Call for Artists 2020 Public Art Projects

Total Page:16

File Type:pdf, Size:1020Kb

Call for Artists 2020 Public Art Projects City of San Luis Obispo, Parks and Recreation, 1341 Nipomo Street, San Luis Obispo, CA, 93401‐3934, 805.781.7300, slocity.org CALL FOR ARTISTS 2020 PUBLIC ART PROJECTS PROJECT OVERVIEWS The City of San Luis Obispo invites local artists and community members residing in San Luis Obispo County to apply for the following 2020 Public Art Projects: 1) Neighborhood Greenway Public Art, and 2) Pismo Pedestrian Mural. The 2020 Public Art projects will include the installation of painted murals within bulbouts at select intersections, painting the tops of the median diverters on Morro Street and a mural on Pismo Street k-rail. These artwork installations will be the first of its kind in the City of San Luis Obispo. The purpose of the 2020 Public Art is to create unique and local branding along neighborhood corridors within San Luis Obispo. The branding should enhance and reflect the character of each neighborhood to be enjoyed by residents as well as those who walk and bike along the corridor. These unique street paintings will provide a visual cue to drivers that these corridors prioritize bicycle and pedestrian travel. 2020 Public Art is a streetscape showcase for talented local artists and community members to transform pavement into new public artworks, adding to the vibrancy of our cityscape while creating a sense of place and identity. The 2020 Public Art is a great opportunity for “SLOcals” to add their personal touches to the city’s public art collection. Neighborhood Greenway Public Art The City is soliciting proposals to paint bulbouts and the tops of existing median diverters along three corridors: the King-Nipomo Neighborhood Greenway, Islay Neighborhood Greenway and the Bill Roalman (Morro Street) Neighborhood Greenway. Refer to map for locations (See Exhibit C) Dimensions of the bulbouts vary slightly in size depending on location, but generally measure 33 feet in length by 7 feet in width (apx. 360 square feet per corner). The median diverters along Morro Street are 265 square feet per intersection. See Exhibit D for typical dimensions and layout. Areas planned for street art will be swept and cleaned by the City prior to the first day of painting. Selected artists must be willing to adjust designs to accommodate the bulbout. Each greenway should have one design or theme that be replicated at each location. It is recommended that artists should perform a site visit if they are interested in a particular corridor; however, assignment of the corridors will be at the discretion of the City and are not guaranteed. Pismo Pedestrian Mural Additionally, the City is soliciting proposals to paint a mural on new k-rail that will be installed on the south side of Pismo Street between Chorro and Morro to provide pedestrian access. The pedestrian access is lined with 200-foot k-rail on both sides of the path. Refer to map for locations (See Exhibit C) The surface area is approximately 2240 square feet between the two k-rails. Artists are expected to paint all surfaces of the northern k-rail and all surfaces but the south facing of the southern k-rail. See Exhibit D for typical dimensions and layout. Key Items Artists may submit one design proposal for either of the 2020 Public Art Projects. Painting is scheduled to occur in November/December (*Final Dates TBD). All selected artists must be available to paint during this time. The lifespan of the painted bulbouts and murals is estimated to be 5 years. Within that timeframe as maintenance is needed, artists who installed the original artwork will be offered the first opportunity to refresh their artwork, including compensation for any additional work. ARTIST ELIGIBILITY The 2020 Public Art competition is open to individual artists, a team of artists or community members or groups with a designated lead artist who have the vision and skills required to complete the project to the highest standards of innovation and technical expertise. Qualifying applicants must reside in San Luis Obispo County. Artists should carefully read the descriptions of the project and decide if the project is suitable to their interests, capabilities and experience. As a way to engage the residents living withing these neighborhoods, preference for the Neighborhood Greenway Public Art will be considered for applicants who live along or nearby the identified corridors. Neighborhood artists must indicate that they are a resident on the application (Exhibit A) in addition to providing their current address. Cal Poly, Cuesta College and San Luis Obispo Coastal Unified School District students are encouraged to apply as an effort to support and provide a forum for displaying the talent and vitality of emerging student artists. PROJECT BUDGET Artists’ stipend for: King‐Nipomo Neighborhood Greenway Corridor is $5,000 o 10 bulbout “corners” Morro Neighborhood Greenway Corridor is $6,000 o 10 bulbout “corners” o 2 intersection diverters Islay Neighborhood Greenway Corridor is $2,000 o 4 bulbout “corners” Pismo Pedestrian Mural $3,000 o 2 200-foot segments of k-rail In addition, the City will pay for and collaborate with the artist (or art team) to purchase the necessary materials to cover the cost of installing the artwork up to the following amounts per location: King-Nipomo Neighborhood Greenway Corridor is $5,500 Morro Neighborhood Greenway Corridor is $6,000 Islay Neighborhood Greenway Corridor is $2,000 Pismo Pedestrian Mural is $3,000 The final selected artists (or art team) will also receive a $100 honorarium for their conceptual renderings and final designs; those works will become property of the City of San Luis Obispo. MEDIA AND MATERIALS GUIDELINES Artwork must be original and may not contain advertising, religious art, sexual or illegal drug content, negative imagery, convey political partisanship or contain any representations of traffic lights, signs or signals. Note that for street art, designs with overly complex details may be difficult to maintain over time. Thermoplastic sheets of original “digitally enhanced works” are permitted (however this option could be costly and the City will only cover costs up to the amounts listed in the Project Budget section of this document). Acrylic traffic paint is the recommended material, however, below is a list of eligible and common products used for asphalt art projects: o Latex or acrylic household paint o Acrylic traffic marking paint (Roadzilla® MMA, Rustoleum®) o Epoxy-based pavement coating o Thermoplastic (TrafficPatterns®, DuraTherm®, DecoMark®) Dimensions may vary: o selected artists must be willing to adjust designs to the street art area. SELECTION PROCESS AND CRITERIA Applications submitted in response to this Call-For-Artists will be reviewed by City staff and a selection committee (Art Jury) consisting of: San Luis Obispo County Arts Council member(s), local artist(s), interested community members and neighbors to the proposed public art. The Art Jury will review all complete, eligible applications received by the deadline. If the number of qualifying applications does not meet the number needed; City staff and may decide to reopen the selection process. Criteria used to select artists will be: Evaluation of artistic excellence and originality Appropriateness of scale, form, content and design Relationship to the social, cultural and/or historical identity Artist (or lead artist of a team) must reside in San Luis Obispo County The City reserves the right to refuse all entries. Selected artwork must meet the City of San Luis Obispo Public Art Guidelines. TENTATIVE SCHEDULE Call‐For‐Artists Release/Advertise September 10, 2020 Application Deadline October 9, 2020, 5:00pm PST Art Jury Review & Selection October 16, 2020* Artist selection announced (week of) October 26, 2020* Finalists Orientation (week of) November 9, 2020* (MANDATORY for all selected artists) Installation of Artwork November/December 2020* *The proposed schedule may be subject to change APPLICATION PROCESS TO APPLY: The City of San Luis Obispo encourages the use of recycled and tree-free products. To that end, we ask that submissions be in as paperless a manner as possible, therefore, submissions MUST be submitted in one of the following ways: 1. Electronically via email to [email protected]. The subject line for submissions should read: “Firstname_Lastname_PROJECT NAME” 2. Submitted on a USB FLASH DRIVE – mailed or to: City of SLO Parks and Recreation “2020 Public Art Project” ATTN: Lindsey Stephenson 1341 Nipomo Street San Luis Obispo, CA 93401 The outside of the USB Flash Drive must be labeled with the artist’s name. Do not provide any materials not specifically requested (i.e. photographs, transparencies, DVDs/videos, articles). If sent, they will not be reviewed by the selection panel. See below for labeling of materials. Artists or artist teams wishing to be considered must submit the following materials: 1. Application (Exhibit A) Completed application listing artist name, contact information of artist/artist team and all information requested, and selection of the 2020 Public Art Project. (Exhibit A) Submitted in .pdf format; titled Firstname_Lastname_app_project name 2. Submittal of References (Exhibit B) Each applicant shall submit the names of two references on the form provided in the application package. (Exhibit B) Do not send letters of recommendation. Please ensure information for references is current; inaccurate information may delay the selection process. Teams must submit separate references for each member of the team. Submitted in .doc or .pdf format; titled Firstname_Lastname_ref 3. Digital Images of Prior Work Up to five (5) images of past work that represent relevant artworks. 5 image maximum is per application, not per team member. Images can be submitted in one of the following formats: a. Provide a URL for a website that contains the number and type of images outlined above. (URL should be noted on application page) b. Provide a PowerPoint File – one image per slide; in the notes section of each slide include: artist’s name, title and/or location or work, medium, date work completed and dimensions.
Recommended publications
  • Public Art Implementation Plan
    City of Alexandria Office of the Arts & the Alexandria Commission for the Arts An Implementation Plan for Alexandria’s Public Art Policy Submitted by Todd W. Bressi / Urban Design • Place Planning • Public Art Meridith C. McKinley / Via Partnership Elisabeth Lardner / Lardner/Klein Landscape Architecture Table of Contents 1.0 Introduction 2.0 Vision, Mission, Goals 3.0 Creative Directions Time and Place Neighborhood Identity Urban and Natural Systems 4.0 Project Development CIP-related projects Public Art in Planning and Development Special Initiatives 5.0 Implementation: Policies and Plans Public Art Policy Public Art Implementation Plan Annual Workplan Public Art Project Plans Conservation Plan 6.0 Implementation: Processes How the City Commissions Public Art Artist Identification and Selection Processes Public Art in Private Development Public Art in Planning Processes Donations and Memorial Artworks Community Engagement Evaluation 7.0 Roles and Responsibilities Office of the Arts Commission for the Arts Public Art Workplan Task Force Public Art Project Task Force Art in Private Development Task Force City Council 8.0 Administration Staffing Funding Recruiting and Appointing Task Force Members Conservation and Inventory An Implementation Plan for Alexandria’s Public Art Policy 2 Appendices A1 Summary Chart of Public Art Planning and Project Development Process A2 Summary Chart of Public Art in Private Development Process A3 Public Art Policy A4 Survey Findings and Analysis An Implementation Plan for Alexandria’s Public Art Policy 3 1.0 Introduction The City of Alexandria’s Public Art Policy, approved by the City Council in October 2012, was a milestone for public art in Alexandria. That policy, for the first time, established a framework for both the City and private developers to fund new public art projects.
    [Show full text]
  • Public Art Toolkit
    Aylesbury Vale Public Art Toolkit Who is this toolkit for? This toolkit can be used by anyone involved with making public art projects happen, however it has been developed to be specifically relevant to people commissioning art within a local authority context. What is public art? Public art has long been a feature of the public spaces across our towns and cities, with sculptures, paintings and murals often recalling historical characters or commemorating important events. Today, public art and artists are increasingly being placed at the centre of regeneration schemes as developers and local authorities recognise the benefits of integrating artworks into such programmes. Public art can include a variety of artistic approaches whereby artists or craftspeople work within the public realm in urban, rural or natural environments. Good public art seeks to integrate the creative skills of artists into the processes that shape the environments we live in. I see what you mean (2008), Lawrence Argent, University of Denver, USA For the Gentle Wind Doth Move Silently, Invisibly, (2006), Brian Tolle, Clevland, USA Spiral, Rick Kirby, (2004), South Woodham Ferres, Essex Animikii - Flies the Thunder, Anne Allardyce, (1992), Thunder Bay, Canada Types of Public Art approaches When thinking about future public art projects it is important to consider the full range of artistic approaches that could be used in a particular site, public art can be permanent or temporary; the following categories summarise popular approaches to public art. Sculpture Sculptural works are not solely about creating a precious piece of art but creating a piece which extends the sculpture into the wider landscape linking it with the environment and focussing attention on what is already there.
    [Show full text]
  • GREEN PAPER Page 1
    AMERICANS FOR THE ARTS PUBLIC ART NETWORK COUNCIL: GREEN PAPER page 1 Why Public Art Matters Cities gain value through public art – cultural, social, and economic value. Public art is a distinguishing part of our public history and our evolving culture. It reflects and reveals our society, adds meaning to our cities and uniqueness to our communities. Public art humanizes the built environment and invigorates public spaces. It provides an intersection between past, present and future, between disciplines, and between ideas. Public art is freely accessible. Cultural Value and Community Identity American cities and towns aspire to be places where people want to live and want to visit. Having a particular community identity, especially in terms of what our towns look like, is becoming even more important in a world where everyplace tends to looks like everyplace else. Places with strong public art expressions break the trend of blandness and sameness, and give communities a stronger sense of place and identity. When we think about memorable places, we think about their icons – consider the St. Louis Arch, the totem poles of Vancouver, the heads at Easter Island. All of these were the work of creative people who captured the spirit and atmosphere of their cultural milieu. Absent public art, we would be absent our human identities. The Artist as Contributor to Cultural Value Public art brings artists and their creative vision into the civic decision making process. In addition the aesthetic benefits of having works of art in public places, artists can make valuable contributions when they are included in the mix of planners, engineers, designers, elected officials, and community stakeholders who are involved in planning public spaces and amenities.
    [Show full text]
  • What Is Public Art?
    POLICIES & PROCEDURES MANUAL Updated: February 2015 Contents INTRODUCTION .................................................................................................................................. 4 What is Public Art? ................................................................................................................................................................................. 4 CITY-FUNDED PUBLIC ART ............................................................................................................... 5 Summary of the Process .......................................................................................................................................................................... 5 Funding Policies ....................................................................................................................................................................................... 6 Funding Procedures ................................................................................................................................................................................. 6 Public Art Manager’s Role ..................................................................................................................................................................... 7 Generating Ideas for Public Art in Capital Projects............................................................................................................................. 8 Methods of Selecting Public Art ..........................................................................................................................................................
    [Show full text]
  • 10 Great Reasons to Support Public Art
    Article 26 10 Great Reasons to Support Public Art 1. It’s public! Everyone has access to public art. It’s directly in the public sphere and not confined to galleries or museums. 2. It enriches our physical environments, bringing streetscapes, plazas, town buildings and schools to life. 3. It’s a great tool for civic engagement, building social capital and encouraging civil discourse. 4. It provides professional opportunities for artists and cultivates an environment in which the creative class thrives. 5. It boosts local economies. Businesses supply materials and labor; restaurants, hotels and transportation companies benefit from a site that attracts visitors. 6. It’s an investment in place making—measured by livability and quality of life—that also engenders community pride. 7. It connects citizens to their neighbors and their shared history through documentation and celebration, and makes cultural heritage a tangible community asset. 8. It enlivens places where people work, which can improve employee morale, productivity and respect. 9. It creates supportive learning environments. It opens eyes—and minds! It attracts students to environments conducive to both learning and fun. 10. It raises public awareness about important community issues, such as environmental stewardship and respect for diversity. --From the Amherst Public Art Commission and the National Assembly of State Arts Agencies. The Amherst Public Art Commission Why Public Art for Amherst? Public art adds enormous value to the cultural, aesthetic and economic vitality of a community. It is now a well-accepted principle of urban design that public art contributes to a community’s identity, fosters community pride and a sense of belonging, and enhances the quality of life for its residents and visitors.
    [Show full text]
  • Public Art Policy
    CITY OF GILROY PUBLIC ART POLICY VISION STATEMENT: The City of Gilroy’s Public Art Committee promotes a bold vision which exemplifies the City’s creativity and energy shaping the visual environment of our community. PURPOSE: The City of Gilroy (City) recognizes the importance of Public Art to the cultural, educational and economic well-being of its diverse population. These guidelines are for the purpose of establishing policies and procedures for implementing Public Art as recommended in the Arts & Culture Commission’s Cultural Plan, developed in 1997, and 1999 General Plan Update. GOALS: To promote the City’s interest in its aesthetic environment. To establish the Public Art Committee as an advisory committee to the Arts and Culture Commission to be responsible for developing the Public Art Plan; ensuring the quality of artworks created under the plan; and, developing budgets, funding strategies and scope of individual Public Art projects. To create an enhanced visual environment within the City and provide City residents with the opportunity to live with Public Art. To help build pride in our City and among its citizens. To promote tourism and economic vitality of the City by enhancing the City’s public facilities and surroundings through the incorporation of Public Art. To encourage creative collaboration among community members. To encourage the creation of quality Public Art throughout the City by promoting locally, regionally, nationally and internationally recognized artists. To educate, preserve, reflect and celebrate the rich, unique history and cultural diversity of the City and its citizens. To promote and encourage art viewed by the public in all of the City’s communities and neighborhoods and to support the residents’ involvement in determining the character of their City.
    [Show full text]
  • Resource What Is Public Art
    WHAT IS– – Public Art – – –––– – – – – – – – – –– – ? www.imma.ie T. 00 353 1 612 9900 F. 00 353 1 612 9999 E. [email protected] Royal Hospital, Military Rd, Kilmainham, Dublin 8 Ireland Irish Museum of Modern Art Education and Community Programmes, Irish Museum of Modern Art, IMMA THE WHAT IS– – IMMA Talks Series – – – – – –– – – – – – – – – – – – – – – – – – – – – ? There is a growing interest in Contemporary Art, yet the ideas and theoretical frameworks which inform its practice can be complex and difficult to access. By focusing on a number of key headings, such as conceptual Art, Installation Art and Performance Art, this series of talks is intended to provide a broad overview of some of the central themes and directions in Modern and Contemporary Art. This series represents a response to a number of challenges. Firstly, the inherent problems and contradictions in attempting to outline or summarise 03 the wide-ranging, constantly changing and contested spheres of both art theory and practice, and secondly, the use of summary terms to describe a range of practices, much of which emerged in opposition to such totalising tendencies. Taking these challenges into account, this talks series offers a range of perspectives, drawing on expertise and experience from lecturers, artists, curators and critical writers, and is neither definitive nor exhaustive. The intention is to provide background and contextual information about the art and artists featured in IMMA’s exhibitions and collections in particular, and about Contemporary Art in general, to promote information sharing, and to encourage critical thinking, debate and discussion about art and artists. The talks series addresses aspects of Modern and Contemporary Art, spanning the period from the 1940s to the present.
    [Show full text]
  • Public Art Practices a Reference Guide for Developing Public Art Programs and Projects
    Public Art Practices A Reference Guide for Developing Public Art Programs and Projects Traditionally, public art has been exactly that--art in public places. The term, public art, may spawn images of a heroic soldier in the park, a bronze eagle on a bank, or a decorative relief on the façade of city hall, but public art entails so much more than just those images. While traditional works like these represent the foundation of public art, contemporary public art has grown to encompass a wide range of innovative concepts, projects and programs. Historically, one might use the Statue of Liberty as a good example of “new” art born from traditional ideals. A gift to the United States in 1885, it took over 20 years for F. A. Bartholdi to develop, design and create the world famous statue. Although his heroic image of liberty was based on figurative sculptures of the past, its representation of freedom as a woman was unusual in the United States and became cause for debate. People were afraid she’d look tired or old and be less than heroic. Rumors, misperceptions and concerns over its “contemporary” nature created intense controversy in the 1880s and the sculpture was nearly rejected. Now, almost 120 years later, it is one of the most recognizable examples of public art in the world. Today, public art includes “traditional” monuments and decorations along with a broad spectrum of unique projects and programs. In many cases, artists are included early in the design process or as part of the design team, and community leaders work to include and educate the public throughout the development of projects.
    [Show full text]
  • Of Public Art in Richland?
    2020 Richland, WA Public Art Survey SurveyMonkey Q1 What are your favorite example(s) of public Art in Richland? Answered: 427 Skipped: 7 Murals/sculptur es on the si... Artistic design... Sculptures placed in... Performance Art/Special... Art placed in roundabouts Vinyl Art Wraps on... Other (please specify) 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% ANSWER CHOICES RESPONSES Murals/sculptures on the side of buildings 64.64% 276 Artistic design incorporated into infrastructure (ex: benches, bridges, fences, etc) 58.55% 250 Sculptures placed in parks, along trails or at City facilities 56.67% 242 Performance Art/Special Events supporting Art 46.84% 200 Art placed in roundabouts 34.43% 147 Vinyl Art Wraps on Traffic Utility Cabinets 29.27% 125 Other (please specify) 5.15% 22 Total Respondents: 427 1 / 69 2020 Richland, WA Public Art Survey SurveyMonkey # OTHER (PLEASE SPECIFY) DATE 1 public glassblowing 1/15/2021 12:52 PM 2 Ye Merry Greenwood Faire 1/13/2021 12:18 PM 3 Spaces for litterateur and dialogue 1/12/2021 2:36 PM 4 Privately funded art 1/12/2021 2:05 PM 5 Skateparks 1/11/2021 9:01 PM 6 Folk art by residents in yards etc 1/11/2021 8:30 PM 7 Any examples of public art only adds to the enhancement of our community and moves us into 1/11/2021 3:52 PM the realm of cultural awareness and appreciation. It shows a level of sophistication and thinking and awareness of a larger picture than merely that of our own lives and self-centered thinking.
    [Show full text]
  • Public Art Policy
    III. SCOPE This policy applies to all works of art that are commissioned or acquired, including both temporary and permanent works, and meet all of the following criteria: A. Funded in whole or in part through City funds or under the agreement that maintaining the artwork is the responsibility of the City; B. Sited on City property, building, or right-of-way; C. Consistently accessible to the public. IV. LIMITATIONS The policy does not extend to: A. Artworks on display within City offices or City buildings that have restricted public access or regulated access. This includes artworks acquired for the sole purpose of office adornment and not for overall public experience. B. Temporary exhibitions of artworks (such as gallery displays, booth displays at art festivals, individual artworks, or museum exhibits) displayed on City-owned or –managed property where the owner of such artwork has or intends to: retain ownership of the work; assume all responsibility associated with that display; remove it after an agreed upon duration has concluded, which shall not exceed two years. 1. One-time, temporary exhibitions require a Temporary Art Permit which shall be obtained through the Office of Arts and Culture. These permits will be vetted for feasibility through an internal Technical Review Committee. 2. Ongoing programming and exhibitions in City-owned cultural venues are at the discretion of the facility operator. V. APPLICABILITY The placement of public art on public property is a form of government speech and as such, is not subject to scrutiny under the Free Speech Clause. Therefore, the City has broad discretion to make decisions related to public art on public property.
    [Show full text]
  • Mural Creation Best Practices
    Mural Creation Best Practices Since 2006, Heritage Preservation’s Rescue Public Murals (RPM) initiative has confronted the risks that community murals face by being located in outdoor, public spaces. Murals have been, and are an increasingly, popular public art form that adds vibrancy and vitality to the built landscape. Many communities in the United States, large and small, have mural programs or are actively commissioning murals. Unfortunately, almost every community is also aware of the negative image that a faded, flaking, or vandalized mural creates or the misfortune of an artist’s work that has been unjustly removed or destroyed. While working to ensure the protection and preservation of existing murals, RPM recognizes that many common issues that murals face could have been mitigated with careful planning and preparation. RPM has held conversations and brainstorming sessions with muralists, conservators, art historians, arts administrators, materials scientists, and engineers to document best practices for mural creation. We present these recommendations on this website. Recommendations are not meant to be prescriptive but instead to pose questions and raise issues that should be considered at each stage of creating a mural: planning, wall selection, wall and surface preparation, painting, coating, and maintenance. Each recommendation has been considered both for mural commissioning organizations/agencies and for artists to address their particular needs and concerns. Each section includes links to further reading on the topic. The recommendations on this website assume that a mural that is painted with careful planning and consideration to technique and materials and that receives regular maintenance could have a lifespan of 20-30 years.
    [Show full text]
  • Public Art Management Plan Public Art Management Plan
    Public Art Management Plan Public Art Management Plan Table of Contents Section Page 1.0 Executive Summary ........................................................................................... 1-1 2.0 Vision and Mission ............................................................................................. 2-1 2.1 Vision ...................................................................................................... 2-1 2.2 Mission .................................................................................................... 2-1 3.0 Overview ........................................................................................................... 3-1 3.1 Definition of Public Art............................................................................. 3-1 3.2 Public Art: Art in Public Places ................................................................ 3-1 3.3 Advantages of Public Art ......................................................................... 3-2 4.0 Public Art Policy ................................................................................................. 4-1 4.1 Policy and Procedure for Defining and Acquiring Works of Art ............... 4-1 5.0 Public Art Acquisition Policy .............................................................................. 5-1 5.1 Policy and Procedures for Public Art Acquisition Committees ................ 5-1 5.2 Public Art Selection Process for Permanent Acquisition ......................... 5-4 5.3 Public Art Acquisition Process for Temporary Exhibitions
    [Show full text]