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HomeMy WebLinkAboutMinutes - February 25, 2003 SSCITY OF LODI INFORMAL INFORMATIONAL MEETING "SHIRTSLEEVE" SESSION CARNEGIE FORUM, 305 WEST PINE STREET TUESDAY, FEBRUARY 25, 2003 An Informal Informational Meeting ("Shirtsleeve" Session) of the Lodi City Council was held Tuesday, February 25, 2003, commencing at 7:02 a.m. A. ROLL CALL Present: Council Members — Hansen, Howard, Land, and Mayor Hitchcock Absent: Council Members — Beckman Also Present: City Manager Flynn, City Attorney Hays, and City Clerk Blackstor B. CITY COUNCIL CALENDAR UPDATE City Clerk Blackston reviewed the weekly calendar (filed). SPECIAL CLOSED SESSION MEETING OF THE CITY COUNCIL At 7:03 a.m., Mayor Hitchcock adjourned the Shirtsleeve Session to a Special Closed Session meeting (NOTE: refer to the Special Closed Session minutes of February 25, 2003). At 7:46 a.m., Mayor Hitchcock reconvened the Shirtsleeve Session. C. TOPIC(S) C-1 "2003-04 Annual Master Plan — Art in Public Places" Mayor Hitchcock announced that she had a meeting to attend in Sacramento and would not be able to remain for the Shirtsleeve Session. She expressed support for the Art in Public Places Policy and Master Plan and believed it was important to have a balance in the community between youth and adult sports, fine arts, performing arts, and an in public places. NOTE: Mayor Hitchcock turned the meeting over to Mayor Pro Tempore Howard and left at 7:47 a.m. City Manager Flynn congratulated and thanked Tea Silvestre, Arts Coordinator, for doing an outstanding job in preparing the 2003-04 Annual Master Plan. Ms. Silvestre stated that the An in Public Places policy was adopted in 2001. The administration of the program falls under the Arts Coordinator. Ms. Silvestre reported that she has participated in discussions between Community Center Director Charlene Lange and the City Manager regarding a division of arts and culture. She stated that, until recently, the Arts Coordinator was seen only as the liaison for the Arts Commission. She noted that the Art in Public Places Advisory Board is currently comprised of Arts Commissioners Laura Heinitz and Donna Phillips, Recreation Commissioner Ed Wall, Planning Commissioner Tim Mattheis, and SPARC member Roger Stafford. The Advisory Board has been holding monthly meetings since December. Ms. Silvestre recalled that a dedication ceremony took place in October 2002 for the Sandhill Crane sculpture in the fountain of the Multi -Modal Station. She commented that this was the City's first public art project. She will be submitting the project for consideration in a national public art review program. Mr. Flynn suggested that she also include the All Military Veterans Plaza in her submittal. Continued February 25, 2003 Ms. Silvestro stated that she is soliciting public comment on the Master Plan prior to it being brought before Council at a regular meeting. She briefly reviewed the goals, objectives, and tasks as outlined in the draft Master Plan (filed). She pointed out that construction and design approved capital projects for 2003-04 are listed in the second section of the Plan. Each project gives 2% of its construction budget to the Art in Public Places fund. In reply to Council Member Hansen, Mr. Flynn explained that under federal and state guidelines there is an allowance for public art with certain major street projects. Mayor Pro Tempore Howard noted that the policy states that 2% of development impact fees for individual projects will be used toward art in public places and pointed out that this is one way to determine whether a project would fall under this category. If impact fees were collected, then automatically, a certain percentage is earmarked toward Art in Public Places. Ms. Silvestro reported that a public comment workshop will be held at 5:30 p.m. today at Hutchins Street Square and tomorrow at 12:00 p.m. The Master Plan will be presented to Council at its April 2 meeting. Once the Advisory Board appoints a Selection Committee, it will scope out the project for the new Police Station and requests for proposals to artists will be sent out. Referencing page 16, goal 2, Council Member Land noted that it calls for one full-time program manager or coordinator. He asked whether the City will be adding staff to oversee the Art in Public Places program. Mr. Flynn replied that he is not recommending additional staff this year; however, he stated that in the long run it may be necessary. He suggested that part-time staff provide assistance in the interim. Ms. Silvestro stated that she has contacted San Joaquin Delta College, University of the Pacific, and Consumnes River College for interns to assist with the program. Council Member Hansen voiced support for the Art in Public Places Policy and Master Plan. He commented that the effect of public art is subliminal, in that people automatically get a sense of the community from viewing it. He suggested that Ms. Silvestro consider a mural for the walls of the downtown parking structure, and stated that perhaps an artist would be willing to do so for little or no cost to display their work. He also encouraged Ms. Silvestro to apply for grants. Referencing page 10, strategy 2, second tactic, Mayor Pro Tempore Howard recommended that wording be added to categorize any donated items that an individual would like to have sold, or for the Arts Commission to consider the sale of a donated item for cash purposes to be donated toward a particular project. In addition, she suggested that donated items for display come before the Council for consideration. D. COMMENTS BY THE PUBLIC ON NON -AGENDA ITEMS None. E. ADJOURNMENT No action was taken by the City Council. The meeting was adjourned at 8:15 a.m. ATTEST: Susan J. Blackston City Clerk 2 •r.. %�'.f'/s^.a^.a.ir /i 4riY:. / /.. f '.i'. ,.,. . ! 'v ...-. «;.. a.�:. nr .� .a iiz/B s :in.. ,[ /n' �/R- -.:w /+y .f rs "i-6✓.,Y/L .o: n`:"e %C/A/w! ie`iii^/..!'/6i.H'/6'//' �s ..":.®,i+ h:�N`/@`/i9'%ii//,P`Yd'%iM: d Mayor's & Council Member's Weekly Calendar m WEEK OF FEBRUARY 25, 2003 Tuesday, February 25, 2003 7:00 a.m. Shirtsleeve Session 1. 2003 - 04 Annual Master Plan - Art in Public Places (COM) Special Closed Session Meeting 1. Conference with labor negotiator, Human Resources Director Joanne Narloch, regarding Police Mid -Management, Confidential Professionals, and Fire Mid -Management 5:30 - 7:00 p.m. Landd SpecialT's Grand Opening and Ribbon Cutting, 16 West Oak Street, Lodi. 6:00 p.m. Hitchcock, Howard, Hansen, and Land. Sister City Committee 18th Annual Installation & Benefit Dinner, Omega Restaurant, 1800 South Cherokee Lane, Lodi. Dinner at 6:30 p.m. Wednesday, February 26, 2003 7:30 a.m. Howard, Hansen, and Land. The San Joaquin Partnership & Business Council, Inc. annual meeting featuring California State Treasurer Phil Angelides, Manteca Senior Center, 295 Cherry Lane, Manteca. Hosted Breakfast at 7:30 a.m.; meeting at 8:00 a.m. 2:00 - 3:30 p.m. Budget Briefing with State Legislative Analyst Elizabeth Hill, Carnegie Forum, Lodi. Thursday, February 27, 2003 7:00 - 8:45 a.m. San Joaquin County Leadership Prayer Breakfast, Stockton Civic Auditorium. 4:00 p.m. San Joaquin Council of Governments Ground Breaking Ceremony, 555 East Weber Avenue, Downtown Stockton. Friday, February 28, 2003 7:30 a.m. Lodi Chamber of Commerce Farm Safety Day, Grape Festival Grounds, Chardonnay Hall. 8:00 - 1:30 p.m. Greater Lodi Area Youth Commission Presents Interactive Career Day, Lodi Academy Campus, Lodi. Saturday, March 1, 2003 Sunday, March 2, 2003 Monday, March 3, 2003 Disclaimer. This calendar contains only information that was provided to the City Clerk's office N.\Administration%CLERK\FORMS\Mcalndr.doc WORKING DRAFT (Approved by the Arts Commission & Art Advisory Board) February 13, 2003 ART IN PUBLIC PLACES (AIPP) 2003-04 ANNUAL MASTER PLAN CITY OF LODI PREPARED BY Tea Silvestre, Arts Coordinator APPROVED BY ADVISORY BOARD MEMBERS Tim Mattheis, Planning Commission Laura Heinitz, Arts Commission Donna Philips, Arts Commission Ed Wall, Recreation Commission ARTS COMMISSIONERS Pat Stockar, Chair Rev. William Crabtree Annie Falos James E. Harvey Laura Heinitz Hugh Metcalf Donna Phillips Sherri Smith Edie Van Noy Jennifer Walth Table of Contents TABLE OF CONTENTS INTRODUCTION.............................................................................................................. 3 GOALSFOR 2003-04...................................................................................................... 5 Summary of Goals and Objectives...............................................................6 Goal 1: Respond Proactively to Art Opportunities....................................7 Goal 2: Successful Implementation & Management ...........................15 PROJECTS& BUDGETS..................................................................................................20 APPENDIX.......................................................................................................................24 Public Art Project Steps..................................................................................24 Sample Project Agreement Memo............................................................ 25 TaskList for 2003-04.......................................................................................... 26 AIPP MASTER PLAN DRAFT PAGE 2 INTRODUCTION INTRODUCTION TO THE 2003-04 MASTER PLAN Lodi and Public Art With the passage of Lodi's Art in Public Places Policy in 2001, the City Council recognized that public art enriches the lives of residents and visitors, as well as promotes the identity of Lodi. In 2002, the city saw the successful completion and dedication of the program's first official project- the Sandhill Crane sculpture located at the downtown Lodi Train Station. We are proud of the factthat Lodi is one of the few communities which continually rises to the challenge of balancing those very important quality of rife issues for our residents along with being an attractive and exciting destination for our visitors. Local residents, Californians and international travelers may seek out the pleasures of Lodi for a night, week or lifetime. Businesses in the arts, design, wine, entertainment, hospitality, travel, and property developmentwill invest in Lodi as long as the city continues to be a desirable center of positive growth. Growth means opportunities. The primary premise of this Master Plan for Art in Public Places is to maintain flexibility and grasp opportunities caused by the dynamics of growth. These opportunities lie within all sectors of the economy—private, public and non-profit. The history of public art in Lodi started in the private sector with the design and construction of the Lodi Arch, the statue in Legion Park, and other early works. Nearly 100 years later, the City will be installing new artwork for its Police Department facility on Elm Street. Even though the City of Lodi is just beginning to know the power of visual arts in the public realm, there does exist a growing demand and respect for visual art in public venues - the Veteran's Memorial, the Sandhill Crane sculpture, as well as various murals on privately -owned buildings all testify to this new outlook. Public Art validates a citizen's belief that the city matches their life style. Lodi is their home. This value of art, design and creativity is the future of economic success according to Carnegie Melon University professor of economic development, Richard Florida. AIPP MASTER PLAN DRAFT PAGE 3 INTRODUCTION In his theory, cities must attract the new "creative class" with stylish neighborhoods, an arts scene and a minority -friendly atmosphere -- or they will go the way of Detroit. Civic investment in satisfying the needs of this citizen group will support the future of all citizens. In Lodi, creativity and innovation have long been a part of the city. Respect and value for historical architecture and design are essential to its definition. Through partnering with the creative institutions and city agencies, public art should take its significant place as a memorable experience and image for citizens and tourists. AIPP MASTER PLAN DRAFT PAGE 4 GOALS GOALS for 2003-04 Lodi's program goals for this or any year fall under the following two general priorities: 1. To respond proactively to all art opportunities 2. To successfully implement all art projects The following plan addresses these goals and calls for specific strategies, tactics, and administrative procedures that when attained, will ensure a successful program, maintain consistency with the approved policy, and facilitate understanding of the program's processes. The plan also outlines upcoming public art projects and their budgets and includes a detailed appendix of sample documents and reference materials. AIPP MASTER PLAN DRAFT PAGE 5 GOALS SUMMARY OF GOALS/OBJECTIVES/STRATEGIES GOAL #1: RESPOND PROACTIVELY TO ART OPPORTUNITIES 123 Objective A: Partner for impact o Strategy 1: Develop and Administer Simple Methods for Contribution by the Private Sector o Strategy 2: Develop and Administer Simple Methods for Contribution by Non -Profit Sector o Strategy 3: Assist and Advise Other Agencies o Strategy 4: Collaborate with Applicable Agencies ;Val Objective B: Expand access to public art opportunities o Strategy 1: Educate the public about public art o Strategy 2: Encourage art donations o Strategy 3: Ensure Public Art is physically accessible aH Objective C: Positively reflect Lodi's unique identity o Strategy 1: Include Temporary, Changing Public Art o Strategy 2: Promote Lodi's AiPP Selection Criteria o Strategy 3: Plan for Lasting Artworks GOAL #2: SUCCESSFUL IMPLEMENTATION AND MANAGEMENT Objective A: Institutionalize the program o Strategy 1: Establish Financial and Budgetary Agreements o Strategy 2: Ensure timely transfer of all required AiPP dollars o Strategy 3: Facilitate Communication between Parties o Strategy 4: Plan Proactively for AiPP Projects o Strategy 5: Ensure Proper Artwork Maintenance and Conservation o Strategy 6: Ensure Qualifications of Selected Artist AIPP MASTER PLAN DRAFT PAGE 6 ......._..__ . _ .. GOALS GOAL #1: RESPOND PROACTIVELY TO ART OPPORTUNITIES OBJECTIVE A: PARTNER FOR IMPACT Strategy 1: Develop and Administer Simple Methods for Contribution by the Private Sector In the early days of Lodi, as well as in other parts of the country, the historic details of Victorian and Deco architecture were required necessities of a successful hotel, theater, club or apartment building. Today, renovated hotels utilize historic or modern art and design as features to attract their clients and to add to the overall flavor of a city. These are opportunities grasped by the private sector responding to the investor, resident and tourist from all continents. Many leaders and arts supporters in the private sector recognize the value of public art in creating the atmosphere of a dynamic, creative city where people want to live, work and play. This lively atmosphere increases the value of private land and property in the city. These individuals and businesses would welcome simple methods to foster the positive atmosphere through public art. Tactic: Using matching fund grants and/or donations from the private sector encourage the following: ❑ The purchase and display of artworks in the public areas of new private developments. ❑ The design and lending of sites for new public art on private property. ❑ Private sector contributions for public projects in close proximityto each other. ❑ Donations or loan of existing artworks to be sited on private or public lands. ❑ The display of works by local visual artists in restaurants, cafes, and other unique venues in the central district. l:: Strategy 2: Develop and Administer Simple Methods for Contribution by the Non -Profit Sector In the last few decades, the non-profit sector has found its successful niche in the public art realm around the country. Organizations in other cities have helped revitalize downtown areas by displaying paintings, sculptures and other art works in a variety of vacant storefront windows. Museums, performing arts groups and educational institutions also utilize public art projects to enhance their AIPP MASTER PLAN DRAFT PAGE 7 GOALS programming, outreach and public awareness. In each case, the formal and informal groups found opportunities and made them happen. Tactic: Collaboratewith and encourage local non -profits to utilize visual artists and public artworks as a vehicle to take their messages to the general public. Tactic: Collaborate t o enhance the public education and celebration regarding new public artworks through relevant exhibitions or performances at unique venues. ( Example: the Lodi Public Library could display the educational materials created for the art located at the Train Station.) Tactic: Discover co -programming opportunities that would allow the public art program to collaborate with non -profits and bring media attention and street -level awareness to those organizations. 131 Strategy 3: Assist and Advise Other Agencies Encourage other city agencies and organizations to utilize artists to achieve their goals. AiPP will be a resource for locating artists and designers that could provide various needed services. Tactic: Be attentive to the needs of other city and non -city agencies and propose methods to solve their needs via public art. (Examples: Bird habitat restorations, gateway signage, pump station visual screens.) Tactic: Provide quick response to art requests. Welcome and facilitate quick responses to proposals from many sectors including the Planning Commission, City Departments, other governments and the private and non-profit sectors. Response can be in the following forms: ❑ Manage artist selection process. ❑ Assist the private sector with navigating City government ❑ Manage the contract for an artist selected by another agency or group ❑ Partial funding Tactic: Develop a list of local artists and their skills. Utilize an artist registry for the City of Lodi, San Joaquin County, State of California and others. AIPP MASTER PLAN DRAFT PAGE GOALS Tactic: Maintain a complete list of on-call consultants, architects, public art consultants and art curators. Tactic: Promote the use of AiPP and Arts Commission as resources via employee newsletters and other forms of grassroots media. 1 Strategy 4: Collaborate with Applicable Agencies Tactic: Keep communications between city agencies and AiPP open. Annual presentations on plans, goals and proposed projects to each other should be made. Tactic: Maintain strong review process by AiPP and support organizations that promote good design in Lodi. This will allow the program to maintain quality within an open system. Tactic: Work with Community Development Department to integrate AiPP criterion into SPARC checklists for review of projects. This will assist in the institutionalization of AiPP, so that every project review incorporates the investigation of possible AiPP assistance with matching grants. AIPP MASTER PLAN DRAFT PAGE GOALS OBJECTIVE B: EXPAND ACCESS TO PUBLIC ART OPPORTUNITIES The AiPP Program will encourage the all sectors to participate in public a rt. 10 Strategy 1: Educate the Public about Public Art Given the current, limited art collection of Lodi, the AiPP program could lead the development of public information regarding esthetic interests. In addition to stand alone publications, public art should be included with urban walking tours, art museum/art gallery tours and general tourism materials. Tactic: Digitally document existing artworks for easy sharing. AiPP staff will develop and update every two years, a set of publication quality digital photographs of existing artworks. The photographs would be incorporated into electronic files and available on CD ROM and other tourism promotional materials. Tactic: Create and distribute printed and electronic materials to educate the public. Include information about ❑ The Public Art process ❑ Existing works of Public Art ❑ Future Public Art opportunities Tactic: Create urban walking tours. AiPP, working with other groups, requests incorporation of public art into a series of on-line and printed walking tours presented by Wine and Visitors Center and the Chamber of Commerce. H Strategy 2: Encourage art donations from private parties Tactic: In conjunction with various city departments, develop a list of sites appropriate for donations, and request pre -approval from the agencies involved. Like the exhibition halls of a Convention Center in bigger cities, various public spaces in Lodi could be identified as locations for donations of permanent public art. Individuals, corporations, non -profits or groups of artists would utilize the pre -approved "locations." Tactic: Establish procedures for accepting donations or memorial gifts of artworks. AIPP MASTER PLAN DRAFT PAGE 10 GOALS Tactic: Create and distribute materials encouraging donations or memorial gifts of artworks for display in pre -approved locations. 131 Strategy 3: Ensure Public Art is accessible. If the art will enhance the quality of life of the citizens, it must be available. This seems obvious and not many public art projects are behind locked gates in the USA, but frequently a true evaluation of the numbers of people and drama of the artwork is not made. Tactic: Instruct Selection Committees that public art shall be easily accessible and seen by a broad range of citizens everyday. If at all possible, public art should be situated so that it is visible from the street. Tactic: Devise methods to ensure public art is placed at diverse sites and as much as possible, distributed evenly around the entire City. AIPP MASTER PLAN DRAFT PAGE 11 GOALS OBJECTIVE C: REFLECT LODI'S UNIQUE IDENTITY The City of Lodi is a dynamic, vibrant community with unique physical attributes of its historic architecture, wineries, and prime geographic location in the state of California. Art in Public Places programs around the world discover goals that reflect the general values and cultural aspirations of the communities they serve. But the very best add a layer that sparks a flowering of creative works that add richness to the specific character of a place or city. Public art has and must continue to energize Lodi by consistently revitalizing its uniqueness. Energy and events come in two packages for public art: "place energy" and "event production." In place energy, permanent art contributes to the dramatic spirit of the street, park or plaza. The downtown district creates their own sort of public art in signs, architecture, entrances and people waiting on the sidewalk. Of course, place energy can be quiet. Public art enhances space and gives it purpose. The Veteran's Memorial is Lodi's most poignant example. leal Strategy 1: Include Temporary, Changing Public Art "Event production" is the support and creation of temporary activities. The summer Festival Season needs events like "Art on the Square" to bring visitors to Lodi. As the festival's reputation in the art world grows, many large and small art installations in gardens, hotel rooms, storefront windows, empty buildings and on sidewalks will begin to spring from nowhere to welcome visitors to Lodi during the summer months. Tactic: Contribute temporary public artto annual festivals and celebrations like Art on the Square and the Grape Festival. Tactic: In conjunction with other departments and public comment, develop a list of proposed permanent sites for changing artworks. The AiPP program would create the infrastructure for temporary, changing artworks in different media. These sites and technologies could be associated with other events and organizations or as stand alone events. AIPP MASTER PLAN DRAFT GOALS %ii Strategy 2: Promote Lodi's AiPP Selection Criteria Our cultural arts define our community in so many ways. It is our heart and soul. The Art in Public Places policy establishes nine criteria for the selection of artworks, of which three are artistic: appropriateness to the site, quality of the work and reflection of the variety of artistic expression. These criteria are basic to "any public art program anywhere," but are not particular to Lodi. The City's program should identify those attributes that will contribute over time to a rich set of characteristics that specifically represent Lodi. Tactic: Establish selection criteria that reflect the unique identity of Lodi. In order to ensure that public art reaches the above goals, selection committees will be instructed to choose artists and works that meet the following criteria: ❑ Beautiful. For those people that value art as part of their selection from the menu of civic qualities, not just any art will succeed. Lodi artworks are focused between two timelines: high quality architectural design starting with the Victorian period and the best of very contemporary, museum quality artworks. Artworks shall fit into the City's architectural designs and be suitable for showcase in a contemporary art museum. ❑ Vibrant. Vibrant is a word about interaction: people with people and people with the environment. Bright colors, motion, electric lights and "playing with the art" are examples of ways to contribute to the energy of a place. Changing activities like temporary artworks add to curiosity about a place. The vibrancy can contribute to public safety as proven in CPTED (Crime Prevention through Environmental Design) principles that space is safer when it attracts a diverse group of people. Artworks should include aspects of energy and provide attention to the place they are housed. ❑ Uncommon. "Uncommon" is the best goal for Lodi. This word expresses what is expected by both the visitor and resident. Everyone hopes to see something special or unique in Lodi during a night out on the town. The word suggests "innovation" and "creativity' and may lead to "an attraction." It requires brave artistic risks and looking outside current ideas to stay ahead of the curve. ❑ The Moment. The moment is some image or experience that sticks in the human memory. The moment is usually thought of as a big "wow" like standing at the foot of the Statue of Liberty. But a AIPP MASTER PLAN DRAFT PAGE 13 GOALS moment can also be one of intimacy such as a secret place to watch a sunset. Each person has these remembered images and feelings that were discovered in childhood or elder years. ❑ Center of the State. The body of artworks that the city collects or supports can reflect its position at the center of the State. In Lodi, people from all places expect to make connections with people and things from all places. Lodi Art in Public Places can celebrate this fact. ❑ Modern Vintage Acquisitions. With the wide range of architectural examples from the late 19th and early 20th centuries, Lodi is the premiere location to experience modern 20th century architecture and design. Lodi Art in Public Places could follow in this tradition with the purchase of historic modern works or new artworks that learned from the traditions of earlier eras. 11 Strategy 3: Plan for Lasting Artworks Maximizing the City's investment is a unique civic animal among government programs. Government services tend to be positive improvements in the beginning and then decrease in value. For example, the school system has an immediate positive effect on the children, but in the long-term, the majority of children as adults move to new cities. A new fire station provides better service to the community right away, but loses value when technology changes. The Lodi AiPP program can have BOTH an immediate positive affect on the city and then increase in value overtime. Planning for Art in Public Places should conceptually be divided into two parts. Only a few cities such as Seattle and recently Philadelphia exploit the tremendous civic potential in planning, making and installing the artwork. Most cities do exploit the dedication, image and reputation of the artworks once in the public realm. But it is a rare, perhaps unknown, for a city to plan the civic value of both making the artwork and living with the artwork. Lodi is the place to take on the immediate and long-term value of public art. Connections to the media and regional arts events throughout Northern California ensure our ability to capitalize on new projects. The experience of cities throughout the region is available to call on, and guarantees knowledge about how long-term care and media promotion of artworks can benefit our city. Tactic: In developing requirements and scope of future projects, Selection Committees will keep in mind the following criteria: AIPP MASTER PLAN DRAFT PAGE 14 GOALS ❑ Ability to Maintain. Nothing can decrease the quality of life and attitudes of the citizens in a city like poor maintenance and repair of artworks. The City and the department or agency that houses the piece must understand the requirements of future care and maintenance before accepting the artwork. ❑ Exclusive. Every project should be considered for its immediate impact on groups of citizens, the cultural tourists and/or the media. Projects can be planned to grab attention through a variety of means. (Examples: Collaboration with particular groups of citizens to create or commission the artwork; competitions for a significant work with state-wide concerns; artworks focusing on popular local events.) ❑ Long Term Value. Before starting a project, it should be shaped to create a long-term impact. This fits easiest into permanent artwork. But temporary works can also create a long-term memory. Goals for long-term value include: increasing the economic value of the artwork itself by selecting the best artists; on-going contribution to the perceived quality of Lodi's geographic territory resulting in higher property values; visual image for civic promotion to certain markets; and re -telling a story important to the place. AIPP MASTER PLAN DRAFT PAGE 15 GOALS GOAL #2: SUCCESSFUL IMPLEMENTATION AND MANAGEMENT OBJECTIVE A: INSTITUTIONALIZE THE PROGRAM The Art Advisory Board recognizes that the City's existing public art policy is a good one, but in order to manage that program successfully, the program requires (1) supportive directions for compliance from the Office of the City Manager, (2) a reliable, consistent budget and (3) at least one full-time program manager or coordinator. With these elements, cities across the United States have instituted public art programs that run relatively smoothly and contribute positively to the municipality. Above all other objectives, the AiPP program requires those three features. It is very important to recognize that from time -to -time, public art will not be accepted fully by various non -art agencies or consultants such as architects and engineers. The resulting administrative discomfort is normal. The following recommendations will help mitigate any potential problems. 23 Strategy 1: Establish Financial and Budgetary Agreements The AiPP program requires a series of agreements on the fiscal budgeting and management primarily between the AiPP staff, Capital Improvement, Finance and Budget. The City Manager's Office may be required to resolve certain issues. A recent opinion by an interested party stated that the policy's language regarding eligible construction costs needs to be clarified. Tactic: Clarifythe policies and procedures to calculate and verify the 2% of appropriate construction projects. Tactic: Elaborate on, clarify and distribute the policy and procedures in terminology appropriate to construction project cost estimating. Tactic: Amend the AiPP Policy by adding any such clarifications of the qualifying costs for 2% calculation. Tactic: Establish methods for timely coordination, review and verification of 2% calculation between Public Works and AiPP. AIPP MASTER PLAN DRAFT PAGE 16 GOALS 1211 Strategy 2: Ensure timely transfer of all required AiPP dollars. The City's Policy call for Finance to transfer all appropriated AiPP moneys to Public Art Fund within 30 days of City Council action. Tactic: Develop and distribute standard language for the appropriation and transfer of AiPP monies for all eligible construction projects. Tactic: Include AiPP as a chapter in the City's capital budget. With the implementation of the proposed annual capital budget appropriation, base funding for AiPP monies should be appropriated and transferred simultaneously. Fund 12141 would be annually presented to the City Council as a chapter of the annual capital budget. iii Strategy 3: Facilitate Communication between Parties Excellent communication (written and verbal) and clear responsibilities have very positive implications in management of artworks created for new buildings, landscapes and infrastructure. Tactic: Create a Project Agreement Memo (PAM) for each project. (see Appendix, Sample PAM). The PAM should be signed by the AiPP staff, Public Works staff and other appropriate departments. At a minimum, the PAM should include the following: ❑ Financial responsibilities. ❑ Management responsibilities. ❑ Related contractual responsibilities of the artist and architect/engineer. ❑ Definition of the potential or actual scope of the art project. ❑ Dispute resolution method. Tactic: Coordinate schedules. Through the leadership of particular project managers, create coordinated schedules with milestones and deliverables for the artist, architect and contractor for each project. Tactic: Establish contractual language. Through the leadership of the Public Works Office and the City Attorney, develop appropriate contractual language for the A&E contract and Bid Documents relating to responsibilities for coordinating with artist's work. ❑ A&E contract will delineate time and services to be provided ❑ Bid Documents will describe AiPP coordination with and site access for the artist and his/her team. Tactic: Develop an Intranet AiPP Database. An on-line database will be developed forAiPP project information and scheduling with access AIPP MASTER PLAN DRAFT GOALS from AiPP, Public Works, artist, architect, contractor and other agencies. �' Strategy 4: Plan Proactively for AIIPP Projects The Art in Public Places program should collaborate with other departments in mid- and long range plans to improve the urban and natural environment of Lodi. This collaboration will set in motion (before a construction project is fully scoped), the methods by which art can enhance the objectives of the building or space. Tactic: Include AiPP staff early in the capital project planning process. If a capital project is deemed appropriate for placement of public art, the artists) should be hired to start during programming by the ABBE team and not later than schematic design. NOTE: In order to pay for these services, it will be necessary to budget 2% of design budgets toward AiPP proiects, or advance the monies from construction budgets. Tactic: Establish an annual planning process to review the future plans of various departments and to discuss potential mutual benefits of an arts project. Applicable agencies include, but are not limited to: Community Development, Public Works, Tourism and Convention Bureau. ': Strategy 5: Ensure Proper Artwork Maintenance and Conservation Throughout the United States, municipalities are struggling with the funding of maintenance of historical and modern public artworks. Money for care is an absolute necessity as delayed conservation results in dramatically escalated costs or devaluation of a collection. Tactic: Inform City departments that house public art on the policy requirement to budget for proper maintenance of pieces under their control. Tactic: Set acceptable levels of annual maintenance costs for any new artwork. Tactic: Require artists to present a maintenance schedule during the proposal process outlining required materials and estimated costs. If costs exceed the pre-set limit, t he Advisory Board would need to establish, accept, and fund any costs above the pre-set levels. AIPP MASTER PLAN DRAFT PAGE 18 GOALS Tactic: Establish funding for first year's maintenance. Within the AiPP Budget, establish an annual appropriation forthe first year of a completed project's maintenance and repair. Continued maintenance and repair must then be part of the annual budget of the department housing the artwork. Tactic: Create and distribute an Interagency Maintenance Agreement. AiPP staff and the agency responsible for facility maintenance surrounding a particular artwork will agree on the duties of each agency. These agreements prevent both neglect and sincere, ( but damaging) maintenance by unprofessional staff. Agreements would include: ❑ A drawing showing the areas of AiPP maintenance and facility staff maintenance responsibilities. ❑ The dat a of an annual meeting between AiPP and on-site facility staff. Tactic: Survey the City's art collection. Beginning this year, and continuing at least every ten years, professional art appraisers and conservators will survey all City artworks. The first survey would be more extensive as it must establish the ownership of any portable artworks in City Hall and other facilities. The reportwill include the following: ❑ Current market value and replacement value of the artwork. ❑ Each artwork's current physical condition with photographs and required repairs. ❑ Schedule for inspecting each artwork. Ir: Strategy 6: Ensure Qualifications of Selected Artist Finding the right artist for a new artwork is the single most important step in the Aff program. The key to success is three -fold: (1) knowing what you want, (2) contacting artists with those skills and (3) forming a selection panel with the ability to creatively match the needs with the talent. Tactic: Create a database of pre -qualified and interested artists. The AiPP staff would lead the effort to compile and edit the current database into a single list of artists interested in public art. This database would form the basis of postal service mailings and e-mail notices of open calls for public art. Tactic: Finding the Best. For each project, the AiPP staff could take time as needed, to contact museum curators, gallery owners and other AIPP MASTER PLAN DRAFT PAGE 19 GOALS public art programs to seek out recommendations of artists with the required talents. AIPP MASTER PLAN DRAFT PAGE 20 PROJECTS & BUDGETS 2003-04 PROJECTS AND BUDGETS The following figures are based on policy allowances and approved capital budget figures. Monies presently allocated for artists' services reflect what is allowed by the policy, but do not necessarily represent what will be spent on any given project- these are t he figures that the Advisory Board and Selection Committees must stay within (i.e., Monies not spent on artists' services for any given project may be reallocated to a new project). CONSTRUCTION -APPROVED CAPITAL PROJECTS The following projects have been approved for construction by City Council. 1. Appropriations for t he Police Department facility at Elm Street allow for a total of $217,888 to be spent on the public art component. These monies will be spent as follows: Model/ Artist's Selection Design Services Process Fees Publicity Education Plaques Dedication —Not More , eI P1 The project's themes will be: "In this Place ... On this Day..." and Requests for Proposals (RFPs) will be sent to qualified artists upon approval of this plan by City Council. DESIGN -APPROVED CAPITAL PROJECTS The following projects have been approved for design by City Council. 1. Appropriations for the Animal Shelter call for a total of $78,021. These monies will be spent as follows: Artist's services will include all artist fees, conception, design, fabrication, associated utilities, and transportation and installation costs. t Themes were chosen by the Advisory Board after consultation with departments that will house the art. AIPP MASTER PLAN DRAFT PAGE 21 PROJECTS & BUDGETS The project's theme will be: "All Creatures Great and Small" and RFPs will be sent to qualified artists upon approval of this plan by City Council. 2. Appropriations for DeBenedetti Park call for a total of $181,000. These monies will be spent as follows: The project's theme is yet to be determined and RFPs will be sent to qualified artists upon approval of the construction budget by City Council. 3. Appropriations for the Indoor Sports Complex call for a total of $181,000. These monies will be spent as follows: The project's theme is yet to be determined and RFPs will be sent to qualified artists upon approval of the construction budget by City Council. 4. Appropriations for the Aquatics Center call for a total of $118,000. These monies will be spent as follows: The project's theme will be: "From Water Springeth..." and RFPs will be sent to qualified artists upon approval of the construction budget by City Council. AIPP MASTER PLAN DRAFT PAGE 22 PROJECTS & BUDGETS DESIGNATED CAPITAL PROJECTS The following projects have been designated by the City Manager for possible future construction: Project 2002-03 Budgel 1 2003-04 Budget Public Art 76 Downtown Street Improvements 1 160,0001 281,500 8,830 Major Street pansion Projects 1630000 3730000 107200 Lodi Lake Central Improvements 0 1200000 24000 E ectnc U i i Bui ding 2000000 5000000 140000- E ectnc Su station Building 1886250 419950 46124 OTHER INCOME AND EXPENDITURES In addition to the capital projects outlined above, the Public Art Fund receives 2% of all Development Impact Fees paid to the City. For the fiscal year 2001-02, these monies totaled $52,248. To date, the Fund has accumulated a total of $89,914.00. Currently, the fund balance is $84,207 due to expenses incurred from the public art piece at the Lodi Train Station (Sandhill Crane sculpture). In order to accomplish the goals of the policy, the Fund will seek to spend the current and future balance as follows: 2003-04 Pemertt. Matching Project Grants $74,958 89% 1St Year Maintenance $842 1% Education and Publicity $8,407 10% TOTAL: $84,207 100% Administration Budgetary administration is the responsibility of the City's Arts Coordinator. All expenditures posted to the Art in Public Places account (No. 1214001) must be approved by signature of the Arts Coordinator and the City Manager. AIPP MASTER PLAN DRAFT PAGE 23 APPENDIX Public Art Project Steps City Council approves Capital Project for. Design City departments determine, with Arts Coordinator, if project is to be developed by a design team Art Advisory Board, Agency/Department to house the art, and Arts Coordinator develop theme for project site and short list of qualified artists Arts Coordinator sends out Requests Art Advisory Board for Proposals to Qualified Artists appoints Artist Selection Committee for specific project10 Selection Committee develops project scope based on directions of Advisory Board Aft Advisory Board reviews all Arts Coordinator develops written submitted proposals and forwards instructions to Selection Committee recommendations to Selection Committee outlining objectives and parameters Selection Committee reviews ail qualified proposals and concepts and chooses finalist for approval by Advisory Board J Selection Committee forwards selected concept to Art Advisory Board for approval' If approved, Advisory Board forwards selected concept/artist for City Council approval Artist works closely with project manager and/or designer of capital project Artist makes public presentation, conducts a community education workshop or does a residency at an appropriate time and forum in community where artwork will be placed J Each public art project will differ, but most timelines will run at least 12 to 14 months (from start to finish). AIPP MASTER PLAN DRAFT PAGE24 APPENDIX SAMPLE PROJECT AGREEMENT MEMO (PAM) PROJECT NAME Department Head* Arts Coordinator * City Manager * Public Works Finance * Capital Project Manager * With regard to the above -name project, all parties agree and understand to the following items: ❑ FINANCIAL (budget elaborated) ❑ MANAGEMENT ❑ CONTRACT ❑ SCOPE OF PROJECT ❑ DISPUTE RESOLUTION Date: For the Lodi Police Department For the City Of Lodi, Arts & Culture By: By: Jerry Adams, Police Chief Tea Silvestre, Arts Coordinator For the City of Lodi For the Department of Public Works By: By: Dixon Flynn, City Manager Richard Prima, Director For the Department of Finance For the Project Manager By: By: Vicky McAthie, Director Project Manager AIPP MASTER PLAN DRAFT 2/13/2003 PAGE 25 APPENDIX TASK LIST FOR 2003-04 (from Tactics) Once this document is final and approved, a timeline will be created to accompany the task list. ❑ Create and distribute materials to promote the availability of matching fund grants for the private and non-profit sectors. ❑ Create collaborations with local non -profits to utilize visual artists and public artworks as a vehicle to take their messages to the general public. ❑ Discover co -programming opportunities that would allow the public art program to collaborate with non -profits and bring media attention and street -level awareness to those organizations. ❑ Develop methods to solve the needs of other city and non -city agencies via public art. ❑ Develop and maintain a list of local artists and their skills. ❑ Develop and maintain a complete list of on-call consultants, architects, public art consultants and art curators. ❑ Promote the use of AiPP and Arts Commission as resources via employee newsletters and other forms of grassroots media. ❑ Keep communications between departments and AiPP open. ❑ Maintain strong review process by AiPP and support organizations that promote good design in Lodi. ❑ Digitally document existing public artworks for easy sharing. ❑ Create and distribute printed and electronic materials to educate the public. ❑ Create and distribute information on urban walking art tours. ❑ in conjunction with various city departments, develop a list of sites appropriate for donations, and request pre -approval from the agencies involved. ❑ In conjunction with other departments and public comment, develop a list of proposed permanent sites for changing artworks. ❑ Establish procedures for accepting donations or memorial gifts of artworks. ❑ Create and distribute materials encouraging donations or memorial gifts of artworks for display in pre -approved locations. ❑ Discover ways to contribute temporary public artto annual festivals and celebrations like Art on the Square and the Grape Festival. ❑ Establish selection criteria that reflect the unique identity of Lodi. ❑ Clarify the policies and procedures to calculate and verify the 2% of appropriate construction projects. ❑ Elaborate on, clarify and distribute the policy and procedures in terminology appropriate to construction project cost estimating. AIPP MASTER PLAN DRAFT 2/13/2003 PAGE26 APPENDIX ❑ Amend the AiPP Policy by adding any such clarifications of the qualifying costs for 2% calculation. ❑ Establish methods for timely coordination, review and verification of 2% calculation between Public Works and Aff. O Develop and distribute standard language for the appropriation and transfer of AiPP monies for all eligible construction projects. ❑ Include AiPP as a chapter in the City's capital budget. O Create a Project Agreement Memo (PAM) for each project. ❑ Coordinate schedules between all departments. O Establish effective contractual language. ❑ Develop an Intranet AiPP Database. O Include AiPP staff early in the capital project planning process. ❑ Establish an annual planning process to review the future plans of various departments and to discuss potential mutual benefits of an arts project. ❑ Inform City departments that house public art on the policy requirement to budget for proper maintenance of pieces under their control. ❑ Set acceptable levels of annual maintenance costs for any new artwork. ❑ Require artist s to present a maintenance schedule during the proposal process outlining required materials and estimated costs. O Establish funding for first year's maintenance. ❑ Create and distribute an Interagency Maintenance Agreement. ❑ Survey the City's art collection. ❑ Create a database of pre -qualified and interested artists for public art projects. AIPP MASTER PIAN DRAFT 2/13/2003 PAGE 27 Ul:&r 41=1 Seenle 4632 a 4913p pc 4648 c SiaxFals 1M45r 2543 to Vito uw nvr,eroa 6"twatu ole ue very W10 toQay. 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Acc4lWiattrer, UtR ®Z008 [� • � AccuWeSther,catn phone 546-M!Dr e -snail; phone 5413.8288 or 9-mail,t �tcs � tca . ste a-." c�nimsr@rasonk"tcf)m a cooper9reiorOrtetcom ,r (i. sketches case.:far ubfic,art INII' = jj'� ilJ towers.' and the water will be available by 2005,:.when —'--^"" .East, Altamont is expected to b+a.on . :.. line. lily jai Hfttlod public -art polity► 3n 2001..A art projects such as the archlike encourage art donations by the ; an Sarvey But Sensibaugh said he also Loci t3ureau t lief sandhill c, *0 ulpture; created . entry to its. downtown shopping private sector, strategies for Leese said a needs assurances that Catpine at a cost of $35;000 -and installed district on School, $U* and a temporary and changing art, y one Sarvey . will conie'through with its end LODI -- Investing public at the : transit station, was the veterans memorial next to City and plans for lasting works: si has been of the deal. money in art boosts the quality . city's first official art project. Hal;:. "There is some flexibility, and unlikely. " are willing. commit of life for Lodi residents and The next project; with a.bud- Silvestre said that without a I do like that," said Donna the power- 100percent recycled water to ;tors, according to an official, get of $217,888, is. for the police policy that continues to gene/- Phillips, a Lodi Arts Commission , lg between ' Calpine," Sensibaugh said."We policy paper under, eonsidera- station under construction on ate new art, future city leaders member who helped Silvestre veld ars of . P -just -want to make .sure (East tion this week. ,, Elm. Street, across from the exist- Lodi's first Art in Places. could cutoff funding, with the plan: "1 just like lila idea er building Altamont) is areal project.". . Public ing station Art for the new police station we. can do a variety of things ower plant Keese said all sides agree that .master plan outlines how the Silvestre said spending public will be designed with the theme with It! ? nater from Calpine will use recycled' water city will fund, promote and pre- funds on an has been eontrover- "In This Place ...' on This Day" The draft is available 'for a massive from Mountain House, -but, the serve public art that will shaped in cities such as San Francis- while "All Creatures Great and review utchins instruction details need to be ;worked ,out Lodis identity, .much the way co and Sacramento; but: most Small" is the theme for the ceeWSquaret Lodi Public A e attorney and will be part of the report's the.Pine Street arch has done for residents understand the value. future animal shelter's art, to be Library, the Finance Depart- , protested revision. Calpine filed an appli- n�hr 100 years' "Cities that have been doing installed at a cost of.$78,021. . ;hent and the Park and Recce- :erpipeline cation with the commission -in Tea Sitvestre, Lodis arts coor- public art have proven its When a proposed' aquatic ation Department or otzline at =;► truction on March 2001 to build the plant, dinator; is scheduled to update worthwhile, and .it`ll be a few park is built, .art with the theme www.lodW�te.otl� which could generate enough the City Council at 7 a.m. today ,:years before everyone's on board " " 'From Water. SpAngeth:... " will Written comments should be i :ommuni ty Power for about '1 million on the plan. He will conduct p (in Lodi)," Silvesirs said. We "or be included for. $;18,000, while submitted to. Silvestre. Ifnforma- irtnan Paul homes. public workshops at 5:30 p,m. have plenty of supporters, themes for the future lpiae Jail- today and noon Wednesday at else we wouldn't be where we DeBenedetti Park and indoor tion: 333-5311. 1,616 acre- o To reach reporter Kate Fowlie, Hutchins Street Square. Public are now." sports center haven't been cho- To reads :ocr Bureau Chief Jett .. iter it will phone 833-1143 or e-mail comments are due Friday. Even before it had a public sen. Hood, phone 367-7427 or a -mad is cooling Mowtie0racordnet ore The City Council approved a arts policy, Lodi spent money on The plan also outlines ways to lhood@recorctnetcorn