • Quality: Of highest priority are the design artwork. capabilities of the artist and the inherent • Diversity: The Public Art Program shall quality of artwork. strive for diversity of style, scale, media • Media: All forms of visual arts shall be and artists, including ethnicity and gender considered, subject to any requirements set of artists selected. forth by the project prospectus. • Communications: The ability of the artist • Style: Artists whose artworks are to effectively communicate with a variety representative of all schools, styles and of groups, including other design tastes shall be considered. professionals, public officials and • Appropriateness to Site: Artwork designs community members, should be taken into shall be appropriate in scale, material, form consideration. and content to their immediate social and physical environments. • Appropriateness to Public Art Program Goals: Artworks should address, or artists should be willing to address within their process, a commitment to enhancing public City of Dublin March 2006 Public Art Master Plan Page 12 of 25 r,. 1$ 0 "Dust in the Universe"by John King(2000) City of Dublin March 2006 Public Art Master Plan Page 13 of 25 Eligible Artworks statuary elements, unless incorporated into It is the policy of the City Council that all an artwork by a project artist. artworks commissioned or acquired under the • Reproductions, by mechanical or other public art program be designed by professional means, of original works of art, except in visual artists. Such artworks include, but are the cases of film, video, photography, not limited to,the following: printmaking or other media arts. • Works that are decorative, ornamental or • Sculpture: free standing, wall supported or functional landscape or architectural suspended; kinetic, electronic; in any elements except when commissioned from material or combination of materials. an artist as an integral aspect of a structure • Murals or portable paintings: in any or site. material or variety of materials, with or • Those elements generally considered to be without collage or the addition of non- components of the landscape architectural traditional materials. design, vegetative materials,pool(s),paths, • Earthworks, fiber-works, neon, glass benches, receptacle, fixtures, planters, etc., mosaics, photographs, prints, calligraphy, except when designed by artists. any combination of forms of media including sound, literary elements, film, Collection Review and Conservation holographic images and video systems; hybrids of any media and new genres. At least once in every five-year period, the • Furnishings or fixtures, including but not Public Art Collection should be evaluated for limited to gates, railings, streetlights, the purposes of collection management and signage, seating, etc., if created by artists conservation in order to assess the collection's as unique elements or limited editions. condition. The City, with the advice of the • Artistic or aesthetic elements of the overall Heritage and Cultural Arts Commission and architecture or landscape design if created approval of City Council, shall retain the right by a professional artist or a design team to de-accession any work of art in the that includes a professional artist. Collection, regardless of the source of funding • Temporary artworks or installations, if for the particular artwork. such artworks serve the purpose of providing community and educational Objectives: outreach purposes. • To establish a regular procedure for • The incremental costs of infrastructure evaluating artworks in the Public Art elements, such as sound-walls, utility Collection; structures, roadway elements or other • To establish a regular procedure for items if designed by a professional artists repairing public artworks; or a design team that included an artist as a • To ensure regular maintenance of public co-designer. artworks and that all maintenance is completed with the highest standards of Ineligible Artworks professional conservation; • To establish standards for the acquisition • "Art objects" which are mass produced or of artworks by the City of Dublin; of standard manufacture, such as • To strive for an equitable distribution of playground equipment, fountains or artworks throughout the City. City of Dublin March 2006 Public Art Master Plan Page 14 of 25 • To ensure that de-accessioning is governed de-accessioning from the Public Art Collection by careful procedures; and if one or more of the following conditions • To insulate the de-accessioning process apply: from fluctuations in taste. • The condition or security of the artwork cannot be reasonably guaranteed; Acquisition Review Standards: • The artwork requires excessive • Acquisitions should be directed toward maintenance or has faults of design or artworks of the highest quality; workmanship and repair or remedy is • Acquisition of artworks into the Public Art impractical or unfeasible; Collection implies a commitment to the • The artwork has been damaged and repair ongoing preservation, protection, is impractical or unfeasible; maintenance and display of the artworks • The artwork's physical or structural for the public benefit; condition poses a threat to public safety; • Acquisition of artworks, whatever the • No suitable site is available, or significant source of funding, should imply changes in the use, character or design of permanency within the Public Art the site have occurred which affect the Collection, so long as physical integrity, integrity of the work; identity and authenticity are retained, and • Significant adverse public reaction has so long as the physical sites for the continued unabated over an extended artworks remain intact; and period of time(at least five years or more); • When possible, artworks should be • De-accessioning is requested by the artist; acquired without restrictions as to future or use and disposition. • The site and/or agency housing the work is undergoing privatization. De-accessioning Review Standards: Any proposal for de-accessioning — the When an artwork in the collection is being destruction or removal of an artwork in the considered for de-accessioning, the artist shall, collection — or relocation of an artwork shall when practical, be given the first right of be reviewed by the Heritage and Cultural Arts refusal to purchase the work at its fair market Commission according to the policy and value. procedures contained herein and shall be as deliberate as those practiced during the initial Gifts or Loans of Artworks selection. This process should operate independently from short-term public Artworks proposed for donation or long-term pressures and fluctuations in artistic or (one year or longer) loan to the City shall be community taste. During the review process, carefully reviewed by the Heritage and the work of art shall remain accessible to the Cultural Arts Commission in order to meet the public in its original location. The final following objectives prior to submitting to the decision with respect to de-accessioning of City Council for approval: artworks shall rest with the City Council. • To provide uniform procedures for the review and acceptance of gifts or loans of De-accessioning should be a seldom-employed artworks to the City; action that operates with a strong presumption against removing works from the Collection. Artwork may be considered for review toward City of Dublin March 2006 Public Art Master Plan Page 15 of 25 • To vest in a single agency the should be courteously declined. A legal responsibility of insuring the management instrument of conveyance of the work of art and long-term care of the donated should be executed between the City and artworks; donor. • To facilitate planning for the placement of artworks on City-owned property; Liability: The proposal should discuss • To maintain high artistic standards for susceptibility of the artwork to damage and artworks displayed in City facilities; and vandalism, any potential danger to the public • To provide for appropriate recognition for and any special insurance requirements. The donors of artworks to the City. City will accept long-term loans only to fill a gap in the City's public art collection. Review Criteria for Gifts or Loans of Artworks that are on indefinite loan shall have Artworks: an expiration or renewal date defined. Aesthetic considerations: To ensure artworks of the highest quality, proposed gifts or long- Environmental considerations: The proposal term loans of artworks should be accompanied should address appropriateness of the artwork by a detailed written proposal and concept to the site and the scale of the artwork in drawings of the proposal and/or photographs relation to its immediate context. The Heritage of an existing artwork, documentation of the and Cultural Arts Commission will review and artist's professional qualifications and, if discuss the donation and direct Staff as to any needed, a current certified appraisal of the questions to be asked of the donor or artist. A worth of the artwork. The following will be personal appearance by artist may be considered in the acceptance of a gift or loan requested. The Commission will determine of artworks: when all issues have been addressed and recommend to accept or reject the artwork. • To preserve artworks which provide the Proposed artwork donations shall be reviewed public with a truer understanding and by the Heritage and Cultural Arts Commission deeper appreciation of historic Dublin. and approved by the City Council. • To strengthen and enrich the public art collection of the City. • To promote artwork that has an educational or communicative function. • •T • To choose artwork that is the best available example to accomplish an interpretive purpose. Financial considerations: Based on the cost of installation, the proposal should identify ' 41 sources of funding for the project, and the estimated cost of maintenance and repair over the term of the loan or expected life of the artwork. Legal title to the donated artwork must pass from the donor to the City without restriction or conditions. Restrictive gifts are detrimental to the artwork collection and "Wisdom Through the Ages"by Rowland Cheney(1990) City of Dublin March 2006 Public Art Master Plan Page 16 of 25 Donation proposals shall be accompanied by the following information: , • Slides,photos or a model of the proposed t.. work; ;' • Biography of the artist; ,des • Proposed site and installation plans; �, • Monetary value of the artwork and budget �"=•y.,4 � for installation; 414 ,, v • Maintenance requirements for the artwork; Ads, ° and • Contact information for the donor. Exceptions to the Review Process for Gifts or Loans of Artworks: Gifts of state presented to the City by foreign governments or by other political jurisdictions of the United States — municipal, state or national — which may be accepted by the City Council on behalf of the City shall be reviewed as follows: kt .. • Permanent placement of artworks of substantial scale, suitable and accessible for public display shall be determined "Sisyphus"by Roger Berry(1989) jointly by the appropriate City Department and the Heritage and Cultural Arts Commission with the approval of the City Council; • Appropriate recognition and publicity shall be the responsibility of the City Council; and • If not provided by the donor, maintenance of the artwork shall be the responsibility of the department with jurisdiction over the site, in consultation with the Heritage and Cultural Arts staff. City of Dublin March 2006 Public Art Master Plan Page 17 of 25 PUBLIC ART PROGRAM - GUIDELINES FOR PRIVATE The Public Art obligation, if art is to be DEVELOPMENT installed on-site, must be satisfied prior to the issuance of a Certificate of Occupancy. If the The guidelines outlined below establish in lieu fee option is chosen, the obligation procedures for the implementation of the must be satisfied prior to the issuance of the Public Art Program for Private Development first building permit. projects. Residential Development: Requirements The Public Art Program requires all new residential developments including single- Commercial,Industrial, Office family (detached), single family (attached), Development: and multi-family in excess of 20 residential The Public Art Program requires all new units to allocate one-half of one percent commercial, industrial, and office (1/2%) of the Building Valuation per development projects over 50,000 square feet development project, to finance an art project to allocate one-half of one percent (1/2%) of according to the public art guidelines. the Building Valuation (exclusive of land) per development project, to finance an art project The building valuations shall be calculated by according to the public art guidelines. the City's Building Official. In lieu of providing on-site artwork, an In lieu of providing on site artwork, an applicant may choose to deposit the required applicant may choose to deposit the required allocation into a Public Art Fund. If an in-lieu allocation into a Public Art Fund. If an in-lieu fee option is chosen, the developer must fee option is chosen, the developer must reserve a space for possible public art to be reserve a space for possible public art to be installed by the City, if the City determines installed by the City, if the City determines such a space is necessary. such a space is necessary. Any new commercial, industrial, and office An applicant may choose to allocate more than development project under 50,000 square feet thel/2%of Building Valuation to public art. will be required to allocate one-half of one percent (1/2%) of the Building Valuation The Public Art obligation, if art is to be (exclusive of land)per development project, to installed on-site, must be satisfied prior to the finance an art project or in lieu of providing a issuance of a Certificate of Occupancy. If the public art work on site, may contribute funds in lieu fee option is chosen, the obligation equal to 90% of the one-half of one percent must be satisfied prior to the issuance of the (1/2%)to a Public Art Fund. first building permit. The building valuations shall be calculated by Exemptions the City's Building Official. The following categories of projects are An applicant may choose to allocate more than exempt from the Public Art Program o requirements: thel/2/o of Building Valuation to public art. City of Dublin March 2006 Public Art Master Plan Page 18 of 25 1) Any current or future tenant improvement Eligible Costs projects;o The following costs shall be included in 2) Any 100% low-income housing projects; determining whether the public art allocation 3) Child Care Centers; meets the minimum required allocation: 4) Nonprofit agencies and institutions that • Artists, professional design and production exclusively provide social services only, to the general public. fee inclusive of labor, materials and 5) Any current or future condominium services including art consultant or conversions. management fees provided that these fees do not exceed 15% of the minimum Verification of Expenses allocation; • Travel of the artist for site visitation and The Project Developer shall provide research; satisfactory evidence to the Parks & • Transportation of the work to the site; Community Services Department that the • Installation of the completed work; minimum allocation (1/2% of the Building • Sales tax; Valuation for commercial, industrial, office • Any required permit or certification fees; and residential development) has been • Identification plaques; expended for art work or allocated to the • Directional or other functional elements Public Art Fund, prior to the issuance of the Certificate of Occupancy (for on-site work) or such as supergraphics, signing, color- prior to the issuance of a building permit (for coding, etc., provided they are designed by in lieu fee option)for the development project. an artist and are, in the opinion of the City, an integral part of the work of art; All financial arrangements shall be negotiated • Walls, bases, pools or other architectural between the Project Developer and the artist(s) components on or in which works of art and shall be verified in a written agreement. are placed or affixed, provided they are an Copies of the executed contracts between the integral part of the work of art; applicant and the artists shall be submitted to • Electrical,water or mechanical services for the Parks & Community Services Department activation of the work, when they are an prior to the issuance of the Certificate of integral part of the work of art. Occupancy. Non-Eligible Costs Assistance with Artist Selection The following costs will not be accepted as If an applicant elects to provide public art, the satisfying the Public Art Program applicant is free to choose the artist(s) of its requirements: choice. The Parks & Community Services • Preparation of the site EXCEPT as Department can assist the applicant, in necessary to receive the work of art. selecting and locating qualified artists for their • Exhibitors and education aspects which are project and can provide a list of private art interpretive of and tangential to the actual consultants that can assist the applicant with work of art. This includes tours and artist selection. In addition, technical support docents, videotaping or filming of and artwork review and critique can be construction and installation of artwork. provided by the Parks & Community Services Department. City of Dublin March 2006 Public Art Master Plan Page 19 of 25 Criteria for Selection of Artist and Artwork developments under 50,000 square feet to The criteria followed in the selection of an the Public Art Fund, to satisfy the artist and eligible artwork should be consistent development standard. In lieu fees must be with the City's policies for public projects (see paid prior to the issuance of a building Criteria for Selection of Artists or Artworks, permit. and Eligible Artworks,page 10 and 11). 5) Upon selection of an artist and artwork, the developer will be required to meet with the Process Steps Heritage & Cultural Arts Commission for review of the artwork. Upon 1) The Project Developer shall submit a recommendation by the Heritage & completed Site Development Review Cultural Arts Commission, the developer (SDR) application to the Community will be required to receive final approval Development Department, Planning by the City Council. Division. The applicant will be informed of the Public Art requirement and policies, Art Project Checklist and will be encouraged to meet with the Parks & Community Services Department Developer will be responsible for providing to discuss the requirements. the following documents: 2) Residential Development Applicants, who • Landscape and site plans and structural desire to provide public art within their calculations; projects, are required to present a plan to • Sample or model (Maquette) of the art the City that conforms to the requirements project,drawings and photos; of the Public Art Master Plan. The • Material samples and finishes (if Applicant's plan shall be submitted at the appropriate); time of an application for tentative map in • Artist resume (artist's record of group and which individual lots are created. If a solo exhibitions, art training, art education, tentative map is not required in the project, private and public collections, critiques the plan for public art shall be submitted at and articles); the time of Site Development Review • Building Valuation as determined by the (SDR). City's Building Official; 3) The Building Valuation will be verified • Artist/developer contract; and the minimum art allocation will be • Slides or photos of the artist's past work calculated by the Building Division upon which demonstrates like work to proposal, receipt of the building permit application. accompanied by the price for which these The developer may be required to apply works were sold; and obtain a separate building permit for • Maintenance provisions which provide the construction and installation of the art specific technical requirements; project. • Documentation which indicates that the 4) Applicants choosing not to provide on site property owner is responsible for artwork will be required to pay in lieu fees maintaining the artwork at all times. of a minimum art allocation of 1/2% for commercial, industrial, office, and residential developments and 90% of 1/2% for commercial, industrial, and office City of Dublin March 2006 Public Art Master Plan Page 20 of 25 PUBLIC ART PROGRAM - installed on City property and will become the POLICIES property of the City of Dublin once installed. Nonprofit Partnerships Artist Rishts The City recognizes the value of its The City of Dublin is committed to attracting partnerships with nonprofit agencies. It was the highest quality artists to create works for because of the leadership of the nonprofit its public art program. For that reason, it is Dublin Fine Arts Foundation that public art important that artists retain reasonable control was successfully established in the City of over the integrity of their artworks and receive Dublin. Other nonprofit organizations have equitable compensation for their creative also contributed to public art in the City. The endeavors. City encourages fostering partnerships with other community groups in the development of Policy public art projects. The City of Dublin seeks to assure the following rights to artists, which shall be Policy embodied in artist contracts for the In order to promote community involvement, commissioning or purchase of works of art. the City will actively work to encourage • Recognizing that successful public art is nonprofit organizations in its Public Art g g P Program to create public art on City owned generally inseparable from the site for property.Nonprofit organizations are welcome which it is created, City Departments shall to approach the Dublin Heritage and Cultural not move or remove an artwork unless its Arts Commission or Staff at any time to site has been destroyed, the use of the discuss a public art project. space has changed, or compelling circumstances arise that require relocation Nonprofit organizations must simply write the of the work of art. Should it become City Heritage and Cultural Arts Staff with a necessary to move or remove an artwork, description of the proposed project. If the City Staff shall make reasonable efforts to project falls within the vision and goals of the consult with the artist before effecting any City public art program, it will go to the removal or relocation. However, the City Heritage and Cultural Arts Commission and reserves the right to move or remove the then City Council for approval. The project artwork without notification under will then be guided by the same guidelines and emergency circumstances where an criteria as other City public art projects, with immediate threat to property or public the Heritage and Cultural Arts Staff working safety is present. in partnership with the nonprofit • If an artwork is significantly altered, organization's leadership. The nonprofit modified or destroyed, whether organization will have representation on the intentionally or unintentionally, the artist Public Art Advisory or Artist Selection shall have the right to disclaim authorship Committee that advises the project. of the artwork. Should an artist choose to exercise this disclaimer, the City shall In general, nonprofit organizations are remove any plaques, labels or other expected to contribute the cost of the artwork identifying materials that associate the and its installation. The artwork must be work with the artist. City of Dublin March 2006 Public Art Master Plan Page 21 of 25 • The City shall make its best effort to Art Program, consistent with due consideration ensure that all maintenance and repairs to of the values, aspirations, and goods of the works of art are accomplished in City. Community representatives will be accordance with any maintenance and invited to serve on artist selection panels to repair instructions the artist has provided to ensure discussion of community sensibilities. the City at the time of accession, and that Artists selected to participate in the program all such maintenance and repairs adhere to will be encouraged to engage the community the highest professional standards of directly in the process of developing their artwork conservation. The City shall make artistic concepts and designs. reasonable efforts to notify the artist before undertaking repairs or restorations to the Community Participation and Outreach artwork during the lifetime of the artist. The purpose of the Public Art Program is to Where practical, the City shall seek to serve the citizens of Dublin. By building a ensure that the artist be consulted and regular program of educational and given an opportunity to accomplish the promotional activities, a sense of community repairs or restorations at a reasonable fee. ownership can be instilled and cultivated. Such The City reserves the right to make activities can generate broader community emergency repairs without prior appreciation of public art and recognition of notification to the artist. the role of public art in reflecting the • The artist shall retain all copyrights community's culture. associated with works of art accessioned under this program including those Policy acquired for the City. The City agrees that The City shall make community participation a it will not copy or reproduce the artwork in part of each public art project, as well as of the any way, or permit third parties to do so, program as a whole. This may be without prior written permission of the accomplished through the use of Artist artist.Notwithstanding this policy, the City Selection Panels and/or the Heritage and reserves the right to make photographs or Cultural Arts Commission and artist other two-dimensional representations of interaction with the community. the artwork for public, noncommercial purposes, such as catalogues, brochures The Heritage and Cultural Arts Staff may and guides. develop a comprehensive approach to educational outreach concerning the Public Art Artistic Freedom of Expression Program. Elements of this ongoing educational The City recognizes that free expression is policy shall include programs in public schools crucial to the making of works of art of and special events, such as exhibitions, public enduring quality. At the same time, public art art tours, artist-in-residence programs, must be responsive to its immediate site in education and/or school programs, community settings, its relatively permanent publications, brochures, films and videos and nature and the sources of its funding. public meetings. In addition, avenues such as print and broadcast media will be cultivated in Policy order to give access to the Public Art Program It is the policy of the City to encourage free to the widest possible audience. expression by artists participating in the Public City of Dublin March 2006 Public Art Master Plan Page 22 of 25 Conflicts of Interest • Are ineligible for any competition, The City recognizes and encourages those with commission or project on which he/she arts backgrounds and other related voted during service on the Heritage and professionals to serve as members of the Cultural Arts Commission, regardless of Heritage and Cultural Arts Commission, its the length of time that has elapsed subcommittees and selection panels. It further following Commission service. recognizes that artists and other related professionals may have a real or perceived Members of Advisory Committees or Artist conflict of interest when serving in such a Selection Panels capacity while competing for projects. In • Must disclose any real or potential conflict general, a conflict of interest may arise of interest; whenever a committee or panel member has a • Must withdraw from participation, business, familial or personal relationship that discussion and voting on any artist who is would make it difficult to render an objective a family member, business associate or decision or create the perception that an with whom the panel member has a gallery objective decision would be difficult. A affiliation; and conflict may also arise whenever a committee • May not enter any competition, or panel member possesses inside information commission or project on which he or she or has a role in the decision-making process is serving as a panelist or advisory that could influence the outcome of a public committee member. art process or project. Therefore, the City has established policies to govern service on the Non-discrimination Commission and its panels. The City recognizes that cultural and ethnic diversity is essential in programs sponsored by Policy the City and seeks to be inclusive in all aspects Members of the Heritage and Cultural Arts of the Public Art Program. Commission • Must disclose any real or potential conflict Policy of interest; The City will not discriminate against any • Are not eligible for any competition, artist or other program participant based on commission or project during his or her race, gender, ethnicity, age, socio-economic tenure on the Heritage and Cultural Arts class, religion, sexual orientation, skills and Commission; abilities, and politics among other qualities. • Must withdraw from participating or voting on any competition, commission or ,� project for which any family member or — - - - - - business associate has any financial j interest or personal gain; • Are ineligible for participation in any competition, commission or project of the 111 Heritage and Cultural Arts Commission for a period of one year following the end of an individual's term on the Commission; and }..G "Iron Horse Trail"by Vicki Jo Sowell(2002) City of Dublin March 2006 Public Art Master Plan Page 23 of 25 PUBLIC ART PROGRAM - Funding Mechanisms IMPLEMENTATION At present, the City does not have an established funding mechanism for public art The goals, guidelines and policies set forth in projects. For City projects, the City has this Master Plan represent an ambitious plan. elected to include public art in selected public The plan, however, reflects the desire of the buildings and has appropriated 1%-2% of the City of Dublin to develop and maintain a construction budget for the public art. For Public Art Program that will create a unique public art in private development, the City's sense of place in each neighborhood and create current Public Art Policy encourages the a strong sense of identity for the City as a inclusion of public art but it is not a mandatory whole. The goal of this section is to identify requirement. For developers who choose to implementation measures and funding include public art, the amount spent on art is mechanisms to facilitate the success of the discretionary. The Public Art Master Plan Master Plan. recommends that designated funding sources be identified to fund the Public Art Program Implementation Measures on an ongoing basis. Adoption of the Public Art Master Plan is the Private Development: first step in the implementation of the Public • Art Program. The Master Plan sets the For private development, a percent-for-art framework for the City's Public Art Program program is recommended whereby all through the identification of a vision, purpose residential (single-family and multi-family) in and goals. Additionally the Master Plan excess of 20 residential units and non- identifies opportunities for placement of public residential (commercial, industrial and office) art both on public and private property. development projects are required to allocate Further the Master Plan establishes program one-half of one percent (1/2%) of the project guidelines related to the responsibilities of the costs to finance an art project according to the City Council, Heritage and Cultural Arts public art guidelines contained in the Master Commission, Staff and the public in the Plan. Commercial, industrial and office stewardship of the Public Art Program. development projects under 50,000 square Guidelines also deal with the artist selection feet, as an option to providing public art on process, eligible artworks and the maintenance site, may contribute funds equal to 90% of the of the City's collection. Lastly the Public Art one-half of one percent to a Public Art Fund. Master Plan recommends policies related to Non-residential projects in excess of 50,000 non-profit partnerships, artist rights and square feet and residential projects can also freedom of expression and community choose to deposit the required allocation into a participation and outreach. Public Art Fund in lieu of providing on site artwork but no discount is given. V - J r�iii ' tl "Historic Crossroads"by Daniel Galvez,John Pugh, and John Wehrle(2004) City of Dublin March 2006 Public Art Master Plan Page 24 of 25 City Projects: private development site from which the funds In large City capital building projects it is were received, if the City so chooses, and to recommended that artworks be located on site, administer the Public Art Program. using a general budget guideline of 1% - 2% of the total capital project budget. Potential projects include: Shannon Community Center Reconstruction; Emerald Glen Park Recreation and Aquatic Center; Emerald Glen Park Community Center; and Community Theater/Cultural Arts Center. For park projects, it is recommended that 9 public art be included in neighborhood and . • community parks. Potential artwork locations _ y t :t," should be identified as part of the park design .4;-- and installation of art shall occur at such time r;. that occupancy of the surrounding 71 development reaches 25%. Neighborhood Selection Committees should be convened to assist with artwork selection. Coordination ff ` ° '' - with the Dublin Fine Arts Foundation on the award winning "Art in the Parks" project should be continued, as deemed appropriate. The Public Art Master Plan recommends that consideration be given to establishing a Public Art Venue. A Public Art Venue is a location where several pieces of public art are on display in a consolidated area. The size of the site can typically vary from 1/3 acre to 10 "Dreams of Longing After Nothing"by Bryan Tedrick(2004) acres in a natural setting, or in the case of a streetscape, one to several blocks long. Usually, a large number of different types of art sculptures are on display for the public's view, in some cases, surrounded by a garden like setting. Public Art Fund: Finally it is recommended that a Public Art Fund be established for the purpose of collecting fees paid in lieu of committing the required allocation to an on-site art project. Such funds shall be used to acquire, place and maintain public art projects located at public buildings or on public grounds, or at the City of Dublin March 2006 Public Art Master Plan Page 25 of 25