HomeMy WebLinkAbout16. Art in Public Places Manual
AGENDA MEMO
DATE:
July 12, 2011
TO:
Mayor and Members of the City Council
FROM:
Office of the City Manager
By: Thad Phillips, Director of Community Services
SUBJECT:ART IN PUBLIC PLACES PROGRAM
RECOMMENDATION
That the City Council adopt the attached Resolution:
A RESOLUTION OF THE CITY COUNCIL OF THE CITY OF DOWNEY AMENDING
THE “ART IN PUBLIC PLACES” POLICY MANUAL
DISCUSSION
Staff is requesting that the City approve some changes in the policy manual for the art
in public places program. This program was created in 2005 when the City Council
adopted an Ordinance establishing the basic program and a Resolution which approved
a manual that provides rules and regulations about the program. On June 13, 2011 the
City Council adopted an ordinance that discontinued the Advisory Committee. The
manual has been revised to reflect that change and additional changes based on the
recommendation of staff to expand the allowable public art as well as bringing together
the developer with the planning department during the initial discussion stages of new
construction projects subject to the fee.
A summary of changes are:
Remove Advisory Committee.
Definition of allowable public art would be broadened to artwork so as to include
murals, water fountains, water elements, new technologies, and other public art
at the discretion of the Director of Community Development with the approval of
the City Council.
Establish a public art project minimum value of $30,000 for developers who wish
to install public art on their property.
Responsibility for the administration of the Art in Public Places would be the
Community Development Department to allow for early review and integration of
the artwork into the overall project design.
The attached Resolution includes the revised manual which shows in italics the new
proposed language and crosses out the old language. The fundamental aspect of the
program remains the same: development projects will generate a source of funds for
public art equal to 1% of the value of the project.
FISCAL IMPACT
None
CITY OF DOWNEY, CALIFORNIA
RESOLUTION NO.
A RESOLUTION OF THE CITY COUNCIL OF THE CITY OF DOWNEY
AMENDING THE “ART IN PUBLIC PLACES” POLICY MANUAL
WHEREAS,
an Art in Public Places Program is established in the City of Downey
Municipal Code Section 8950-8970; and
WHEREAS,
the City Council adopted a Manual via Resolution No. 05-6882 and
amended by Resolution No. 06-6894 for the administration of the program; and
WHEREAS
, the City Council adopted Ordinance No. 11-1283 amending the Downey
Municipal Code, Article VIII, Chapter 10 Regulating Art in Public Places; and
WHEREAS
, the City Council wishes to amend the Manual.
NOW, THEREFORE, THE CITY COUNCIL OF THE CITY OF DOWNEY DOES
HEREBY RESOLVE AS FOLLOWS:
SECTION 1.
The “Art in Public Places Policy Manual”, attached hereto as Exhibit “A”
and incorporated herein by this reference, is hereby adopted.
SECTION 2.
The City Clerk shall certify to the adoption of this Resolution.
th
APPROVED AND ADOPTED
this 12 day of July, 2011.
LUIS H. MARQUEZ, Mayor
ATTEST:
JOYCE DOYLE, Interim City Clerk
I HEREBY CERTIFY
that the foregoing Resolution was adopted by the City Council of the
h
City of Downey at a regular meeting held on the 12 day of July, 2011, by the following vote, to wit:
AYES: Council Members:
NOES: Council Member:
ABSENT: Council Member:
ABSTAIN: Council Member:
JOYCE DOYLE, Interim City Clerk
Exhibit A
City of Downey
Art in Public Places Policy Manual
TABLE OF CONTENTS
Comment [A1]:
Check the page
numbers.
Page
I. Downey’s Art in Public Places Program
A.Program Goals............................................................................................ 1
B.Definitions.................................................................................................. 1
C.Public Art Requirement.............................................................................. 2
D.Payment of Fee........................................................................................... 2
E. Installation of Public Art by Developer..................................................... 2
F. Art AllocationPublic Art Account Expenses............................................. 3
1. Allowable Expenses from PublicArtAccount Allocation.................. 3
2. Expenses Not Allowed from Public Art AllocationAccount.............. 3
G. Artist and Artwork Selection...................................................................... 4
1. Artist and Artwork............................................................................... 4
2. Art Consultant...................................................................................... 4
H. Value Verification...................................................................................... 4
II. The Application Process
A. Overview.................................................................................................... 4
B. Application Steps....................................................................................... 5
1. Plan Review......................................................................................... 5
2. Artist Selection..................................................................................... 5
3. Preliminary Review with Staff............................................................. 5
4. Art in Public Places Advisory Committee Review Process................. 5
5. Notification and Follow-Up................................................................. 5
6. Unveiling Plans.................................................................................... 6
C. If the Proposed Application is Not Approved............................................ 6
1. Developer Options............................................................................... 6
2. The Appeal Process.............................................................................. 6
D. The Art in Public Places Advisory Committee.......................................... 6
III. Review Criteria and Requirements
A. Artist Qualifications................................................................................... 7
1. Experience ........................................................................................... 7
2. Verification of Past Works................................................................... 7
B. Artwork Criteria......................................................................................... 7
1. Artistic Expression and Innovation...................................................... 8
2. Scale and Content................................................................................. 8
3. Permanence and Materials................................................................... 8
4. Multiple Editions.................................................................................. 9
5. Public Liability and Safety................................................................... 9
6.Water Features and Fountains..............................................................9
C. Site and Installation Requirements............................................................. 10
1. Visibility............................................................................................... 10
2. Signage................................................................................................. 10
3. Lighting and Electrical......................................................................... 10
4. Landscaping and Base.......................................................................... 10
5. Identification........................................................................................ 10
D. Budget and Contract................................................................................... 11
1. Budget Breakdown............................................................................... 11
2. Contract of Sale.................................................................................... 11
E. Maintenance............................................................................................... 11
1. Responsibilities.................................................................................... 12
2. Maintenance Instructions..................................................................... 11
3. Maintenance Conditions...................................................................... 12
4. Payment of Maintenance...................................................................... 12
IV. Property Owner Responsibilities
A. Art Insurance.............................................................................................. 12
B. Damaged Artwork...................................................................................... 13
C. Replacement of Artwork............................................................................ 13
D. Removal of Artwork................................................................................... 13
E. Donation of Artwork to the City................................................................ 14
Appendices
A. Visual Art Laws for Artists and Owners.................................................... 15
B. Downey’s Art in Public Places Advisory Committee................................ 17
B C. Sample Budget Breakdown.................................................................. 19
C D. Sample Contract of Sale of a Work of Art........................................... 20
D E. Advisory Committee Review Checklist............................................... 22
E F. Application Checklist........................................................................... 23
F G. Application Instructions/Submittal Requirements............................... 24
G H. Application – Form A.......................................................................... 26
H I. Application – Form B.......................................................................... 27
City of Downey
Art in Public Places Program
The goal of Downey’s Art in Public Places Program is to provide permanent, outdoor artworks
that are easily accessible to the general public throughout the City. The Art in Public Places
Program is designed to offer a wide range of artistic styles, themes, and media, all of outstanding
quality. The unique variety of artistic styles is chosen to provoke discussion and encourage
comment. The Art in Public Places Program is dependent on public-private cooperation between
the City, artists, and the developer. All art sculptures are privately owned, and are designed to
enhance property values, encourage pride in ownership, and add value to the community. The
Art in Public Places Program shall also provide the Downey City Council with the flexibility to
initiate public art projects on City-owned property consistent with the artwork criteria set forth in
this Manual.
The Downey City Council adopted the original Art in Public Places Policy Manual by Resolution
No. 05-6882 on November 22, 2005 and amended by Resolution No. 06-6894 on January 24,
2006. Since that time, it has been amended by the City Council by Resolution No. . This
Manual describes the program policies, guidelines and application process.
I.Art in Public Places Program
A. Program Goals
1.Distinguish Downey as a special place to live, work, play and visit.
2.Integrate the vision of artists with the perspective of other design professionals
into the planning and design of the urban landscape.
3.Provide every member of the community easy visual access to art sculptures
from vehicles on major public streets.
4.Provide a means to counterbalance what many consider to be the “negative”
effects of development (e.g. construction noise, traffic, congestion, and
pollution).
5.Strengthen cultural awareness, creativity, and innovative thinking in the
community.
B.Definitions
1. Commercial Building means any building or structure, all or part of which
contains a commercial or light industrial use.
2.Residential Building means any building or structure, all or part of which
contains an element of housing and also consists of more than four dwelling
units, attached or detached, the total value of which exceeds $500,000.
3.Reconstruction means all alternations or additions made to an existing
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commercial building within any twelve (12) month period that exceed fifty
percent (50%) of the value of the existing building’s current valuation as
determined by the Building Official.
4.Construction costs means the total value of building construction work as
determined by the Building Official using the same methods as those applied to
determine the building permit fee and building valuation. The costs of any
associated parking structure, which does not include any other use, will be
excluded from such calculations.
5.Reconstruction costs means the total value of building improvement work as
determined by the Building Official using the same methods as those applied to
determine the building permit fee and building valuation. The costs of the
following activities shall be excluded from such calculations: parking
structure, building maintenance, and building repair made due to natural
disasters or fire damage.
6.Public Art Fee shall mean one percent (1%) of the construction or
reconstruction costs as determined by the Building Official. The maximum fee
per project is $150,000.
7.Value of art work means the total expenses incurred for the art work as
established in section I.F.
8. Committee means the Public Arts Committee as created by DMC section 8970.
C.Public Art Requirement
All developments that involve the construction or reconstruction of commercial and
multi-family residential buildings shall be subject to the public arts program.
Developers will either pay a cash payment equal to the public art fee or install
public art (minimum value of $30,000) on their property in accordance with the
provisions of this manual.
D.Payment of Fee
Developers who do not participate in the development of public art on their
property shall make a cash payment equal to the public art fee. The cash payment
will be made when a building permit is issued.
All cash payments will be deposited into a special Public Art Account maintained
by the Finance Department. The funds in the Public Art Account will be reserved
for public art. The Community Development Services Department will be
Comment [A2]:
Is this right or is it
Community Development?
responsible for developing public art projects that will be funded by the Public Art
Account. The Community Services Department will review all proposed public art
Comment [A3]:
Same as above.
projects with the Committee prior to completing a proposed project. Also, all
public art projects and the amount of funding used for such projects must be
approved by the City Council.
E.Installation of Public Art by Developer
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Developers who wish to provide public art as part of their project will comply with
the procedures described in this Manual. The developer must provide public art
with a value equal to or greater than the public art fee. In order to guarantee that
the developer will fulfill the public art obligation, the developer shall pay a cash
deposit equal to the public art fee when a building permit is issued. After the
developer installs the public art, the Community Services DirectorDirector of
Community Development shall request that the Finance Department refund the
deposit paid by the developer.
If the developer fails to install a public art piece as approved by the City Council
Committee within six months of receiving a final building inspection approval on
the project’s building permit, then the deposit shall be forfeited and the amount will
be deposited in the Public Art Account.
F. Public Art Account Expenses
1. Allowable Expenses from Public Art Account
a) The work of the art itself, including the artist’s fee for design, structural
engineering, and fabrication.
b) Transportation and installation of the artwork.
c)Identification plaque(s) for the artwork.
d) Mountings, pumps, motors or subterranean equipment, pedestals, bases, or
materials directly necessary for installation of the artwork.
e) Lighting specifically illuminating the art piece.
f)Art consulting fees. This fee shall not exceed 20% of the total art expenses
allocation.
g)Art appraisals requested by City staff. and/or the Art in Public Places
Advisory Committee.
2.Expenses Not Allowed from Public Art Account
a)Expenses to locate the artist (e.g. airfare for artist interviews, etc.)
b)Architect and Landscape Architect fees.
c)Landscaping around a sculpture, that is not included as part of the Artist’s
sculpture furnishings, including, but not limited to, functional structures,
prefabricated water or electrical features not created by the artist, and
ornamental enhancements.
d)Utility fees associated with activating electronic or water generated
artwork.
e)Lighting elements not integral to the illumination of the art piece.
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f)Publicity, public relations, photographs, educational materials, business
letterhead or logos bearing artwork image.
g)Dedication ceremonies, including sculpture/artwork unveilings or grand
openings.
G. Artist and Artwork Selection
1.Artist and Artwork
The developer is responsible for selecting the artist(s) and artwork, provided
both meet the program criteria (see pages 7-11). The City has a list of art
consultants and resource guides with artist listings available for developers.
However, the City does not keep a list of “approved” artists from which
developers may choose. City staff The Art in Public Places Advisory
Committee shall consider each artist and proposed artwork on a case-by-case
basis.
2.Art Consultant
The developer may choose to hire an art consultant to assist with the selection
of the artist and the application process. The role of the art consultant is to
research and present to the developer, qualified artists who are able to create an
appropriate artwork for their specific project. The art consultant is responsible
for providing written and visual collateral on the artist(s) for the application.
The developer may not apply more than twenty percent (20%) of the total art
allocation toward consulting fees. Consulting fees in excess of twenty percent
(20%) of the allocation shall be absorbed by the developer.
H. Value Verification
If City staff cannot verify the value of a proposed art piece (by past records of
comparable work sold, etc.), the City may choose to have the artist’s proposal
and/or other completed works appraised by a qualified art appraiser selected by the
City. The applicant shall pay up front for any art appraisal service fees. This
expense may be deducted from the total art allocation.
II. Application Process
A. Overview
Successful public art projects involve collaboration and cooperation between the
developer, the artist, and the City. The developer selects an artist and submits an
application for review by the Director of Community Development, five-member
Art in Public Places Advisory Committee (“Committee”)who which either
approves or denies application. The application process shall take place in the
early phases of the development review process in order to allow for integration of
the artwork into the overall project design and ensure timely completion of the
project and artwork. The artwork must be approved and permanently installed at
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the site prior to the issuance of interior improvement building permits (see page 2,
Exception: Public Art Account).
B. Application Steps
1. Plan Review
The developer formally submits a development proposal for plan approval to
the City’s Planning Division of the Community Development Services
Department. If the project is valued at $500,000 or more, staff informs the
developer of the estimated 1% art allocation for their project. The developer
contacts the City’s Community Development Community Services Department,
to receive full program details including the Art in Public Places Policy Manual
and Application.
2. Artist Selection
The developer (or art consultant) researches and selects an artist(s) who meets
the program criteria. The developer and selected artist collaborate in packaging
the art application for Community Development Department committee review.
The application is included at the back of this Manual.
3. Preliminary Review with Staff
The developer submits the Art in Public Places Application to the City’s
Community Development Community Services Department. City staff reviews
all materials and advises the developer of any incomplete items prior to the
review Committee meeting. City staff The Art in Public Places Committee
shall meet review within thirty (30) days of the date all application materials
are submitted in their complete form (see pages 25-27, Submittal
Requirements). If any items are found incomplete, the 30-day period will not
begin until all outstanding items are received. City staff shall inform the
developer of the date, time and location of the Committeereview meeting.
4. Art in Public Places Advisory Committee Review
Process
The developer, artist and/or art consultant present their application materials
and answer City staff Committee questions at the Art in Public Places Advisory
Committee review meeting. City staff The Committee reviews the application
utilizing the criteria listed in Section III, on pages 7-12 and 22. The applicant
must be prepared to make an oral presentation which clearly supports their art
proposal. The presentation shall include both written and visual materials. It is
important for the developer to be present at the meeting to receive City staff’s
the Committee’s comments and suggestions should the application not be
approved in full. City staff The Committee retains the right to ask the
developer and/or art consultant to provide further information or demonstrate
how their application meets the review criteria, prior to giving their final
decision. It may be necessary to reconvene the meeting at a later date to review
a revised application.
5. Notification and Follow-up
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The developer shall be notified in writing of the Director of Community
Development’s Committee’s recommendation to the City Council within ten
(10) days of the review meeting. If the art piece is recommended for approval,
any outstanding items that must be completed by the installation date will be
listed and given to the developer/art consultant. If the art piece is not
recommended for approval, the reason(s) for denial will be noted, including
possible modifications or additions which could lead to recommended
approval. Should the developer and/or consultant agree to the modifications,
he/she may resubmit an application to the Director Committee for
reconsideration. City staff shall inform the developer of the date, time, and
location of the Committee meeting to review the revised application. Once the
artwork is recommended for approved it shall be submitted for City Council
approval at its next available regular meeting date. Once approved by the City
Council, the developer shall inform the City of the approximate date the piece
will be installed.
6. Unveiling Plans
The developer shall contact the Director of Community Development
Community Services Department regarding any unveiling or dedication
ceremonies for the art piece. An unveiling or dedication is strictly optional. In
the event the developer chooses to conduct an unveiling or dedication, City
staff shall provide the developer with an invitation list of City Council
Members, Commissioners, Art in Public Places Advisory Committee Members,
and other appropriate guests. City staff shall work with the developer to
promote press opportunities and public interest in the art project.
C. If the Proposed Application Is Not Approved
1. Developer Options
a) Accept the Director’s Committee’s recommendations and make the
requested modifications.
b) Select a different artist to create a new design and resubmit the application
to the Director of Community Development Art in Public Places Advisory
Committee.
c) Appeal the Director’s Committee’s recommendation to the Downey City
Council (see Appeal Process below).
2. The Appeal Process
The developer must file a written request for an appeal within ten (10) days of
notification of the Director of Community Development’s Art in Public Places
Advisory Committee’s recommendation. All items for appeal should be
addressed to the City Council. Upon filing an appeal, the Director of
Community Development Community Services shall set the hearing date and
notify the applicant. The City Council may affirm, reverse, or modify in whole
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or in part the Director’s Committee recommendation or requirement. Downey
City Council’s decision shall be final and conclusive.
D.The Art in Public Places Advisory Committee
The Art in Public Places Advisory Committee is the formal body responsible
for reviewing all Art in Public Places applications. The Committee shall ensure
that all Art in Public Places projects meet program criteria, as established by
City Ordinance.
(See Appendix B for more details on the Art in Public Places Advisory
Committee.)
III. Review Criteria and Requirements
A. Artist Qualifications
1. Experience
Artists must be working artists, who have a portfolio which includes
monumental outdoor public art commissions and collections, and exhibition
records. In addition, the artist must demonstrate that he/she had formal
sculpture or art training. Monumental sculpture is defined as five (5) feet or
larger in one dimension, excluding the base. Qualified artists should have
experience in design concept, fabrication, installation, and long-term durability
of large-scale exterior artworks. Artists must be able to successfully
collaborate with design teams, architects, art consultants, developers, engineers,
fabricators, and landscape architects, and meet scheduled deadlines. Artists
should also have experience in negotiating and contracting their work
responsibly. Artists who do not meet these criteria will not be approved by the
Committee.
2. Verification of Past Works
Artists must be able to verify the value of the proposed artwork, based on their
previous and current public art commissions. TheCity Staff Committee will
look for purchase prices of similar works sold by the artist (by size, medium,
etc.) which progressively increase toward, or exceed, the proposed commission
amount. The City may request records, including but not limited to, sales
contracts, invoices, and payments. Gallery list prices or asking prices of works
are not necessarily comparable, as they are not records of a willing buyer. If
the value of the proposed art piece cannot be verified (by records of past
comparable sold works, etc.), the City may choose, at its sole discretion, to
have the artist’s proposal and/or other completed works appraised by a
qualified art appraiser. This expenditure shall be counted toward the total art
expenditure allocation, and shall be borne by the developer. The value of the
proposed artwork shall be verified prior to Committee review as to not delay
the approval process.
B. Artwork Criteria
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1. Artistic Expression and Innovation
Proposed artworks shall demonstrate how they will effectively engage the
public, and invite a “second look.” Works engaging to the public are often
described as thought provoking, inspiring, entertaining, clever, whimsical,
powerful, reflective or symbolic. Innovation and originality are encouraged
and expected. City staff The Committee takes interest in the artist’s creative
thought process in relationship to the specific development project. Therefore,
existing works are not generally encouraged. Artists shall be able to
thoroughly discuss the following elements of their proposal with City staff
Committee: expressive properties (mood, feeling, message, symbolism) and
formal properties (balance, emphasis/dominance, repetition/rhythm, unity,
form/shape, texture, color).
2. Scale and Content
Artworks must be appropriate in scale, material, form, and content to their
immediate, general, social, and physical environments. The artwork shall not
look like an afterthought to the development. Sculptures Artworks must be
three-dimensional and monumental in scale (excluding base). Monumental is
defined as five (5) feet or larger in one dimension. Artwork not traditionally
classified as a “three-dimensional sculpture” (such as environmental artwork),
is not acceptable. For example,The following are not acceptable:
a) Mass produced reproductions or replicas of original works of art.
Exceptions are signed sculptures by the original artist for reproduction.
(Edition limit: 5).
b) Functional equipment, which may be considered part of an amenities
package, such as benches, chairs, fountains, etc..
c) Decorative or ornamental pieces which are not designed by a qualified,
acceptable artist, including historical markers or bells, bell towers, obelisks,
minor architectural ornamentation, and garden sculpture.
d)Art as advertisements or commercial signage mixed with imagery.
e) Busts – Statutory memorials generally are not encouraged and will be
subject to additional review criteria (see page 14, Donation of Artwork to
the City).
3.Permanence and Materials
a) Recommended materials: bronze, stainless steel, high-grade aluminum,
hard stone.
b) Materials not recommended: Corten steel, wood, soft stone (e.g. alabaster).
Rebar will not be acceptable for internal support of sculptures.
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c) Other materials not listed may be considered, in the event the artwork
application includes a comprehensive maintenance plan, which meets the
interest and standards of the City Committee and staff.
d) Rust proof materials must be used whenever possible. Artists will be asked
to provide a breakdown by percentage of metal alloys for bronzes from
foundries. Thickness and grade/quality of steel works will be reviewed for
rust proof durability. Artists shall take note of which materials (including
nuts, bolts, and other metal fixtures) will be in contact with each other that
may produce oxidation and rust.
e) Artists must be able to clearly demonstrate the quality, craftsmanship, and
durability of their artwork. Substantial consideration shall be given to
structural and surface integrity and stability, permanence and weathering,
resistance against theft, vandalism, and the probability of excessive
maintenance and repair costs. Artworks must be constructed of durable,
long-lasting materials that are able to withstand outdoor display, and
require low levels of maintenance. When selecting an art piece, developers
shall keep in mind that property owners are legally responsible for the
maintenance of the artwork for its lifetime.
4.Multiple Editions
If the proposed sculpture is one of multiple editions, the applicant shall include
the edition number of the piece, and provide the location of all other editions.
To maintain the value of the proposed work, similar editions may not be
publicly displayed within a fifty (50) mile radius of the Downey project site,
unless both the City Art in Public Places Advisory Committee and the owner of
existing and/or future editions grant permission.
5.Public Liability and Safety
The artist and developer must bear in mind the artwork sculptures will be
displayed along major public streets. In order to be acceptable, artworks must
not disrupt traffic or create unsafe conditions or distractions to motorists and
pedestrians, which may expose the City or property owner to liability.
Consideration should be given to sharp or protruding edges that may pose a
danger to pedestrians. Attention should also be given to durability and ability
to withstand weight, as owners are held responsible for repairs resulting from
persons climbing, sitting, or otherwise damaging the artwork sculpture.
6.Water Features and Fountains
Water feature pieces, or artworks requiring water, must be conceptually
designed by an acceptable, qualified visual artist in order to be considered for
the Art in Public Places Program. The artwork must stand on its own should
the water cease to function properly. There must be a demonstrated
collaboration between the artist and the water feature design company. The
intent of the Art in Public Places Program is to promote the work of visual
artists, not water feature design companies. Water related costs, such as pump
and pool construction, will be evaluated by the Art in Public Places Committee
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for consideration as part of the overall art allocation. Developers are welcome
to exceed the arts budget to construct a water feature. However, water features
will not be accepted in lieu of the Art in Public Places requirement. No more
than thirty percent (30%) of the total art allocation may be utilized for water-
related costs.
B.Site and Installation Requirements
1. Visibility
Artwork is to be located outdoors and easily visible to both motorists and
pedestrians from a major public street. Distance from the artwork sculpture to
the public street should typically not be greater than fifty (50) feet. Artwork
may not be placed near monumental signs, sign walls, or bus benches, or utility
boxes, as these structures may impede the public’s view from the street or
diminish the aesthetic value of the artwork sculpture. Lettering, symbols or
signage are not permitted upon the art sculpture or its foundation, except as
intended by the artist. Visibility to the general public is the key criteria in
approval of artwork sculpture location. Exceptions can be made for large open
or enclosed public areas such as shopping malls, which may have their art
piece(s) in an interior public location.
2. Signage
Permanent signage of any type is not permissible in or around the immediate
area of the sculpture. This includes the foreground, background, or adjacent
areas of the sculpture. Signage should not distract or diminish the aesthetics of
the artwork sculpture, when the public views the work from the most accessible
vantage points (e.g. intersections, entryways). CityStaff The Art in Public
Places Advisory Committee will review all signage plans and ask the applicant
to provide alternative locations should the signage interrupt the public’s view.
3. Lighting and Electrical
Artwork shall be properly lit during evening and nighttime hours. All lighting
and electrical elements should be in good working condition and meet all
current safety conditions. Lighting and electronic elements, not integral to the
artwork sculpture, will not be included as part of the art allocation. Lighting
plans must be submitted as part of the application.
4. Landscaping and Base
Landscaping and artwork sculpture base should be well integrated and securely
installed. The artwork sculpture must also be secured to the base. A licensed
structural engineer must approve and certify the installation plans as
structurally sound, safe, and durable. The base shall only house artwork
sculpture, and plaque, if applicable.
5. Identification
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Each art piece shall be identified by a cast bronze plaque approximately 8” x
8”. The plaque shall be placed in a ground location near the art piece, listing
only the title, artist, and date of installation. City staff The Art in Public Places
Advisory Committee must approve any additional plaques that may be
requested.
C.Budget and Contract
1. Budget Breakdown
The developer is required to submit a line item Budget Breakdown, reflecting
costs of the artwork and artist design fees, transportation and installation fees,
art consultant fees, and any other fees as applicable and necessary, (see
Appendix B C, Sample Budget Breakdown). The Budget Breakdown should
total or exceed the 1% minimum art allocation.
2. Contract of Sale
The developer must also submit an unsigned copy of the Contract of Sale,
including the long-term care and maintenance instructions for the artwork, with
their application. Upon approval by the City Council Art in Public Places
Advisory Committee, the Contract of Sale shall be modified, if necessary, and
signed by the property owner, artist, and homeowner’s association, if
applicable (see Appendix C D, Sample Contract of Sale).
D.Maintenance
1. Responsibilities
All property owners are legally responsible for maintaining their art piece for
its lifetime and replacing the art piece should it be damaged beyond repair,
destroyed, or stolen (see page 13, Replacement of Artwork). The applicant
should demonstrate that the selected artwork is constructed for permanent
outdoor display and that provisions have been made for its long-term care. The
Contract of Sale should address the following areas of long-term care and
maintenance:
a) Maintenance instructions – Artist’s recommendations for on-going and
long-term care.
b) Restoration – length of time (typically one year) the artist or art conservator
will be responsible for repairs.
c)Maintenance funds – how the owner will provide a funding source for
maintenance.
d)The City Art in Public Places Advisory Committee shall regularly inspect
each art piece sculpture for any damage or maintenance concerns. Current
property owners will be informed of the results of inspection including
recommendations for maintenance and for repair, and a referral to an art
conservator who can treat the art pieces sculptures to preserve their
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longevity. Property owners will be subject to code enforcement for failure
to comply with the maintenance requirements of this program.
2. Maintenance Instructions
The artist is required to provide maintenance instructions as a condition in the
Contract of Sale, which specifies the on-going and long-term maintenance
requirements for the artwork. These guidelines will be used for routine
cleaning and occasional treatments to prevent damage from weather elements,
bird guano, tree droppings, spray from sprinklers, and aging. The Maintenance
Instructions shall include:
a)Materials for the maintenance and/or repair of the artwork, including but
not limited to, brands and mixes of pigment, color samples, material
finishes, types of brushes, bolts, and other needed materials.
b)Methods of cleaning: how to apply cleaning agents, paint, wax, or other
materials. Specify number of coats and drying time. Specify whether the
work can be performed by a general maintenance service or must be
performed by a professional art conservation service.
c)Frequency of routine cleanings per year; how often to repaint (usually 2-3
years or 3-5 years); and frequency of long-term preventative treatments
(usually between 5-10 years).
3. Maintenance Conditions
a)Water or electronic sculptures or fountains must always be operating in
good working order. Complete instructions for maintenance and repair of
kinetic or water components must be included in the maintenance
instructions.
b)Artwork shall be properly lit during evening and nighttime hours. Lighting
fixtures used to illuminate the art piece sculptures must always be in good
condition and working order.
c)All artwork shall be cleaned on the property where the art piece sculpture is
permanently installed, unless agreed upon by the City. The City prohibits
removing art pieces sculptures from the site for any reason without explicit
authorization.
4. Payment of Maintenance
The property owner is required to establish a source of funding to maintain the
artwork on a routine and long-term basis, for its lifetime. The maintenance and
long-term care of the artwork is not the responsibility of the City.
IV. Property Owner Responsibilities
A. Art Insurance
12
Public art sculpture must remain permanently installed at the site as a condition of
project approval, as stated in the Covenants, Conditions, and Requirements
(CC&R’s), if applicable, and if not, in a recordable agreement, binding on
successors to title to the subject property, in form reasonably approved by the City
Attorney. In the event the artwork is damaged, destroyed, or stolen, the property
owner is legally responsible for repairing or replacing the artwork, with an art piece
or art pieces of equivalent value. The City strongly suggests owners insure their art
pieces.
B. Damaged Artwork
The property owner is responsible for repairing the artwork in the event of damage
and/or vandalism. Artwork damaged or vandalized shall be repaired as closely as
possible to the original approved artwork. If repair is needed, the original artist
must be given first refusal on repair(s) for a reasonable fee. If the original artist is
not available or is unwilling to perform the required repair(s) for a reasonable fee,
the owner shall make arrangements for repair(s) with a reputable art conservator.
The owner shall be responsible for notifying City staff the Art in Public Places
Advisory Committee and of the steps that will be taken to repair the work.
C. Replacement of Artwork
In the event the art piece is destroyed, damaged beyond repair, stolen or otherwise
removed from the site, the owner shall replace the art piece with a new work of art
(see next section, Removal of Artworks). The owner shall submit an application to
the City for review by the Director of Community Development Art in Public
Places Advisory Committee. The new artwork shall comply with all of the
requirements of the Art in Public Places Program in effect at the time the work is
replaced. The allocation for the new (replacement) art piece shall be calculated at
1% of the current total building valuation, as computed by the most current
Building Valuation Data set forth by the International Conference of Building
Officials (ICBO). As ICBO figures typically increase each year, property owners
are advised to take steps to replace damaged or destroyed art pieces sculptures
immediately. The replacement process shall be completed within a six (6) to
twelve (12) month time frame unless otherwise agreed to by the City.
D. Removal of Artwork
The City will not authorize removing public art, except under the most extenuating
circumstances. The indefinite removal of an artwork from permanent display,
whether or not it is disposed, affects the artist’s rights, and has serious legal
consequences for the property owner. Owners wishing to remove, modify, destroy,
or in any way alter their artwork must first seek legal consent from the original
artist and must provide a compelling reason for taking such action with the
artwork. All such requests must also be submitted to the Director of Community
Development Art in Public Places Advisory Committee for his/her their
consideration and approval. Factors to be considered by the Director Committee
shall include but not be limited to: reasons and costs of relocation, risk of damage
to the artwork, maintenance costs, and artist and owner rights and responsibilities.
13
E.Donation of Artwork to the City
Individuals, businesses, and/or groups wishing to donate artwork of any style, size,
or medium, with an estimated value over $2,000 shall provide a written request of
their offer. The Director of Community Development Commission shall use
established review criteria to evaluate the proposed work of art, artist, and proposed
location. Other considerations may include costs to the City (e.g. transportation,
installation, insurance, routine maintenance, and long-term conservation) and the
impact of the donation on existing art programs (e.g. number of existing donations
by the same artist). In addition to the established review criteria, donations of
memorials shall be reviewed based on the following: Does the memorial represent
broad community values? Does the significance of the person(s) or event being
memorialized have a timeless quality and make a statement to future generations?
Is there some specific geographic justification for the memorial being placed at the
proposed location?
If the donation is an outdoor artwork or is a proposal to create an outdoor artwork
for display on public property (e.g. Downey Civic & Cultural Center, Downey
Communityand Senior Center, City parks), the proposal shall first be referred to
the Community Development Department Art in Public Places Advisory
Committee, then to the City Council. Formal gifts presented to the City Council by
government’s contacts and sister cities shall only be reviewed according to this
procedure at the sole discretion of City Council.
14
APPENDIX A
Visual Art Laws for Artists and Owners
Several federal and state laws protect the rights of visual artists and art owners. The following is
only a partial listing. For more details, the City recommends that the artist and/or owner consult
a lawyer specializing in visual art and copyright laws.
I. 1980 California Art Preservation Act
California Civil Code Section 987 et seq. applies to artwork sold or created after 1980.
The Civil Code states that no person except the artist can deface, mutilate, alter or destroy a
piece of art. “…The physical alteration, or destruction of fine art, which is an expression
of the artist’s personality, is detrimental to the artist’s reputation and therefore have an
interest in protecting their works of fine art against any alteration or destruction.”
II. Visual Artists Rights Act of 1990
The Visual Artists Rights Act of 1990 (VARA) 17 USC Sections 101, 106A, 107, 113,
301, 411, 412, 501, 506, amends copyright law providing new rights for visual artists for
artworks sold or created after June 1, 1991. The rights contained in the law extend for the
life of the artist. The legislation creates a uniform, national standard for protecting visual
artists’ rights. It provides a mechanism for the visual artist to claim authorship of a work
he or she created, as well as to prevent the use of his or her name on a work he or she did
not create. The bill makes clear that this right includes the right to publish a work
anonymously or under a pseudonym. The artist also has a right to demand that his or her
name be removed from a work in the event of a distortion, mutilation, or other
modification of the work to which the artist has not consented, and is prejudicial to his or
her honor or reputation. In addition, the Act provides for a legal course of action to allow
an artist under specified circumstances to prevent the destruction, distortion, mutilation, or
modification of a work of visual art. In any such action, the artist has the burden of
establishing that the alteration of the work is harmful to his or her professional honor or
reputation.
A. Works Covered
The Visual Artists Rights Act of 1990 is limited only to “work of visual art,” defined as
a painting, drawing, print, or sculpture existing in a single copy or in a limited edition
of 200 copies or less. The copies of a limited edition must be signed and consecutively
numbered by the artist. In the case of multiple casts, carved or fabricated sculptures,
the work must be a limited edition of 200 or less, be consecutively numbered by the
artist, and bear the signature or “other identifying mark” of the artist.
The destruction of a work of recognized stature by an intentional act or an act of gross
negligence is a violation of the artist’s right and would subject the person destroying
the work to suit for damages by the artist.
This law states several exceptions to the artist’s rights. First, a modification of a work
that is a result of the passage of time or the inherent nature of the materials is not
actionable. Second, the modification of a work that is the result of conservation or the
public presentation of the work including lighting and placement is not actionable
unless the modification of the work is caused by gross negligence.
APPENDIX A
15
Page 2
If a work was created prior to the effective date, the rights under the statute apply if
title to the work has not been transferred prior to the effective date.
B. Transfer and Waiver
Only the artist has the rights created by VARA 1990. No rights may be transferred
under this Act. Rights may be waived if the artist agrees to waive his/her rights in
writing. In the case of a joint work, a waiver made by one artist waives the rights for
all artists of the joint work. The transfer of ownership of a copy of a work of visual art
does not constitute a waiver of rights.
C. State Law Preemption
The Visual Artists Rights Act attempts to create a uniform national standard with
respect to the rights of integrity and attribution. Therefore, the Act preempts or
extinguishes all legal or equitable rights that are equivalent to the rights conferred by
the Visual Artists Rights Act. This general rule of preemption is subject to three
important exceptions. First, the Act does not preempt rights, which are not equivalent
to the rights contained in the bill; for example, California’s resale royalty statute would
not be preempted by this Act. Second, the statutes, which extend rights beyond the life
of the artist, are not preempted by this Act. Finally, this Act does not preempt a cause
of action arising from undertakings commenced before the effective date of the statute.
D. Remedy
Like copyright infringement, an artist who seeks to assert his or her rights under the
statute may do so by filing a lawsuit in federal court. An artist may seek an injunction
to claim authorship or disclaim false authorship of a work or to prevent distortion,
mutilation or destruction of a work as outlined above. If the distortion, mutilation or
destruction has already occurred, the artist can sue for damages. The artist can either
establish the actual damage to his or her honor or reputation or claim the statutory
damages of up to $10,000. If the artist prevails in court, the judge may also order the
defendant to pay the artist’s attorney fees.
E. Removal of Visual Art from Buildings
1.
If a work of visual art has been incorporated or made part of a building in such a
manner that removal of the work would cause the destruction, distortion, mutilation
or other modification of that work, the rights shall not apply if the artist consented
to the installation of the work in the building before the effective date of the law.
In addition, these rights shall not apply if the artist and the building owner have
executed a written statement that installation of work may subject the work to
destruction, distortion, mutilation, or other modification, by reason of its removal.
16
APPENDIX A
Page 3
2.
If the owner of building wishes to remove a work from a building and the work can
be removed without its destruction, distortion, etc., the artist’s rights will apply but
there are exceptions. The right will not apply if the owner has notified the artist, in
writing, that he or she intends to remove the work, and the artist has failed to
respond to the owner’s notice that the artist must either remove the work or pay for
its removal within ninety days after receiving the owner’s written notice. The
written notice must be sent by registered mail to the artist at his or her most recent
address. If the work is removed at the artist’s expense, title to that copy of the
work belongs to the artist.
3.
In order to give the artist the practical opportunity to remove works which have
been incorporated into buildings, the Register of Copyrights has established a
system or records whereby the artist of work that has been incorporated in or made
part of a building can record his or her identity and current address. This system
provides the artist with the opportunity to update his/her personal information. In
addition, the system provides the owners of buildings with the opportunity to
record evidence of their efforts to comply with the law.
F. Law Codes
A copy of the law can be found: Federal Code; Visual Rights Act of 1990, 17 USC
Sections 101, 106A, 107, 113, 301, 411, 412, 501, 506. Materials written above were
excerpted from “Congress Passes Visual Artists Rights Act,” National Artists Equity,
autumn 1990.
17
APPENDIX B
Downey’s Art in Public Places Advisory Committee
I.Responsibilities
The Art in Public Places Advisory Committee is the formal body responsible for reviewing
all public art applications in order to ensure compliance with the Art in Public Places
program criteria, as established by City Ordinance and making recommendation for
approval by the City Council. Responsibilities include: attending all public art review
meetings, exercising judgment that is fair and consistent with policy guidelines, advising
the City Council on all public art related issues, and upholding the reputation and integrity
of the Art in Public Places Program and the City of Downey. The Committee meets on an
as needed basis.
II.General Criteria
A.Downey resident and voter.
B.Enthusiastic commitment to the betterment of the community.
C.Oriented toward service to people and sensitive to their needs.
D.Must understand the relationship with the City Council and the Committee’s role as an
advisory body to the Council.
E.Able to demonstrate education, experience and commitment in the visual arts,
including sculpture.
18
APPENDIX B C
SAMPLE
City of Downey Art in Public Places
Budget Breakdown
Artist Design $____________________
Artwork Material $____________________
Fabrication $____________________
Art Consultant – not to exceed 20% of allocation
(if applicable) $____________________
Transportation of Artwork $____________________
Concrete or Base $____________________
Structural Engineering $____________________
Lighting/Electrical (for artwork only) $____________________
Water Related Expenses (if applicable) $____________________
Art Related Expenses (if applicable) $____________________
Other Expenses (please list) $____________________
_________________________________________ ____________________
_________________________________________ ____________________
_________________________________________ ____________________
_________________________________________ ____________________
TOTAL
$____________________
The total should equal or exceed the minimum 1% art allocation for the project.
19
APPENDIX C D
SAMPLE
CONTRACT OF SALE OF A WORK OF ART
AGREEMENT made as of the _____ day of ______________ in the year ________ between
_______________________________ (herein referred to as the Collector) located in
_______________________________ and______________________________ (herein referred
to as the Artist) located in ______________________________, with respect to the sale of an art
piece sculpture (herein referred to as the Work).
WHEREAS the Artist has created the Work and has full right, title, and interest therein; and
WHEREAS, the Artist wishes to sell the Work; and
WHEREAS, the Collector has viewed the Work and wishes to purchase it.
NOW, THEREFORE, in consideration of the foregoing premises and the mutual obligations,
covenants, and conditions hereinafter set forth, and other valuable considerations, the parties
hereto agree as follows:
1. DESCRIPTION OF THE ARTWORK:
[Include title, style, medium, dimensions, weight, year of creation, and any other
description.]
2. SALE AND PAYMENT
The Artist hereby agrees to sell the Work and Collector agrees to purchase the Work for a
purchase price of _______________. Payment shall be made in ______ installments:
a. A deposit of $__________(_____%) upon the signing of this Agreement.
b. A payment of $__________(_____%) upon ______________________.
c. A final payment of $__________(_____%) upon delivery of the completed Work.
3. DELIVERIES AND INSTALLATION
[Specify location of delivery and who is responsible for shipping and installation charges.]
4. RISK OF LOSS AND INSURANCE
The risk of loss or damage to the Work and the provision of any insurance to cover such
loss or damage shall be the responsibility of the Collector upon installation.
5. MAINTENANCE
The Collector agrees to abide by the Maintenance Instructions of the Artist listed below, as
a condition of sale of the Work.
[Artist instructions, including methods, materials, frequency of routine cleaning, and
suggested practices for occasional preservation treatments or conservation.]
6. NON-DESTRUCTION
Owner will not undertake or permit any intentional destruction, damage, or modification to
the Artwork.
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APPENDIX C D
Page 2
7. RESTORATION
Artist agrees to be responsible for repairs, not arising from intentional damage or neglect,
for up to ____ year(s) (typically one year), without charge to the Owner. Owner agrees to
notify Artist before any restoration is undertaken and the Artist shall have first opportunity
to restore the Work, for a reasonable fee, if beyond the aforementioned time limit.
8. FUNDING SOURCE
The Owner agrees to establish a funding source for necessary on-going maintenance. A
Homeowner’s Association has been designated (if applicable) to fund and care for the art
piece sculpture on the owner’s behalf, as specified by the Artist in this Agreement.
9. COPYRIGHT AND REPRODUCTION
The Artist reserves all reproduction rights, including the right to claim statutory copyright,
in the Work. All approved reproduction shall bear copyright notice with the Artist’s name
and date.
10. MISCELLANEOUS
The Agreement shall be binding upon the parties hereto, their heirs, successors, assigns and
personal representatives. The Agreement constitutes the entire understanding between the
parties; only an instrument in writing assigned by all parties can modify its terms. A
waiver of any breech of any of the provisions of this Agreement shall not be construed as a
continuing waiver of other breeches of the same or other provisions hereof. The laws of
the State of California shall govern this Agreement.
IN WITNESS WHEREOF the parties hereto have signed this Agreement as the date first set
forth above.
ARTIST________________________________________ DATE___________________
COLLECTOR____________________________________ DATE___________________
ART CONSULTANT______________________________ DATE___________________
________________________________________________ DATE___________________
HOMEOWNER’S ASSOCIATON (If applicable)
the City will contact this person for future needs
ArtSculpture Maintenance Contact ()
Person Name, Title: _________________________________________________
Company: _________________________________________________
Mailing Address: _________________________________________________
Phone/FAX: _________________________________________________
E-mail: _________________________________________________
21
APPENDIX D E
*Note: This form for use by the Public Art Committee at the Review Meeting.
City Staff
City of Downey Art in Public Places
Advisory Committee Review Checklist
PROJECT:
Artist: Artwork Title:
Date Reviewed:
Committee Members:
City Staff
MEETS DOES NOT
CRITERIA CRITERIA MEETCOMMENTS
CRITERIA
I. Art Piece
Scale: life-size 5’ or larger (excluding base)
Permanent and weather resistant media, armature and
framework of rust free materials, foundry materials
and metals breakdown by percentage.
Artistic Content (for discussion only):
Expressive properties (mood, feeling, message,
symbolism).
Formal properties (balance, emphasis, color,
repetition/rhythm, unity, form/shape, texture).
Proposal shows how work will engage public interest
(provokes discussion, a closer look, intrigues,
entertains, etc.). Is public input/survey requested?
Liability and Safety conditions
Original work of art (Editions limited to 5)
II. Artist
Education/training in the visual arts or and sculpture
Exhibit records and collections
Experience with large scale outdoor artwork
Verification of purchase price of past works
III. Site/Installation
Clearly visible to motorists and pedestrians from
major public street.
No more than 50 feet from public street(s)
Base well integrated to landscape
Lighting instruments and lighting plan
No signs, utility boxes, or other conditions limiting
public view.
SculpturePlaque
Installation design approved by structural engineer.
Landscape plan will not pose future visibility or
conservation problems.
Sprinkler plan assures no water spraying on art.
V. Artist/Developer Contract of Sale
VI. Maintenance Instructions/Maintenance Fund
22
APPENDIX E F
*Note: This form for applicant use only. Please keep for your records.
City of Downey Art in Public Places
Application Checklist
Date:
Applicant:
Project:
For description of each item see Appendix FG, Application Instructions.
Application – Form A
1.
2. Site plan indicating sculpture location.
public art
3. Photographs or computer enhanced image of site/ sculpture
public art
location.
4. Landscape plan
5. Lighting plan (specific instruments)
6. Artist statement
7. Maquette(s) or drawings of proposed work
8. Sample materials or finishes of proposed work
9. Installation design (to be approved by structural engineer)
10. Artist’s current resume
1.11. Artist’s history of public art commissions – Form B
12. Slides and photographs of artist’s previous works
13.Edition number and locations of other pieces in the series (if applicable).
14.Budget breakdown
15.Maintenance instructions
16.Draft contract of sale
23
APPENDIX F G
*Note: This form for applicant use only. Please keep for your records.
City of Downey Art in Public Places
Application Instructions/Submittal Requirements
Please submit the following application materials to the City of Downey, Community Development
Services Department. City of Downey staff must receive all application materials prior to scheduling a
an Art in Public Places Advisory Committee review meeting. The review meeting will be set within
thirty (30) days once all application materials are complete.
1.Application – Form A
2.Site plan of the development, including the following:
a. Proposed placement of the public art sculpture.
b. Distance in measurement between the artwork sculpture and public streets.
c. Placement of any existing and/or future monumental or temporary signs, utility boxes, nearby
street signals, or structures which may impede public view of the artwork sculpture from the
public street.
3.Photographs or computer enhanced design of the site, which clearly shows the public art sculpture in
relation to the site/building, as the public at ground level would see it. An image of the public art
sculpture may be superimposed on a photograph of the site. Please make to scale.
4.Landscape plan, including the location(s) and type(s) of trees and shrubbery, in relation to the
artwork sculpture.
5.Lighting plan for public art sculpture, specifying location, number, and type of fixtures to be used.
6.Artist statement, describing artist’s style, artistic concept and content, relationship between proposed
artwork and the project. The developer should explain to the Committee why the proposed work
was chosen and how it will enhance the development, complement the existing art program, and
engage public viewing and comments.
7.Drawings, or maquette(s), of the proposed artwork. The maquette may be brought to the review
Committee meeting.
8.Sample materials or finishes of the proposed artwork.
9.Installation design of the proposed artwork, stamped by a licensed Structural Engineer, certifying the
art as structurally sound, safe, and durable.
10.Current and complete curriculum vitae of the artist (including art training and education, group and
solos exhibitions, private and public collections.
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APPENDIX F G
Page 2
11.Artist’s history of public art commissions. The value of the proposed piece is verified by previous
commissions of similar style work (by medium, style, and size). Records should indicate
commissions progressing toward or exceeding the proposed commission amount. City staff will
verify the artist’s records of past sales of similar artwork sculpture(s). If the value of the proposed
work cannot be verified, due to inconsistencies in the record, a certified art appraiser at the
developer’s expense may review the proposed artwork (see page 3, Allowable Expenses from Art
Allocation).
12.Slides, photographs, or other collateral (reviews, critiques, articles) of past works, corresponding to
the listings in items 10 and 11.
13.Edition number of the proposed work (if part of a limited edition series) and locations of all other
pieces in the series.
14.Budget breakdown including artist fees for design concept, materials, fabrication, transportation,
installation, and art consultant fees (if applicable). The total budget should equal or exceed the
minimum 1% art allocation.
15.The artist’s maintenance instructions for routine and long-term preservation shall be included in the
contract of sale (see pages 12, Maintenance Instructions). The instructions may be amended as
needed, pending the results of the Art in Public Places Committee review meeting.
16.Draft contract of sale (see Appendix C D, Sample Contract of Sale). The draft contract may be
amended as needed, pending results of the Art in Public Places Committee review meeting. After
approval by the City Council Art in Public Places Committee, a final contract must be signed by the
property owner, artist, and art consultant (if applicable), and submitted to the City of Downey.
25
APPENDIX G H
City of Downey Art in Public Places Application
FORM A
DATE SUBMITTED:
Minimum Art Expenditure Allocation:
Project Name:
Development Location/Address:
Location of Art Piece (be specific):
Developer: Contact Person:
Address:
Phone: Fax:
Property Owner:
Address:
Phone: Fax:
Artist:
Address:
Phone: Fax:
Title of Art Piece:
Selling Price: (includes consultant fees)
Description of Art Piece:
Dimensions:
Media:
Percentage breakdown of metal alloys (for bronzes):
Armature Material:
Paint type, brand, color (if applicable):
Description of Art Foundation or Base:
Landscape Description:
Lighting Description:
Sprinkler Description at Sculpture Base:
Distance between Public Street and Art Piece:
Installation Date:
Dedication/Unveiling Plans:
26
FORM B
Artist’s History of Public Art Commissions
Please list in order of most recent. Use additional sheets if needed.
Artist Name___________________________________________Project__________________________
No. Title Medium Dimensions Purchaser LocationDate of Commission
and Phone Commission Amount
Number
Proposed To be
work for determined
1.
Downey:
2.
3.
4.
5.
6.
7.
8.
27