Aurora Public Art Commission Programs, Policies and Procedures

Total Page:16

File Type:pdf, Size:1020Kb

Aurora Public Art Commission Programs, Policies and Procedures Draft Document – 5-30-2019 Aurora Public Art Commission Programs, Policies and Procedures Drafted June 2019 Innovation and Core Services Department Community Services Division Public Art Sub-division CONTENTS I. Terms II. Introduction III. Facilities IV. Policy Scope and Objectives V. Anti-Discrimination; Hate Speech and Obscenity Prohibited VI. Roles and Responsibilities Director of Public Art Aurora Public Art Commission VII. Procedures i. Flex Space 1. Application Process 2. Selection 3. Contracts 4. Artist Responsibilities ii. City Hall 5. Application Process 6. Selection 7. Contracts 8. Artist Responsibilities iii. Third Floor Gallery 9. Selection Process 10. Contracts 11. Exhibit Timeline iv. Public Space Projects 12. Small-Scale Outdoor Projects a. Timeline b. Application Process c. Selection d. Contracts e. Maintenance. f. Outdoor Wall Murals g. Timeline h. Application Process i. Selection j. Contracts k. Insurance l. Maintenance VIII. Compliance with Local Ordinance/Right to Amend X. Appendix EXHIBIT A: Public Art Review Rubric EXHIBIT B: Considerations Based on Proposed Location EXHIBIT C: Flexspace Objectives and Guidelines EXHIBIT D: Flexspace RFP EXHIBIT E: Flexspace Artist Contract EXHIBIT F: Artist Contract: Third Floor Gallery/City Hall EXHIBIT G: Third Floor Exhibit Cycle Timeline EXHIBIT H: Utility Box Mural RFP (Sample) EXHIBIT I: Utility Box Mural Contract (Sample) EXHIBIT J: R16-207, Section 8.4, Murals, of the City of Aurora Zoning Ordinance EXHIBIT K: Public Art Muralist RFQ (Sample) EXHIBIT L: Public Art Mural Contract (Preliminary Design) 2 CONTACT Jennifer Evans Director of Public Art Email: [email protected] Web: www.aurora-il.org/329/Public-Art-Commission, FaceBook and Instagram @AuroraPublicArt 3 I. TERMS APAC – Aurora Public Art Commission is a public body established by the City of Aurora by Ordinance. The Commission has 9 members appointed by the Mayor and City Council and has oversight of the City’s Public Art program. The commission’s general functions are established in Chapter 6, Division 4, Section 2-461 of the City Code of Ordinances. Deaccessioning - The procedure followed to remove an artwork from the public art collection. Decision Packages – Decision packages are formal requests required for any new program or single expenditure that is new or additional that is over $5,000. The decision package includes information that is necessary for the budgetary decision making process. Design Review Committee - The full name of the DRC is the FoxWalk Overlay District Design Review Committee. Flexspace - This is a space where the community in conjunction with the City can host a variety of activities including art exhibits, educational programs, ceremonies, receptions, performances and other events. Use of the space can range from one day up to 30 days. Exhibits lasting for periods of time need approval. The Flex Space is located in the DLP Art & History Center on the first floor. Multi-disciplinary - combining or involving different academic disciplines or professional specializations in an approach to a topic or problem. Placemaking - a people-centered approach to the planning, design and management of public RFP – Request for proposals RFQ – Request for qualifications Third Floor Gallery - The Third Floor Gallery of the DLP Art and History Center is a space for premiere art exhibits. The exhibits consist of original artwork and shows have a longer duration of 30-90 days. These exhibits are by invitation only and are curated by the Aurora Public Art Director. II. INTRODUCTION The Aurora Public Art Commission was initiated in the 1960s and is a civic organization dedicated to the presentation of public art in all its forms. The Public Art Commission provides a formal art presence for the residents of the City of Aurora. General functions include curation and project management of public murals and sculpture, developing programs in art education, supporting local artists, and establishing an exhibition schedule for the Aurora Public Art Commission Galleries. III. FACILITIES Since 1996, Aurora Public Art has hosted a variety of exhibits on the first and third floor galleries of the DLP. In 2018, there were over 8,000 visitors to the Public Art Galleries. In addition to regular gallery hours, Wednesdays - Saturdays, 12-4PM, the DLP is open during First Fridays and other special events. 4 Aurora Public Art manages art curation, installation and management of all Public Art- Commissioned outdoor sculptures and murals as well as the following municipal gallery spaces: Third Floor Gallery: A formal, white-wall, contemporary gallery in the light-filled third floor of the DLP (square feet) with 30-foot ceilings, 12-foot windows, and 200 running feet of display space. Flexspace: A less formal (1,200 square feet with 80 linear feet of wall space) gallery space on the first floor of the DLP, intended as a multi-use space for community members interested in the arts. City Hall: Aurora Public Art has displayed 2D artwork by local and regional artists, since 2005. The City Council Chambers has 50 linear feet for hanging artwork. There is additional wall space in the hallways of the 1st and 5th floor in City Hall, at 44 E. Downer Place in Downtown Aurora. Public Art Sculpture Garden: Located to the west of 20 East Downer Place, this 1,500 square foot green space has been converted into a sculpture garden, with stone benches created by sculptor Walter Arnold, and rotating sculptures on lease. IV. POLICY SCOPE AND OBJECTIVES Whenever possible, seek to collaborate with existing community organizations to meet the evolving arts-related needs of the community. Encourage the involvement of local artists and a broad range of City residents in Public Art endeavors. Contribute to the City’s growing creative economy by way of supporting local artists. Provide space for local artists to independently curate, exhibit, perform, or teach art. Actively seek to serve and hire individuals of gender, race, language, ability, and identity reflective of community demographics. Provide programming appropriate for a broad viewing audience and sensitive to local context. Provide museum-quality exhibits, including interactive experiences and associated programming, as an educational tool for the community and a destination for visitors to the City. Seek to balance challenging artwork with conceptually accessible artwork, within each exhibit. Seek to hire a range of local and well-known artists. Contribute to Economic Development through creative placemaking. Provide project management for Public Art murals and projects outlined in the Downtown Development Plan. Develop a Public Art strategy that looks ahead to the City’s specific needs and goals. V. ANTI-DISCRIMINATION; HATE SPEECH AND OBSCENITY PROHIBITED The City of Aurora, Aurora Public Art Commission, the Department of Public Art, and the Public Art Director are committed to ensuring that its programs are free of discrimination, and that individuals of all backgrounds and demographics are afforded equal opportunity to participate. Accordingly, no individual shall be denied the opportunity to participate, nor shall any artwork be denied, based on an individual or applicant’s actual or perceived race, color, religion, sex, national origin, ancestry, age, order of protection status, marital status, physical or mental disability, military status, sexual orientation, pregnancy, or unfavorable discharge from military service. Discrimination based on any of these protected classes is expressly prohibited by these policies and procedures. 5 In addition, in accordance with this Section, in the judgment of the Director of Public Art and/or the Public Art Commission, artwork appearing to discriminate against a protected class, or which appears to promote imminent lawless action and/or obscenity, the latter of which is defined by 720 ILCS 5/11-20, will not be permitted. VI. ROLES AND RESPONSIBILITIES Director of Public Art o City Executive Staff o Program Development o Project Management o Gallery Curation o Public Art Commission Advisor o City/Art Community Liaison o Inter-Departmental Collaboration o Community Organizations/Institutions Collaboration Public Art Commission o 9 Aurora Residents, Appointed by Mayor’s Office/Approved by City Council o 2-Year Terms, (currently without observed term limits) o Meet in open session every two months or as needed o Provide Community Input on Public Art Needs/Wants o Provide Approval for Public Art Projects o Volunteer at Events/Provide In-Kind Donations o The Commission to the greatest extent feasible will recruit a racially and gender diverse composition VII. PROCEDURES i. Flexspace Community- initiated exhibits, projects, and events on the first floor of the DLP Application Process . Individuals or groups are invited to submit proposals to use the Flexspace for art events and exhibits. (See Exhibit C: Flexspace Guidelines) . A link to an online form is available on the COA Public Art website. https://www.aurora-il.org/1952/Calls-for-Artists . This form is a simplified RFP for non-professional artists; the application process is intended to be inclusive. (See Exhibit D: Flexspace RFP) . There is currently no limit to the number of proposals a group or individual can submit. Proposals submitted by groups/more than one individual must indicate a single contact person for communication with Public Art regarding the proposal. o Selection of Artists/Artworks/Projects . Consideration of “Public Art Review Rubric” (Exhibit “A”)
Recommended publications
  • Contract to Commission an Artwork
    Contract to Commission an Artwork DISCLAIMER: This sample contract is written as a checklist and guide only. You should in no way use this con- tract in its current state as a binding agreement between you and any individual, corporation, gallery, or venue. When entering into an agreement with any institution for short- or long-term work, a lawyer or attorney skilled making life better for artists in legal practices pertaining to the arts should review any con-tracts before signing. You can use this contract as a starting point for drafting an agreement for a commission, but do not rely on this contract in its present form gyst-ink.com and do not sign it until you have had legal counsel look at it and suggest alterations or changes. Date of the Agreement: This agreement is between ____________________ (the Artist) and ____________________ (the Commissioning Agent) AGREEMENT made as of the ______day of ______, 20__, between ____________________ (hereinafter referred to as the “Art-ist”), located at ____________________ (city and state, country if necessary), and ____________________ (hereinafter referred to as the “Commissioning Agent”), located at ____________________ (city and state, country if necessary), with respect to the commission- ing of an artwork (hereinafter referred to as the “Work”). Information About the Preliminary Design: The Artist agrees to create a preliminary design in the form of ____________________ (studies, sketches, model, drawings etc.) Further description of design aspects ____________________________________________________________ Date the preliminary design is to be delivered to the Commissioning Agent: ____________________ The Commissioning Agent’s written approval of the preliminary design: The Commissioning Agent will pay the Artist $___________ upon signing this agreement.
    [Show full text]
  • SIRIMA SATAMAN Artist | Printmaker | Educator 900 Tennessee Street # 19, SF CA 94107 [email protected] Cell/Text: (415) 606-6788
    SIRIMA SATAMAN artist | printmaker | educator 900 Tennessee Street # 19, SF CA 94107 http://www.inkpaperplate.com [email protected] cell/text: (415) 606-6788 Born: Bangkok, Thailand Education: 2006-2007 Academy of Art University, San Francisco, CA, MFA Printmaking candidate 1984-1988 Pitzer College, Claremont Colleges Consortium, Claremont, CA, BA Fine Art, emphasis – Sculpture, Printmaking, Fiber Arts, June 1988 1987 Temple/Tyler University, Rome, Italy, coursework – Sculpture & Intaglio 1987 American University, Rome, Italy, coursework – Ancient Roman Art & Architecture, Italian Renaissance Art History, and Neo-realistic Cinema Teaching/Art Related Experience: 2009-2012 ink.paper.plate PRESS | Founder/Artist/Instructor/Printer Wholesale printed artwork, commission printmaking, personalized classes and business/technical assistance for artists working in silkscreen, monotype, intaglio, relief block, letterpress and mixed media. Current classes and workshops Recent teaching project video: http://www.inkpaperplate.com/2012/07/03/976/ 2010-present California Society of Printmakers | Board of Directors/Treasurer & Webmaster Responsible for setting up financial administration, nonprofit reporting, and web communications. Manage the daily accounting, membership database, and web maintenance needs for CSP. Oversaw the realignment of financial reporting for fiscal year 2004-2011. Led renovation of the CSP website for CSP’s centennial anniversary. 2010-present Advisory Board | Go Inspire Go | www.goinspirego.com Go Inspire Go (GIG) is a
    [Show full text]
  • A Practical Guide to Creating a Mural
    A PRACTICAL GUIDE TO CREATING A MURAL 1 WHY CREATE A MURAL? The benefits of murals are plentiful: not only do they beautify and enhance the urban environment, they deter costly tagging, foster community partnerships and pride, and can even boost the local economy. Above all, they’re fun! This guide assists artists, community organizations, business and property owners and arts and heritage organizations by recommending best practices in mural production. The guide is to be used in conjunction with the City of Nelson Murals Policy, which outlines the approval process for murals. An application form must be completed to propose a mural. The City of Nelson’s Cultural Development Commission is also available to offer advice. DEFINITIONS COMMEMORATION: The act of honouring or perpetuating the memory of a person, persons, event, historical period or idea that has been deemed significant. COMMUNITY ART: Public participation and collaboration with professional artists in visual art, dance, music, theatre, literary and/or media arts within a community context and venue. MURAL: A large-scale artwork completed on a surface with the permission of the owner. Media may include paint, ceramic, wood, tile and photography, etc. SIGN: If the primary intent of the work is to convey commercial information, it is a sign. TAGGING: A common type of graffiti is "tagging", which is the writing, painting or "bombing" of an identifiable symbolic character or "tag" that may or may not contain letters. PUBLIC WALLS: A space that belongs to a public organization, i.e. municipal, provincial or federal government. Approval for the mural should be among the first steps undertaken in the planning process.
    [Show full text]
  • 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]
  • Salem Public Art Commission Policies and Guidelines
    SALEM PUBLIC ART COMMISSION PUBLIC ART COLLECTION GUIDELINES, POLICIES AND PROCEDURES 1. Purpose and Guiding Principles That which shapes our cities and communities shapes our spirit and well-being. The arts throughout history have been the catalyst for creating unique public places which have yielded physical, social, and economic benefits to communities. In order to foster an advancement of the visual arts within the Salem community, the City has created a public art program, and, as part of that program, established the Salem Public Art Commission (Commission) and a Public Art Fund into which certain public funds are placed for the purpose of acquiring public art. The Urban Renewal Agency for the City of Salem (the Agency) also recognizes the important role that the visual arts can play in the elimination of blight within urban renewal areas, and has adopted a "percent for art" program for certain urban renewal projects, and has made acquisition of public art a project within the Riverfront/Downtown Urban Renewal Plan. The Agency, through an intergovernmental agreement, has made the Commission the body that is charged with selecting public art for acquisition by the Agency. 2. Definitions City Manager means the City Manager for the City of Salem, or the City Manager's designee, and the City Manager functioning as the Executive Director for the Urban Renewal Agency for the City of Salem, or the Director's designee. Eligible costs means the costs for completion of a public building improvement project, including costs for capitalized tenant improvements, that are paid from eligible funds. Eligible costs do not include costs for land acquisition, design and engineering, administration, fees and permits, building demolition, relocation of tenants, environmental testing, environmental remediation, non-construction contingency or indirect costs such as interest during construction, and advertising and legal fees.
    [Show full text]
  • Sculpture Commission for the Plaza Where Greenwood Avenue Meets the Beltline Request for Qualifications
    Sculpture Commission for the Plaza where Greenwood Avenue meets the Beltline Request for Qualifications Application Fee: None Project Budget: Up to $17,500, including, but not limited to, artist fees, fabrication, insurance, shipping, travel, installation, pedestal and other site work. Landscaping and City of Atlanta art maintenance fees will be covered separately and are not required to be part of the budget. Deadline: Submissions must be received via email by midnight on July 15, 2020 Background and Project Description: Laura Adams and Andrew Feiler, along with Atlanta City Council Representative Jennifer Ide, invite you to submit a proposal for a sculpture to be placed permanently in the plaza where Greenwood Avenue meets the Beltline in Atlanta’s Virginia Highland neighborhood. Laura Adams and Andrew Feiler were married on May 5, 2018. Having requested no presents from the family and friends who gathered to celebrate, they were completely surprised by an extraordinary gift of art. Friends and family had contributed funds to commission a work of public art to be permanently placed in the plaza at the end of Greenwood Avenue at the Beltline, in front of Laura and Andrew’s home in the old B. Mifflin Hood Brick Company building. Laura Adams has been a working artist for over twenty five years. Using a unique technique of heavily layered paper collage on canvas, she creates works that celebrate the beauty of nature and mankind’s connection with the natural world. Her work also brings attention to environmental degradation, especially the forces that have caused the loss of three billion North American birds over the past fifty years.
    [Show full text]
  • Charting a Future for Public Art in the City of Providence
    Charting a Future for Public Art in the City of Providence Presented by Via Partnership to the City of Providence Department of Art, Culture + Tourism on March 14, 2018. Approved by the Art in City Life Commission on April 11, 2018. Charting a Future for Public Art in the City of Providence EXECUTIVE SUMMARY 8 Vision 9 Program Plan 10 Conclusion 12 INTRODUCTION 14 ACT PUBLIC ART: A PUBLIC ART PROGRAM FOR PROVIDENCE 18 Vision 19 Mission 19 Guiding Principle 19 PROGRAM PLAN 20 Landmark Public Artworks 22 Public Art Residencies 24 Civic Infrastructure Projects 26 Temporary Projects 28 Recommended Projects 30 Recommended Project List 33 Communications and Community Programs 34 ADMINISTRATIVE PLAN 36 Definitions 38 Roles and Responsibilities 40 Funding Sources 42 Staffing 44 Planning for Public Art 45 Commissioning Public Art 46 Donations and Loans of Artwork 49 Public Art on Private Property 53 Collection Management 56 APPENDICES 60 Appendix A: Acknowledgments 62 Appendix B: Survey Results Summary 64 Appendix C: Imagine Art Here Workshop Description and Summary 66 Appendix D: Art in City Life Ordinance 68 ART IN CITY LIFE PLAN 5 FROM THE MAYOR At the start of my term as Mayor of Providence, if asked the question, “what is the Mayor’s job?,” I would have responded very differently than I would today. I would have said the Mayor’s responsibility is to run an efficient administration and to support the growth of our city. After three years, I would now answer that question with this simple answer: The Mayor’s fundamental job is to find ways to bring people together.
    [Show full text]
  • City of Palo Alto Staff Report to Public Art Commission
    City of Palo Alto Staff Report to Public Art Commission November 19, 2020 RE: Agenda Item 1 Recommendation: Staff recommends that the Public Art Commission accept the donation of artwork titled Unapproachable Landscape No1 by former Cubberley Artist Studio Program (CASP) artist Yishu Wang into the City collection. Discussion: This donation is being offered by former CASP artist Yishu Wang. According to the CASP Guidelines, all CASP artists are expected to donate one of their artworks in their first (4-year) residency term to the City’s Public Art Program. Preferably the artworks offered have been developed during the residency at Cubberley. The artwork titled Unapproachable Landscape No 1 currently offered for donation is a hand-pulled screen print from a series of works Wang worked on during her residence at CASP. Featuring ten layers of colors and shapes, this artwork represents the artist's recent experience of moving from San Francisco to Silicon Valley which required daily car commutes. Observing changing landscape reflected in the cars inspired the artist to examine how contemporary lifestyles profoundly change our attitude and perception towards the surrounding environment and nature. Maintenance and care considerations: The donated artwork will be framed and behind glass. Staff is confident that the artwork will be stored and displayed with minimal risk of damage. Artist Bio: Yishu Wang is a visual artist based in the San Francisco Bay Area. Her work examines the geographic surrounding where she lives. Yishu’s work expressively uses line and color to explore the boundary between representation and abstraction. Inspired by the flexibility and plasticity of paper, Yishu mainly utilizes printmaking, book art and installation to incorporate storytelling and sequencing to each body of work.
    [Show full text]
  • A Centennial History of the U.S. Commission of Fine Arts
    CIVIC ART A Centennial History of the U.S. Commission of Fine Arts . . . , · Published by the U.S. Commission of Fine Arts · mmxiii United States Commission of Fine Arts 401 F Street, NW, Suite 312 Washington, D.C. 20001-2728 Telephone: 202-504-2260 www.cfa.gov The U.S. Commission of Fine Arts offers broad public access to its resources—including photographs, drawings, and official govern- ment documents—as a contribution to education, scholarship, and public information. The submission of documents to the Commis- sion of Fine Arts for review constitutes permission to use the documents for purposes related to the activities of the commission, including display, reproduction, publication, or distribution. printed and bound in the united states of america 16 15 14 13 4 3 2 1 U.S. Government Printing Office Cataloging-in-Publication Data Civic art : a centennial history of the U.S. Commission of Fine Arts / edited by Thomas E. Luebke. Washington, D.C. : [U.S. Commission of Fine Arts], 2013. p. cm. Supt. of Docs. no: FA 1.2: C 87 ISBN: 978-0-160897-02-3 1. Washington (D.C.)—Buildings, structures, etc. 2. U.S Commission of Fine Arts—History. 3. Public architecture—United States. 4. Architecture--Washington (D.C.)—History. I. Luebke, Thomas E. II. U.S. Commission of Fine Arts. Editor and Project Director: Thomas E. Luebke, FAIA Managing Editor: Mary M.Konsoulis Historian: Kathryn Fanning, PhD Architectural Historian: Eve Barsoum Illustration Editor: Sarah Batcheler Manuscript Editor: Beth Carmichael Meadows Design Office, Inc., Washington, D.C. Art Director and Designer: Marc Alain Meadows Assistant Editor: Caroline Taylor Imaging Assistant: Nancy Bratton : Michael Lantz, Man Controlling Trade, Federal Trade Commission building, 1937–42 (CFA collection).
    [Show full text]
  • Commission on the Arts and Humanities Telephone: 202-724-5613
    (BX0) Commission on the Arts and Humanities www.dcarts.dc.gov Telephone: 202-724-5613 " #$% &' ! The mission of the Commission on the Arts and Humanities (CAH) is to provide grants, loans, programs, and educational activities that encourage diverse artistic expressions and learning opportunities so that all District of Columbia residents and visitors can experience the rich culture of our city. Summary of Services CAH offers a diverse range of grant programs, loan programs, and cultural activities to support practicing artists, arts organizations, and community groups. In partnership with the community, both nationally and locally, CAH initiates and supports lifelong cultural experiences that are reflective of the diversity of Washington, D.C. The agency’s FY 2020 proposed budget is presented in the following tables: ! ( )% % *+ , - , !" #$ %&'()' (*" +,&+&"- . /-0"( 1 ,"2"'/" (1+" %&3+,"- (& (*" . ++,&2"- /-0"( ( !& +,&2)-" . '- . %(/! -( 4-&!!, )' (*&/'-5 $ ' *. #$% #$% ! &' " ! &' " #$%/ #$% (*0*-1 20 6&%! /'- 7 "-)%("- 8" $ $ $ $ 9+"%)! /,+&" "2"'/" /'- $ $ 7 )1 )- (*0*-1 20 +3 +4 5 + 55+65 +355 7 7 7 7 57 47 74 4-&!!, )' (*&/'-5 $ ' *. #$% #$% ! &' " ! &' " #$%/ #$% **-1 -*8)2-#*8 "-",! ,'( /'- 7 7 )1 )- **-1 -*8)2-#*8 3 3 09 7 67 7 67 67 09 :0- :8-:# 208 '(,$)(,)%( /'- $ $ 7 )1 )- :0- :8-:# 208 63 4 6 6 37 7 7 7 7 7 09 (-)88 208 +6 +6 5 +56 53+4
    [Show full text]
  • Clayton Art Commission
    Clayton Art Commission Public Art Plan for the City of Clayton Updated 12/2017 2002 introduction • adminstrative plan • municipal arts plan • community education plan table of contents Introduction ....................................................................... 4 Administrative Plan .............................................................. 7 Municipal Arts Plan ............................................................. 18 Community Education Plan ................................................. 27 Appendices ........................................................................ 30 Clayton Art Commission Bylaws and Ordinance ................. 31 Sample Contract ............................................................ 40 Maintenance Worksheet ................................................. 43 Funding Opportunities ................................................... 46 Clayton’s Public Art Collection ......................................... 50 Action Plan .................................................................... 53 introduction • adminstrative plan • municipal arts plan • community education plan • appendices • introduction • introduction introduction • introduction • introduction • introduction • introduction • introduction • introduction • introduction • introduction• introduction BACKGROUND Established in 1877, Clayton is a thriving community directly of art. In addition, the CAC has spearheaded a consortium of west of the City of St. Louis. Its convenient location, 14,000 St. Louis-area public art
    [Show full text]
  • 2021 Budget Justification (PDF, 152
    COMMISSION OF FINE ARTS BUDGET JUSTIFICATIONS, FY 2021 COMMISSION OF FINE ARTS Budget Justifications Fiscal Year 2020 TABLE OF CONTENTS Page Item Number General Statement................................................................................. CFA-3 Highlights............................................................................................. CFA-5 Appropriation: Salaries and Expenses Appropriation Language....................................................................... CFA-6 Justification of Uncontrollable Cost Changes...................................... CFA-7 Justification of Program and Performance by Activity: Salaries and Expenses............................................................... CFA-8 Program and Financing Schedule......................................................... CFA-11 Object Classification............................................................................. CFA-12 Personnel Summary and Employee Count............................................ CFA-13 Appropriation: National Capital Arts and Cultural Affairs Appropriation Language....................................................................... CFA-14 Justification of Program and Performance by Activity: Grants........................................................................................ CFA-15 Program and Financing Schedule/Object Classification....................... CFA-17 Appendices Evidence Submission ………………………………………………… CFA-18 1 This page is intentionally blank 2 COMMISSION OF FINE ARTS General Statement
    [Show full text]