Draft for Public Review December 2016
Submitted by Athens Cultural Affairs Commission
Cover collage, clockwise from top left: Lou Kregal, Nack, City Hall, Harold Rittenberry, David Hale, Daily Groceries Co-op
2 Athens Public Art Master Plan Athens Public Art Master Plan 3 o T Ex ecutive Summary 4 Implementation Guides for Public Art 66 a
b • Implementation Guide #1 SPLOST Projects 68
l The Big Picture: Creative and Program Directions 16 • Implementation Guide #2 Art Walk and Cultural Trail Projects 72 e • Introduction 16 • Implementation Guide #3 Murals 76
• Vision, Mission, Goals 17 • Implementation Guide #4 Bus Shelters 80 f • Capital Projects / SPLOST 18 • Implementation Guide #5 Bike Racks 82
C • Downtown Art Walk, Cultural Trail 19 • Implementation Guide #6 Grants to Artists and Organizations 84 o • Bus Shelters, Bike Racks 21
nt • Implementation Guide #7 Artist Residencies 86 • Murals 22 • Implementation Guide #8 Major Grants 88
e • Artist- and Community-Initiated Projects 24
n • Planning and Policy 25 AppendiceS 90 t • Public Art in Private Development 28 • 1. SPLOST Project Recommendations 92 s • 2. Guidelines for Donations 96 Next Steps: Five-Year Plan 30 • 3. Guidelines for Public Art in Private Development 100
How to Get There: Technical Recommendations 34 • Criteria for Selection Programs, Projects and Sites 36 • Annual Work Plan and Budget 38 • Public Art Project Plans 38 • Artist Recruitment, Selection Processes 39 • Volunteer Leadership and Professional Staffing 43 • Public Funding Sources 46 • Private Funding Sources 49 • Artist Development 51 • Partnerships: Public Art Ecosystem 53 • Communications and Marketing 55 • Collection Management 57 • Evaluation 60 • Roles and Responsibilities 61 • Definitions 64
4 Athens Public Art Master Plan Athens Public Art Master Plan 5 utiv Ex “Creativity e
c empowers people to understand
e themselves and
Summary others better.”
Spirit of Athens, Torchlighter, William J. Thompson, City Hall. Courtesy Athens Cultural Affairs Commission.
Athens–Clarke County (ACC) is best known as the home of the University of Georgia, whose founding in 1801 at the location of a trading post along the Oconee River became the impetus for organizing the town a few years later. While ACC is the smallest county in Georgia, it is quite diverse, with the university, a bustling downtown, small industry, productive agricultural lands and a thriving music and culinary scene.
Today, as the pace of change in ACC is accelerating, community leaders hope that public art can be an integral piece of the puzzle that provides a sense of place in the community — contributing to broader efforts at beautification and allowing a new generation, and new genres, of artists to leave their mark.
This master plan follows on a new and growing commitment by the Athens–Clarke County Unified Government (ACCUG) to invest in public art. The plan sets out a vision for public art in the community, identifies key projects, outlines a work plan for the next five years and beyond, and concludes with policies and procedures that will help the Athens Cultural Affairs Commission (ACAC) move projects forward. City Hall. Courtesy Athens Cultural Affairs Commission.
6 Athens Public Art Master Plan Athens Public Art Master Plan 7 Plan Development Public Engagement Athens–Clarke County’s public art initiative Public engagement was very important to the ACAC and Athens Food Stories was at the heart of the planning process. There were dates back to 2010, when the Mayor and As part of the Athens public art master plan process, led by the Athens Cultural Affairs Commission adopted the recommendation of several approaches — guest artist projects, stakeholder Commission, the planning team invited artist Seitu Jones to develop a project that assists with community engagement and demonstrates contemporary practices in public art. Seitu visited a special task force to dedicate one percent conversations, an advisory committee, public events and an Athens from October 13-16, 2015 to collect food stories from residents. Internet survey. Many of these food stories relate to a place…a housing complex, a South American country, a of capital expenditures to public art, and to table, a market, a restaurant, or home. These are just a few of the almost 30 stories collected by appoint a volunteer Athens Cultural Affairs Seitu and artist Kira Hegeman. All of us have food stories and these stories could possibly help inform the placement and execution of public art projects in Athens. Commission (ACAC) to oversee public art and • Bressi invited artists Seitu Jones, Matthew Mazzotta and 1 First story has other cultural initiatives. That same year, Wing Young Huie to accompany him on visits in October, to do with how you get seniors voters approved the continuation of the Special December and April. The role of the artists was to engage to come to meetings of the community using their own research methodologies, things that are Purpose Local Option Sales Tax (SPLOST) to really important and fund 33 community projects, including a pool of thereby connecting with a wide variety of people who educational is to serve food. funds to be allocated for public art. wouldn’t ordinarily take part in a public art master plan, Anytime we put out a little and demonstrating a variety of approaches to public art buffet the main Good Neighbors Daylobby is packed, Since then, the ACAC has commissioned we have Ethel Collins practice beyond traditional sculpture and murals. about a half dozen art projects, relying mostly that’s coming Is described as an angel in our midst and • The planning team conducted extensive interviews with up next began as a volunteer for the Athens Land on volunteers to shepherd projects through Tuesday and Trust. Miss Ethel grows food for the West public officials and community, civic and arts leaders, we do a big Broad Farmers Market, using methods Arlene Stern lunch and the learned as a girl. She then prepares foods the development process, has launched a whole building using recipes and techniques learned from including faculty and administrators at the University of . is coming down, her grandmother. She has always used food community grants program, and has managed otherwise we have about 30 people out of 113 for healing and preventing ailments Georgia. The interviews provided detailed information apartments Maru affecting many other older adults. the development of this public art master plan. Castellanos Broderick Flanigan about arts, civic and government organizations. Because of its workload, the ACAC has been My favorite food is by far, Growing up I remember • The planning team conducted several stakeholder black beans…I love black my grandmother expanded from nine to eleven members. beans, because black beans making salmon patties. is something that in She would take canned roundtables — two that were open to any artist who Guatemala, you will have in salmon and put it in a the morning and in the bowl then add The ACAC began organizing the public art wanted to attend, one with downtown stakeholders, evening and sometimes for seasonings and one egg lunch. You can prepare to help it stay together master plan process in summer, 2014, outlining and one with people interested in making murals. These different types of black beans, with different while it was being fried. stuff. They go with everything. I just love it…. Those and turnip greens the following goals for the project: Here I buy canned black beans from the Latin were some of my favorites that she made. were opportunities for open-ended discussions about American market…Canned black beans from I would get some hot sauce and mustard Guatemala…I just bought black beans and make a great sandwich with some the arts and creative life in Athens–Clarke County, as well yesterday. white bread. • Assess the city’s cultural assets and as focused conversations that were useful in exploring opportunities, recommendations for public art downtown and for murals Seitu Jones, Athens Food Stories, collected during master plan process. • Engage stakeholders and the community at throughout the community. large, • The ACAC convened a master plan advisory committee • Develop a long-range (twenty-year) plan for Robert Clements, Untitled, Athens–Clarke County Library. Photo courtesy ACAC. comprised of civic, community, arts and business leaders. public art, The advisory committee contributed its observations • Recommend action steps for implementing about opportunities and needs for public art in Athens– “Help us to be a more ‘creative the plan and estimate costs where Clarke County, and reviewed early versions of the appropriate, and vision statement, goals and recommendations that are incorporated into this plan. collective’ of people who are • Deliver public outreach materials to innovators, idea generators.” communicate the values, vision and process • The ACAC scheduled four public events during the course of the final master plan. of the planning process, including lectures by guest artists and an open house. These events helped seed high In January 2015, the ACAC issued an RFP for expectations for public art, as evidenced by comments the project, ultimately contracting with Todd at the open house about when the ACAC would be able W. Bressi, Urban Design • Place Planning • to develop the types of projects that the visiting artists Public Art to serve as the planning consultant. talked about during their residencies. The planning process involved research, public
and stakeholder engagement, extensive site 1 Chapter 1-25 of the Athens–Clarke County Municipal Code, “Athens Cultural Affairs Commission.” visits throughout Athens and ongoing review of progress by an advisory committee.
8 Athens Public Art Master Plan Athens Public Art Master Plan 9 Survey
The ACAC also invited public comment through a survey open to the public over the Internet and circulated printed copies of surveys at its public events. Some of the key findings3: “Art creates a safe space for
• The character of Athens–Clarke County is • Respondents expressed an overwhelming expression, understanding, and defined by an intangible feel or aura that desire for more murals. They recognized that peaceful transformations.” constitutes the spirit of the community, in downtown could be a testing ground for new all of its facets. Many of the words used to ideas, but hoped there could be murals. describe this refer to a colorful, quirky and • Respondents said they looked to independent spirit. Chattanooga, Greenville and Asheville as • Athens–Clarke County’s character as a cities that might be emulated; Atlanta was creative place is prominent in people’s mentioned in the context of Living Walls and minds. People recognize three aspects of the Belt Line. creative identity — visual art, food and music • Respondents frequently reinforced the idea — as being equally important. that public art should provide opportunities • Two main hopes for public art were for people to contribute to the community, expressed: that it will help beautify or make an impact, and connect. enhance the appearance of the city, and that it will help stimulate creative and community life.
Athens Design Key Recommendations Development, Blazeberry. Commissioned by Athens Based on this research and public input, the master plan sets out a vision for how public art can Area Arts Council. Photo by Holly Alderman. impact Athens–Clarke County, goals for what public art can accomplish, and initiatives and projects that the ACAC should focus on in order to achieve these goals.
Athens’ Vision for Public Art Goals for Public Art in Athens • Public art will be found throughout Athens– Clarke–County Clarke County, in both civic locations and • Make Athens look like it feels — express unexpected places, conveying the sense of Athens–Clarke County’s creative voice and our creative, culturally diverse community. beautify the community, • Connect people throughout Athens–Clarke County by engaging them in cutting-edge community-based projects, • Influence the overall planning and Artist Seitu Jones at Clarke Middle School. Photo by Todd W. Bressi. urban design of the community and its infrastructure, and 3 A summary of the survey findings can be found in • Stimulate the vitality and economy of the appendix. Athens–Clarke County.
10 Athens Public Art Master Plan Athens Public Art Master Plan 11 Key Program Directions and • Facilitate and guide the creation of a Managing the Public Art Program Funding Public Art downtown Art Walk and Cultural Trail. Project Opportunities The plan recommends that the ACAC should The ACAC Public Art Program is currently • Continue to facilitate the inclusion of public + Athens’ Downtown Plan introduced the build additional capacity and partnerships funded through three sources — SPLOST art in capital projects developed by ACCUG. concept of an “art walk.” ACAC should that will enable it to take on a wider range of funds, ACCUG capital improvement program facilitate a temporary sculpture exhibition + Complete projects in the current projects that will reach a wider segment of the funds, and ACCUG operating funds. The plan downtown (Art Walk) and a series of SPLOST program; community. recommends that in the future, the ACAC permanent artworks related to the history • ACCUG should expand the ACAC budget should also develop the following streams of + Advocate for the continuation of current and culture of Athens (Cultural Trail). over the next four years to provide for a public and private funding: SPLOST public art funding policies as well These should involve a broad partnership full-time professional public art manager. • Seek funding from corridor enhancement as the inclusion of several specific public with downtown business, tourism, art This manager should be part of the funds approved by the Mayor and art projects in the next SPLOST cycle; and history organizations. community arts staff that is based at Commission to support projects related to + Advocate for public art projects in the • Facilitate the creation of more murals in Lyndon House Arts Center. corridor beautification, as well as federal proposed T-SPLOST program; and Athens. • The ACAC should collaborate with other grants that ACCUG recently applied for, to + Advocate for public art in downtown + Athens residents, businesses and artists organizations, such as Lyndon House and support bus shelters and bike racks. infrastructure built through other public alike want more murals. The ACAC should the Athens Area Arts Council, that can help • Explore funding from proposed T-SPLOST funding, such as any Tax Allocation spur interest by creating a wall where it expand its capacity. program for transportation related public District that might be created. can present murals on a rotating basis, • The ACAC should create task forces, art, such as bike racks, bus shelters and • and developing tools that make it easier Catalyze artist- and community-led chaired by ACAC members but including corridor projects. for murals to be commissioned privately initiatives that bring new approaches to stakeholders and other community • Continue current funding practices in public art, engage people and connect or initiated by artists. members, to focus on the work of specific SPLOST cycle that is expected to commence various components of the Athens • Advocate for public art in ACCUG planning initiatives. in 2021. community. projects. • The ACAC should forge a working • Propose additional public art projects + Expand the number of community + The ACAC should serve as a resource relationship with the Lamar Dodd School (Cultural Trail, conservation) for inclusion in grants, allow non-profit organizations to to ACCUG agencies, other commissions of Art, collaborating on a special fieldwork the next SPLOST cycle. apply for grants, and establish an artist and outside consultants in design and class that uses Athens as a laboratory for • Continue funding from ACCUG operating residency model. planning projects related to corridors, studying public art and provides resources budget, with incremental increases to the + gateways and trails, and in the Submit applications to Our Town and for bringing guest artists. level that would support a full-time staff development of new policies, guidelines Art Place to support special public art person within four years. initiatives. and codes that guide development. • Seek sponsorships from businesses and • Facilitate and guide the creation of more A “Percent for Art” Vision developers for specific artworks – such as artist-designed bus shelters and bike racks. for Downtown bus shelters, bike racks, murals, an Art Walk + Revive the popular artist-designed The plan recommends a simple, bold concept: and a Cultural Trail – near their properties. bus shelter initiative and add bike rack the Mayor and Commission should endorse a • Seek Our Town and ArtPlace funding for projects to the mix. voluntary “percent for art vision” for downtown more ambitious projects. + Encourage shelters and bike racks along development, whether it is public, private key corridors; encourage developers and or university. ACCUG should leverage its businesses to contribute shelters and commitment to including public art in public bike racks. projects to urge that developers and institutions voluntarily make the same commitment for their projects.
12 Athens Public Art Master Plan Athens Public Art Master Plan 13 Next Steps: A Five Year Plan The next five years will be especially critical for the Athens Public Art Program because of funding opportunities that are available now and additional funding opportunities that will take shape by the What impact do you think that year 2020. A key threshold is the expected launching of a new cycle of SPLOST projects in 2021. The master plan outlines an aggressive, prioritized five-year work plan (attached) that will enable the public art should have in Athens? ACAC to take advantage of these opportunities. It prioritizes projects by identifying: The survey asked respondents how public art should impact Athens as an open-ended • Core activities that are central to the ACACs mission and continue current activities, question. As with other questions of this nature, we compiled a list of all responses, • Critical path activities that will help ACAC advantage of funding opportunities, and noted keywords and key ideas, and then grouped them into like categories to determine what ideas where discussed most frequently. • Discretionary activities that can be undertaken when the ACAC has capacity. There were 278 responses to this question. Some responses generated multiple keywords,and some did not generate any, so the total number of keywords is different Prospects for Public Art in Athens from the number of survey responses. The most frequently discussed ideas are The ACAC starts on a sound footing as it embarks on the implementation of this master plan. summarized here, and a sampling of the comments follows. It begins with a strong commitment from the Mayor and Commission to funding the public art program at level that allows it to produce projects throughout the community and support locally- initiated projects. It continues with a dedicated, volunteer commission that builds more expertise and experience each year. Brighten up some dull spaces Beautification of sprawl areas It is driven by a clarity of purpose, with a generally agreed-upon sense of what public art can add to Beautify Athens the city. Give it a positive ambiance Show the personality of the town 50 It can count on public interest and enthusiasm, generated by the leadership of the ACAC and the engagement that took place in this planning process. Show athens artistic side Inspire the creativity Inspire people to be creative And it can take advantage of present opportunities to expand resources and activities. of artists and Encourage creativity 26 With this plan, Athens–Clarke County has a navigational guide that the community’s civic and arts communities Showcase talent and creativity leaders can follow to bring its ideas to fruition, and bring its streets to life with the presence of public art. Help integrate our communities racially, Connect people economically, ethnically, educationally... throughout Athens Bridge racial divide bridge Express 26 university/community divide collective joy “Help weave together communities, each with their own richness, and challenge us Foster conversation Provoke thought/conversation among different Bringing issues to public consciousness to be better and do better for one another.” segments of the Raise questions 26 community Spark meaningful conversation
Promote enjoyment and Build awareness and knowledge of the arts Showcase our appreciation of art local artists Embrace what already 22 among viewers makes Athens, Athens
Attract tourism, Further an “Athens identity” economic Bring more tourists development and Improve the experience for visitors 20 new residents Attract visitors
14 Athens Public Art Master Plan Athens Public Art Master Plan 15 Big Pictur Big C T
r This section of the Athens–Clarke County Public Art Master h Vision, Mission, Goals e e Plan sets out a big picture visions and a framework for the The following vision, mission and goals are derived from the ACAC guidelines that existed before a creative opportunities that the ACAC should pursue. The creative this planning process took place, and revised to reflect the findings of the planning process
tiv and recommendations from the master plan advisory committee. This new language should be opportunities consider the vision, mission and goals proposed for incorporated into the ACAC guidelines. the ACAC and the public art program, as well as the capacity of the e volunteer commission. They represent strategies for projects that V ision
and Program Program and could be located in any area of Athens–Clarke County, as well as a Public art will be found throughout Athens–Clarke County, in both civic locations and unexpected long-term vision for downtown. places, conveying the sense of our creative, culturally diverse community.
The framework for creative opportunities that follows is not ACAC mission e prescriptive, in that it does not map out specific projects for specific The overall mission of the Athens Cultural Affairs Commission is to: : places. Rather, it outlines types of projects and initiatives that allow Make recommendations to the Mayor and Commission on developing and promoting practices for the actual projects to grow through the creativity of artists and and policies pertaining to arts and culture,
the participation of the community. There is room for a wide variety Foster the development and enjoyment of performing, visual, musical, literary arts and other of projects, from murals to sculptures to artworks integrated into cultural activities in Athens-Clarke County, and capital projects to temporary projects. It will be up to the ACAC, its Expand public awareness, understanding and enjoyment of arts and culture in everyday life
D collaborators, its stakeholders and Athens–Clarke County’s creative In regard to public art specifically, the mission of the Athens Cultural Affairs Commission is to: i r community to bring these strategies to life through the engaging Commission high-quality, impactful art throughout Athens–Clarke County, e and innovative thinking that we hope artists will offer. Support artists, arts organizations and others who wish to create art in public spaces, c tion Maintain an inventory of public art in Athens–Clarke County and collaborate with ACCUG on developing maintenance and conservation strategies,
Champion public art and engage the community in the development and enjoyment of public art projects. s
G oals for the Athens–Clarke County Public Art Program As it develops public art projects, the ACAC should:
Foster a stronger awareness of public art, and encourage broader public participation and interaction with public art,
Explore new concepts in public art, create new works and reach new audiences,
Include the work of a broad range of artists, and
Stimulate the creation of a healthy and diverse network of artists, organizations, arts professionals, arts businesses, educators and others involved in public art.
16 Athens Public Art Master Plan Athens Public Art Master Plan 17 Capital Projects / SPLOST
The ACAC will facilitate the inclusion of public art in Special Option Local Sales Tax (SPLOST) projects, developed by ACCUG, and advocate for additional public art projects in upcoming T-SPLOST and future SPLOST programs. The ACAC was created, in large part, to assist with the planning and commissioning of artworks funded through ACCUG’s Special Option Local Sales Tax, which is currently the main source of funding for ACCUG capital projects. This should remain the core function of the ACAC. The ACAC should prioritize work on art projects related to remaining projects in the current SPLOST cycle (ending in FY20). Beyond that, the ACAC should advocate for the inclusion of public art funding in future SPLOST and T-SPLOST initiatives, including several specific projects to be funded by the next SPLOST initiative.
SPLOST 2011 • Greenways, Project #09 In the current SPLOST cycle, public art is funded • Sandy Creek Park Improvements, in two ways. First, the ACAC can designate part Project #14 of the budget of any specific SPLOST project for • General Park Improvements, Project #16 public art. Second, there is a separate $400,000 • Dudley Park Improvements, Project #17 allocated for the public art program, above and beyond allocations from the budgets of any • Youth & Community Facility, Project #22 specific project.4 • Costa Building Renovation, Project #32 The ACAC should finalize its work plan for TSP- LOST and SPLOST 2020 incorporating public art into the remaining projects in the current SPLOST program. In doing The current SPLOST program expires in Fiscal so, the ACAC should focus on fewer projects Year 2020. Discussions about what projects might be proposed to the voters for a future with larger budgets, in order to reduce workload Interpretive sculpture on and produce more substantive artworks. In round of SPLOST-funded capital projects are just Downtown Art Walk, Cultural Trail the North Oconee River beginning. Greenway Heritage Trail. particular, it should supplement budgets for The ACAC will facilitate and guide the creation of a downtown Art Walk and a downtown Cultural Trail. Courtesy Athens Cultural priority projects with additional SPLOST public The Georgia state legislature recently passed Affairs Commission. Downtown Athens – twenty square blocks at the heart of the community and adjacent to the art funding,5 and it should seek opportunities for legislation that enables regions in Georgia to university campus – is a crossroads where almost every segment of the Athens–Clarke County using SPLOST funding to begin implementing enact T-SPLOST programs, which would fund community, and almost every facet of its history and economy, cross paths. the Art Walk project. transportation infrastructure projects through The Athens Downtown Master Plan 2030 recommends making downtown, which is already an The SPLOST projects listed below are the special sales-tax levies. Athens–Clarke County is easily and enjoyably walkable place, even more so. The downtown master plan6 calls for improved best opportunities for public art. Detailed anticipating a T-SPLOST referendum within the pedestrian walkways and greenways linking all areas of downtown, and identifies some of them recommendations, including project goals and next year or two. as priority corridors for public art. Specifically, it suggests a focus on Hancock and Jackson Streets, budgets, are outlined in an appendix. Not all of The ACAC should advocate for continued public connecting the Classic Center and the Lyndon House the projects described below can be funded at art funding through SPLOST and T-SPLOST. the recommended levels with current resources. Specifically, in addition to the project-by-project Based on precedents in similar cities in the region, the “art walk” could take two forms. In the near- In the final stages of this planning process, public art allocations that are considered under term, it should be developed as a temporary exhibition of artworks that can be enjoyed by people the ACAC should prioritize the options and the ACCUG public art ordinance, ACAC should walking around downtown, a strategy referred to as an “Art Walk.” In the long-term, it should be recommended budget levels. advocate for public art funds that are not developed as a series of permanent artworks that interpret various aspects of Athens’ history and culture, and organized as a “Cultural Trail” that could be enjoyed by residents and visitors alike. • Fire Station #2 Replacement, Project #03 designated with any specific capital projects, as in the current SPLOST, as well as special projects • Provide as many people in Athens–Clarke County as possible with access to art • Cooperative Extension Center Facility, Project for the Cultural Trail and capital maintenance and #10 • Encourage more people to come downtown and walk around 6 Athens Downtown conservation. Master Plan (Athens: The • Explore and make visible the community’s many cultural and historic narratives, and University of Georgia, • Transit Vehicles and Bus Stops, Project #07 Graduate Program in • Strengthen the role of downtown as a shared space for everyone in the community. Environmental Planning • Rails-to-Trails, Project #08 and Design, 2013)
18 Athens Public Art Master Plan Athens Public Art Master Plan 19 Art Walk and sidewalk inset markers could cost several Bus Shelters, Bike Racks hundred dollars each. Overall, the Cultural Trail The first scenario would involve a temporary could cost more than $500,000, depending on The ACAC will revive the program of artist-designed bus shelters exhibition of artworks, generally sculptures, the number of interpretive stations. It could be and initiate a program of artist-designed bike racks. along key pedestrian corridors downtown. built incrementally, as developments and public Between 2008 and 2012, the Athens Area Arts Council The artworks would be selected by a jury improvements take place down, so that this commissioned eight bus shelters, created by artists and designers and loaned by artists for the duration of cost would spread over many years. from Athens, and installed them along various Athens Transit the exhibition. Models for this can be found Funding for a Cultural Trail could come from System bus lines. Four honored the Athens music scene and throughout the U.S. and regionally in Columbus, 8 a variety of sources. Fundraising would be a the bands that made it famous. For each shelter, the ACCUG Macon, Suwanee and Watkinsville. key source, with potential sponsorships for contributed the cost for an ordinary bus shelter, and the AAAC Depending on the scope of the exhibition, the each art station. Future SPLOST funds, ACCUG raised the rest. overall cost could be in the range of $25,000, capital funds, Hotel Occupancy Tax proceeds, The shelters are highly visible, well-known and popular. We often most of which would be honoraria for artists Tax Allocation District funds and Downtown heard, in our conversations about public art in the community, 7 who loan their works. Funding would come Development Authority funds could all be that more bus shelters should be commissioned. We also heard, primarily from sponsors, but could be seeded by applied to this project, with proper foresight. when talking about bus shelters, that bike racks should be SPLOST Project #21 funds, which could be used ACAC should also investigate the possibility commissioned as well. for infrastructure costs, such as foundations Joshua Jordon, Bike. of generating funds from SPLOST Project One advantage to commissioning new bus shelters is that all of the technical issues have been Commissioned by and pads. #13, Morton Theatre Repair/Renovation, and Classic Center Cultural worked out. In regard to bike racks, they are relatively simple to fabricate and install. Both types of Foundation. Photo by Holly In this scenario, the ACAC role would be to from SPLOST Project #32, Costa Building projects serve a community purpose, connect with people who might not ordinarily seek out public Alderman. facilitate the planning of locations, recruitment Renovations, to help fund interpretive projects art, and can be undertaken by a wide range of artists and other creative types in Athens–Clarke of artist submissions, creation of a process at those locations. Project #13 funds could County, thereby bringing the community’s creative voice to the streets. for selecting artworks, coordination of be used to support a mural that has been Funding for both bus shelters and bike racks could come from ACAC’s SPLOST Project #7 (Transit marketing and promotion, and the securing of requested by the Morton Theatre. Vehicles and Bus Stops) and Project #21 (Public Art) funds. sponsorships. ACCUG would need to assist with The ACAC role would be to lead a stakeholder approvals and, in some cases, installation. process to plan and obtain permissions Bus Shelters Bike Racks Cultural Trail for locations, raise funds and recruit artist submissions, and oversee the development of The ACAC should develop a strategy for adding The ACAC should develop a strategy for This project involves the creation of urban interpretive materials, with an eye towards the incrementally to Athens’ collection of artist- commissioning and installing artist-designed interpretive trail that follows a designated, artistic quality of the project. designed bus shelters, perhaps two a year, bike racks throughout Athens. The first step walkable route, with public art installations potentially in collaboration with the Athens Area would be to consult with bicycle advocacy groups The Cultural Trail would be a thoroughly highlighting important cultural and historical Arts Council and Athens Transit. Project budgets to determine their goals and priorities, and to collaborative project. The Classic Center features along the way. Specific stopping should be increased to between $10,000 and craft a program design that will help address Cultural Foundation and the Downtown points could be identified and interpreted $15,000, and consideration should be given to those. The program design should also include Development Authority could be key funding through artworks, or could incorporate existing placing shelters in places where they will have priorities for the location of bike racks, which and implementation partners; the Athens– resources, such as the Double Barreled Cannon, high visibility, according to criteria such as: should include proximity to: Clarke Heritage Foundation could play a key the Bens Epps sculpture on Washington Avenue role in helping to develop the interpretive • Bus stops with highest usage, so they will be • Marked bike routes and hike-bike trails, and the interpretive features at Dudley Park. content along the lines of the walking tours it seen by high numbers of bus riders, • Community activity areas such as schools, The trail could provide visitors with insight into all has already created. In addition, community • Bus stops adjacent to neighborhood libraries, parks and recreation centers, the key aspects of Athens–Clarke County’s history, and university resources such as designers and centers, community centers, employment • Employment centers, and from the intertwined history of the city and the historians could be asked to assist with the centers and gateways, as designated in the • Multifamily housing areas. university, to racial and social issues, to political planning of the Cultural Trail. comprehensive plan, and 7 In these types of history, to music and other arts and culture exhibitions, artists are topics. The best model for a project like this is the • Bus stops located on roads near exit generally responsible for ramps from the perimeter highway, so they the costs of transporting “Cultural Trail ” in nearby Asheville, N.C. their work to the site, will be seen by people arriving in Athens– installing it, and removing Though the trail itself would traverse existing Clarke County. it when the exhibition streets and sidewalks, costs would include the is over. The exhibition
sponsor provides locations artworks and markers. Artworks at each station and infrastructure such as 8 http://athensarts.org/ concrete pads. could be in the range of $25,000-$50,000 you-me-the-bus/
20 Athens Public Art Master Plan Athens Public Art Master Plan 21 Murals In addition, the ACAC can provide general support for others to make murals by: The ACAC will provide guidance to artists, business and arts organizations interested in creating murals on public or private property. • Creating a roster of approved muralists, for use by the ACAC and others who wish to The ACAC should ensure that mural-making is a robust component of public art in the community commission murals. going forward, for a number of reasons that were articulated during the planning process:9 • Including information about all murals • Murals can help stabilize a neighborhood as both residents and visitors can see the investment of in Athens–Clarke County, not just those human capital there. developed under ACAC auspices, on its • Murals can represent communities in Athens–Clarke County that aren’t always seen or whose “public art locator” web page and other histories aren’t well understood. By making these communities more present in people’s minds, communications materials. This could they can also be a bridge between different cultural communities. help validate and bring attention to the • By placing murals that represent Athens’ full diversity downtown, that could make downtown work of a variety of artists. This could also feel like more of a shared place, not the province of a few groups of people, and therefore more provide additional acknowledgement to welcoming to all. sponsors of murals. • Murals can represent a productive collaboration of business, community and local government. • Providing technical assistance to artists and wall owners by sponsoring mural house calls • Murals, like other genres of public art, can attract tourism. and mural workshops. • The mural-making process can be coupled with other forms of community engagement that • Creating guidelines for how sponsors and bring attention to or help address a range of social, cultural or economic issues. funders can be acknowledged in murals. • Respondents to the public art master plan survey indicated a strong desire to see more murals. The role of the ACAC should be to catalyze mural-making by artists and arts organizations in Athens–Clarke County, and to support the Athens Planning Department in ensuring that murals are consistent with the sign ordinance and ensuring that mural sponsors can obtain approvals with a minimum of hurdles. “When someone goes to the
Challenges How the ACAC Can Support Murals trouble to put an awesome mural Artists and arts administrators have described The ACAC should directly support the creation of on the side or their building or a several issues that have prevented artists and murals by: colorful spirography thing like private property owners from creating more • Leasing a wall for the painting of rotating the ones you see all over town, murals in Athens–Clarke County. murals, perhaps one every four to six it makes you feel cared about.” • Not all artists who are interested in making months. This would eliminate site murals have the technical skills to do so. permissions and sign code concerns that • Not all mural artists are interested in artists encounter. By rotating the murals, the 9 These comments are or experienced with the community ACAC can provide opportunities for a variety based on a roundtable on of artists to develop their skills. Artists could mural-making that was engagement aspect of muralism, which is held on December 5, 2015, be offered small stipends, such as $1,500 to with artists, curators and important to reaching a broader community organizations interested with public art. $2,000 plus materials to white out a previous in promoting mural- wall and to paint a new mural. Artists would making. • Businesses are not always comfortable be selected on qualifications, not concepts. 10 The sign code clearly making an investment in a mural, particularly defines “artworks” and • Inviting proposals for murals through its further states, in the if they have questions about codes. There are definition of “sign,” that not enough positive examples.10 grants process, as described elsewhere. artworks are not subject to the regulations of the • Though the ACC sign code is relatively sign code (ACC Municipal Top: David Hale, Birdsong, Code, Chapter 7-4, Signs, friendly to murals, there are questions about commissioned by Athfest §7-4-3, Definitions). Creates. However, there is no how businesses that support murals can process for determining be recognized in the mural or in the credits. Bottom: Mural by Eleanor Davis what specifically on home.made restaurant. constitutes an artwork. There are no clear guidelines. Photo by Holly Alderman.
22 Athens Public Art Master Plan Athens Public Art Master Plan 23 Planning and Policy The ACAC should serve as a resource to ACCUG agencies, other commissions and outside consultants in design and planning projects related to corridors, gateways and trails, and in the development of new policies, guidelines and codes that guide development. Long-range plans for public facilities, infrastructure and development in Athens–Clarke County should consider what opportunities there are for integrating public art. There are several upcoming opportunities for the ACAC to coordinate the long-term planning of public art with improvements to public facilities and the public realm.
Public Art and ACCUG Planning and development of an approach to community Processes engagement. ACAC funding could be considered for engaging an artist in this manner. The Athens Cultural Affairs Commission should be consulted in the course of all planning projects Anticipated planning processes include: undertaken directly by ACCUG, or contracted for • Atlanta Highway and Lexington Road corridor by ACCUG, that would ultimately involve capital enhancement projects projects or the regulation or guidance of land • Dudley Park master planning development.11 This consultation could occur in a variety of ways, as appropriate to the nature of • Leisure Services master plan update the planning process. • Downtown Master Plan implementation Harold Rittenberry, bird ACCUG agencies should consult with the ACAC • Zoning Code cage sculpture. Courtesy Ar tist- and Community-Initiated Projects when they are developing the scope and work Athens Cultural Affairs • West Broad Street Revitalization Commission. Artist- and community-initiated projects can play an important role in helping Athens–Clarke County plan for a planning process to determine if a achieve its vision for public art, because they can be one of the most direct ways of bringing artist consideration of public art should be part of Elsewhere these recommendations suggest and community voices to life through art projects. ACAC funding for artist- and community-initiated that process. For example, a neighborhood plan that the ACAC initiate task forces to explore the projects can provide opportunities for: might involve artists in surveying community implementation of specific recommendations, • Artists to experiment with new ideas or to build their skills in creating public art, and attitudes about the need for public art, or an such as a Cultural Trail, Bus Shelters, Bike Racks infrastructure master plan might recommend and Grants to Artists and Organizations. The • Communities where public art resources might not otherwise be flowing to work with an artist to opportunities for including public art into future task force can be a tool the ACAC could use develop projects that are meaningful to them. capital projects. in other circumstances to explore how public The ACAC should: art can be integrated into the planning of For planning processes in which public art infrastructure systems, for example, to develop • Continue to support artist-initiated projects through its grants program. For the time being, should be considered, those tasks should be more specific recommendations for grants should be focused on projects that produce a specific public art outcome. incorporated into the scope of work. If the the greenways. • Provide grants for projects initiated by communities or independent arts organizations. plan is undertaken internally, the ACCUG Communities should be required to team with an artist or an independent arts organization. Arts agency should consult with ACAC during Atlanta Highway and Lexington Road organizations should be required to team with an artist, though to provide flexibility in program the process. If the plan is undertaken by an Corridor Implementation Projects outside consultant, the consulting team should design, the artist could be selected after the grant is awarded. In 2012, the Planning Department completed include professional public planning services. • Provide grants for community-based artist residencies. Residencies should generally be in a studies of and recommendations for the Oak ACAC should be involved as a resource during community facility such as a recreation center or school. Street / Oconee Street and the Prince Avenue the planning process, and should review and corridors as they relate to land use and design • Look to a minimum of three artist- and community initiated projects per fiscal year, overall. comment any recommendations regarding goals outside of the right-of-way, with a • Provide review criteria and program guidelines for both types of projects, without making the public art before the plan is approved or secondary focus on right-of-way improvements. applications for these projects too onerous. adopted. There are now public–private partnerships • Evaluate the output of the grants program and consider the need for bigger budgets in the future. Some planning processes might be enhanced by looking at implementing corridor improvements 11 The Ordinance that working with an artist who can help to broaden created the ACAC vests For the most part, ACAC should receive and review applications annually, and make its grants on along Lexington Road and Atlanta Highway. the Commission with the community engagement. In that that case, ACAC that basis. However, some community partnerships might require flexible decision-making, so ACAC The Mayor and Commission have allocated seed responsibility to “advise should be consulted on the selection of an artist on cultural affairs and should be prepared to issue grants at any time. aesthetic development of the built environment.”
24 Athens Public Art Master Plan Athens Public Art Master Plan 25 funding for visual enhancements along those Leisure Services Master Planning corridors. Leisure Services will soon undertake a master Several ideas have emerged in preliminary plan for the overall park system, in order to plan conversations with Commissioners engaged and prioritize improvements that will be made with these initiatives, including the installation in future rounds of SPLOST funding. of artist-designed bus shelters and bike racks • Leisure Services should ask ACAC to be along these corridors, and the organizing of part of any stakeholder group so that it can temporary sculpture exhibitions on properties inform other stakeholders about public art that ACCUG owns or maintains along Lexington and help identify opportunities for future Highway. public art projects in Leisure Services • The ACAC should keep abreast of these facilities. discussions and/or take part in them as warranted. Downtown Plan Implementation • The ACAC should seek funding for projects The Downtown Plan includes numerous such as bus shelters, bike racks or temporary recommendations for infrastructure, public sculptures that meet the goals of the facilities, public space, streetscape and private development downtown. These visionary Downtown Athens. corridor improvement. Photo courtesy The Broad recommendations would be funded over many As the corridors themselves will require a Collective.com. years through public funding mechanisms, such multifaceted approach to beautification, the as a future SPLOST cycle and a potential Tax ACAC should be cautious about investing public Zoning Code W est Broad Street Revitalization Allocation District, as well as private investments. art funds along the corridor until there is a more The Planning Department is considering the The decision of the Athens–Clarke County • In the short run, the ACAC’s priority should be comprehensive strategy with other resources possibility of revising the Athens–Clarke County school district to move its headquarters to to advocate for funding for the main public committed. zoning code. The ACAC should monitor this the former West Athens School has prompted art-related recommendations in this plan, process or take part in it to help inform the a broader redevelopment study of the area Dudley Park Master Planning the downtown Art Walk and Cultural Trail. stakeholders about public art and the public art bounded by Broad, Alps, Milledge, Baxter Leisure Services will soon undertake a master • The Mayor and Commission should adopt master plan, and to help identify opportunities and Hancock.12 plan for Dudley Park, in order to plan for an overall advisory “percent for art vision” for supporting public art through planning and This area, which includes the Rocksprings improvements that will be made with this for including public art in all downtown development. In particular, there should be Recreation Center, several schools and several round of SPLOST funding. development, whether it is public, private improved coordination between the provision housing authority developments, is where or university. • The ACAC should monitor this process or take of urban spaces and the creation of public art, several historically black neighborhoods part in it to help inform the stakeholders • The ACAC should advocate for the which is a feature of the current code. are located. Although ACAC has already about public art and the public art master inclusion of public art into major public • The ACAC should urge the Planning commissioned artworks near or within this area plan, and to help identify opportunities for realm improvements recommended in the Department to explore voluntary approaches (library, Rocksprings Recreation Center) this public art that would be funded through plan. These include further expansion of to or incentives for incorporating public art area requires further consideration given the SPLOST. the Classic Center, improvements to the in new development, particularly in areas grouping of civic resources (Athens Land Trust Washington Avenue streetscape, a new where the Downtown Plan or future Cultural garden, food stand and market; high schools; “I had the chance to help a visiting park behind City Hall, and new downtown Trail planning recommends public art. Rocksprings; and Clarke Middle School garden) gateways. and the potential for change. artist paint a mural in my home town • Either the ACAC or the Planning • The ACAC should advocate for the inclusion Department should retain a professional • Permanent public art opportunities should as a child, and I always felt like that of public art into the arts district envisioned public art planning consultant to create be identified through the planning process. along Foundry Street, behind the Classic recommendations for how public art can be • In addition, artists could be commissioned gave me a sense of ownership in my Center. addressed in the zoning code. to work on temporary projects related to the
community — I felt like I played a part planning process or current civic activities in 12 http://onlineathens. in something greater than myself.” the community. Artists could assist in com/local- creating and communicating a vision news/2015-07-01/ big-change-could-come- generated by the civic, neighborhood and around-west-broad- business stakeholders in the area. street-area
26 Athens Public Art Master Plan Athens Public Art Master Plan 27 Implementing the Vision through How the ACAC Can Support Public Art Private Development in Private Development The ACCUG advisory “percent for art vision” The ACAC can support the advisory percent for should be leveraged to encourage developers art policy by: of commercial and mixed-use developments • Establish a liaison with the Planning downtown and Athens–Clarke County to follow Department so that an ACAC commissioner the leadership that ACCUG is demonstrating. can take part in visioning sessions when The Mayor and Commission should require appropriate. developers to meet with a specially-designated • Eastablishing a task force that would ACAC task force before they receive their meet with developers in fulfillment development approvals to explore how public of the voluntary percent for art policy art can enhance both their developments recommended above. and the community. The task force should consist of up to five people, including ACAC • Providing background information to members (one or two), designers (architects, developers and businesses that explains landscape architects), artists and leaders of the benefits of including public art in their civic organizations, such as the Chamber of projects, provides examples relevant to Commerce. This would be a standing task force Athens–Clarke County of how developers whose members would serve a maximum of can approach this, and information about three two-year terms. resources that developers can draw on to develop projects. The Planning Department offers applicants an optional “visioning” meeting prior to the • Asking the Mayor and Commission to official submittal of a plans review application. provide recognition to developers and This provides applicants with guidance when businesses who voluntarily include public plans are still in the idea development stage. art in their projects. The department should invite an ACAC • Including artworks commissioned by Molly Rose Freeman, mural at Hotel Indigo. Photo by Public Art in Private Development representative to this meeting. developers and businesses on the ACAC’s Todd W. Bressi. published inventories of public art. Private development brings valuable resources to the community and can dramatically influence Public Art in Events the visual character and experience of the community for years to come. Georgia state law provides The ACCUG advisory “percent for art vision” cities with very limited opportunities for requesting that developers include amenities such as public should also be leveraged to include events in art in their projects. However, the ACAC, working collaboratively with the Mayor and Commission, Athens that require a public space usage permit. City-County Manager and Planning Department, should set very clear expectations that developers The organizers of events and festivals would be should consider including public art in their projects, even if on a voluntary basis. “I don’t think we should spend urged to commission public art in conjunction tax money on art projects Public Art Downtown Vision Implementing the Vision through with the activities they are planning. Pursued creatively, this recommendation could result ACCUG should leverage its commitment to ACCUG Projects unless they are of practical use. in creative explorations of the relationship including public art in public projects to urge For ACCUG-sponsored projects that are funded between public art and food, music, film and I would rather see businesses that developers and the university voluntarily through SPLOST, there is already a commitment other festivals that are held downtown. do the same for their projects. The Mayor and to include public art in SPLOST projects through and social groups supporting Commission can do this by adopting an overall the provisions of the ACC public art ordinance. Though this would be an advisory vision, event public art.” advisory “percent for art vision” for including This commitment should be extended to other coordinators should be required to meet with a public art in all downtown development, whether funding mechanisms, such as any Tax Allocation specially-designated ACAC task force in advance it is public, private or university. District that might be enacted, or any public– of the event to discuss possibilities for a special private partnerships that are developed. public art commission.
28 Athens Public Art Master Plan Athens Public Art Master Plan 29 PS St t Ne Introduction
x This work plan provides a year-by-year series of steps that the ACAC can take to implement the recommendations of this plan. The steps are broken into several categories: • Core activities, or the continuation of ACAC management of SPLOST projects and grants programs, • Critical path activities, or steps related to positioning the ACAC to take advantage of new funding opportunities, to apply for funding from grant opportunities (Our Town and ArtPlace) and to e request increased public art funding in the next SPLOST cycle, • Staff capacity, or steps related to building the professional and support capacity that ACAC can draw on, and :
• Discretionary activities, or additional projects that can be taken on when ACAC determines that it A has the capacity.
Fiv This work plan recommends an aggressive approach to implementing projects as the best approach to taking advantage of the following current and upcoming funding opportunities: • The Mayor and Commissioners are currently identifying opportunities for enhancement projects e along major transportation corridors, using special funding dedicated for the purpose, and are -
Y interested in including public art.
e • The current SPLOST will conclude in 2020 and the program for the next SPLOST is being
a developed over the next few years, setting the stage for a decade’s worth of new capital projects.
lan Pl r • The Our Town program, which could be a major source of funding for the ACAC, may change when there are new leadership and new priorities at the National Endowment for the Arts after the upcoming federal elections. • The ArtPlace program, which could be a major source of funding for the ACAC, will phase out in four years. This work plan should be reviewed on an annual basis, in light of current information at the time. For example, the schedule for any particular SPLOST project could accelerate or be delayed for factors Lyndon House Arts Center banner. Photo by Holly Alderman. beyond the control of the ACAC. Priority should be given to the following projects, in this order: • Completing SPLOST-funded projects • Continuing and expanding the grant program Discretionary Activities • Advancing other projects that can draw on ACCUG, Our Town or ArtPlace funding The following projects should be initiated by ACAC when it has the capacity to do so: • Activities related to advocating for public art funding in the next SPLOST cycle • Activities related to advocating for public art in planning and development Outreach to UGA about Public Art in Athens class and service learning projects • Developing projects that require external funding (besides Our Town or ArtPlace) Implement Art Walk exhibitions
After Five Years Implement Cultural Trail Projects In Fiscal Year 2020, when the outlines of the next SPLOST cycle are complete, the ACAC should Implement recommendations related to encouraging murals in Athens (creating a mural wall, creating a muralist roster, develop a new work plan that covers the time frame of the next SPLOST cycle. providing on-call technical assistance).
Implement recommendations related to encouraging developers to include public art in their projects, including the establishment of a private development task force.
Research additional major funding sources
Implement fundraising campaign to generate sponsorships
30 Athens Public Art Master Plan Athens Public Art Master Plan 31 F Y17 F Y18 F Y19 F Y20 F Y21 (July 1, 2016 through June 30, 2017) (July 1, 2017 through June 30, 2018) (July 1, 2018 through June 30, 2019) (July 1, 2019 through June 30, 2020) (July 1, 2020 through June 30, 2021)
• SPLOST #16, World of Wonder Park • SPLOST #8, Rails to Trails Network • Complete unfinished SPLOST projects • Begin implementing projects from new • Begin implementing projects from new (complete) (complete) SPLOST cycle SPLOST cycle • Commission two bus shelters with • SPLOST #21, Public Art Master Plan • SPLOST #9, Greenway Extension SPLOST / corridor funds • Commission two bus shelters with • Continue annual grant program, increasing (complete) (complete) SPLOST / corridor funds scope to least four per year • Make three grants, at least one using a • SPLOST #8, Rails to Trails Network • SPLOST #14, Sandy Creek Park (user residency model • Commission two bike racks with SPLOST / • Commission two bus shelters
C (initiate) group meeting) C corridor funds
ore • Commission two bike racks with SPLOST / ore • Continue Art Walk program, every other • SPLOST #9, Greenway Extension (initiate) • Make three grants, at least one using a corridor funds • Make three grants, at least one using a year
A residency model A residency model • SPLOST #3, Fire Station 2 (user group • Develop work plan for next cycle of • Continue Cultural Trail program, one per ctivities meeting) • Commission two bus shelters with SPLOST projects ctivities • Evaluate progress to date and prepare year SPLOST / corridor funds new five-year work plan for FY21 through • SPLOST #10, Cooperative Extension • Continue annual ACCUG funding for FY25 Service Center (user group meeting) • Develop work plan for next cycle of full-time staff person, develop sponsored SPLOST projects funding for part-time staff person • Convene a task force for FY18 grants, with the goal of expanding grant • Seek external grants for major projects eligibility to community-based non-profit organizations, expanding to three grants, and making at least one grant for a residency model.
• Plan, prepare and submit application to • Implement Our Town project • Complete Our Town project • Complete ArtPlace project NEA Our Town for FY 18 funding (Morton • Make an ArtPlace application for FY19 • Launch ArtPlace project Theatre mural) funding • Make conservation recommendations for • Convene a Bus Shelter Task Force to • Commission conservation report, develop funding in next SPLOST cycle itical Path Path itical C consider implementation of corridor- Path itical C r plan, develop recommendations for r funded and SPLOST-funded projects • Make Cultural Trail recommendations for funding in next SPLOST cycle funding in next SPLOST cycle • Develop scope of work for a conservation • Convene an Art Walk / Cultural Trail Task report and seek FY18 operating funds for • Make general public art recommendations Force, develop Cultural Trail plan, develop conservation report for funding in next SPLOST cycle recommendations for funding in next
A • Explore use of Bicycle Transportation SPLOST cycle A
c Improvements (SPLOST #06) for new bike c tivities • Convene a Bike Rack Task Force to tivities racks consider implementation of corridor- • E xplore use of Transit Vehicles and Bus funded and SPLOST-funded projects Stop Improvements Program (SPLOST #07) for new bus shelters • Explore use of Costa Building (SPLOST #32) for Cultural Trail interpretive project
• Seek FY18 annual funding for ¾ time • Hire full time public art program manager, • Continue full time public art program • Continue full time public art program • Continue annual ACCUG funding for full- public art program manager with a combination of ACCUG and Our manager manager time public art program manager Town funds • Continue public art internship • Continue public art internship • Develop sponsored funding for part-time • Create public art internship opportunities opportunities public art program coordinator • Continue public art internship S S taff taff C C apacit apacit y y
32 Athens Public Art Master Plan Athens Public Art Master Plan 33 w to to w T H The second important goal of a master plan is to outline the e o c preferred governance and operation of a public art program, so that hnical hnical it can implement the projects and vision that will define its work in the future.
G With the approval of this master plan, the governance and operations
e of the ACAC Public Art Program will be guided at three levels: t R
T • The ordinance that established the Athens Cultural Affairs e h c Commission enumerates the purpose, powers and composition omm e of the ACAC, and it establishes a funding basis for public art r through ACCUG capital funds, SPLOST capital funds, and e operating funds. : e
n • The ACAC guidelines describe the ACAC’s process for selecting,
dation purchasing, commissioning, placing and maintaining works of art. They also include criteria for accepting donations, creating an inventory, de-accessioning and artist contracts. • The Public Art Master Plan provides detail on the purpose, goals
s and operations of the Public Art Program. The plan outlines priorities for program directions over the next five to twenty years, and it recommends a specific work plan of projects over the next five years. The plan also provides “playbooks” or implementation guides for recommended projects.
The following technical recommendations explain how the ACAC can go about doing its work. Some of these recommendations clarify and expand the current ACAC guidelines, taking into account the broad range of activities recommended in this plan. These sections should be incorporated into the ACAC guidelines. Other recommendations outline new tools (such as an annual work plan and project plans) and strategies (such as funding, staffing, public outreach, evaluation and developing Athens’ public art ecosystem) that will also guide the ACAC’s work but do not need to be included in the guidelines.
Jean Wilkins Westmacott, Athena, Classic Center. Photo courtesy Athens Convention and Visitors Bureau.
34 Athens Public Art Master Plan Athens Public Art Master Plan 35 Criteria for Selecting Programs and Projects Approaches to Site Acquisition Technical Considerations Sites for public art may obtained in one of the In recommending the use of a site for public art, The following recommendations should be incorporated into the ACAC Guidelines as appropriate. following ways: the ACAC should keep the following technical considerations in mind: The ACAC should use the following criteria for evaluating potential programs and projects. • ACCUG, and/or one of its departments, These criteria can be used to determine whether an opportunity merits ACAC support, or how an dedicates a property or site to public art as • Public access can be guaranteed. opportunity might be modified so that it better fits the ACAC’s goals and priorities. part of a capital project. • Sites should be reviewed and accepted by • ACCUG, and/or one of its departments, the Public Works Director, or other individual Primary Criteria Secondary Criteria agrees to designate all or a portion of a as identified by the ACC Manager, who may The highest priority should be given to programs In addition to addressing the above priorities, government-owned property or site for establish reasonable conditions on the and projects that meet as many of these primary each potential project or program should address public art purposes. installation to assure public safety or other criteria as possible: as many of these secondary criteria as possible: • Another governmental entity agrees to public needs, • Reflect the priorities recommended in the • Be located in places that are easily visible to transfer property to ACCUG, or to enter • The location, including the surface or Public Art Master Plan, the public, or are focal points for community into a long-term legal agreement, for the structure upon which the art is to be placed, placement of public art. is both sound and in good repair, or there is • Are adequately resourced, in terms of activity, a binding commitment to assure that it will budget and the capacity of the ACAC to • Build awareness of and connections among • The legal owner(s) of a private property or be made so. manage them, and in terms of providing fair the many communities in Athens–Clarke other location agrees to donate the property, compensation to the artists for their efforts, County that might be separated by culture, or to place an easement upon the property, • Reasonable security from vandalism/theft for the placement of public art. can be provided as part of the project design. • Are dispersed widely into all areas of economics or geography, Athens–Clarke County, and connect with all • Enhance capital or programmatic aspects of its diverse community, investments that the public, non-profit • Directly support the community’s public art or philanthropic sectors are making in the ecosystem by strengthening the creative and community. technical abilities of local artists and arts • Directly support beautification goals as organizations, and expressed in the ACC comprehensive plan, “I hope public art gives jobs and commissions to local artists • Have the strongest possibility of strong corridor plans or similar initiatives, artistic outcomes. • Involve appropriate partners (government, and not outsiders, I hope it inspires children to value the arts, community, university) necessary to I hope it beautifies Athens in a sophisticated way and not a supplement the capacity of the ACAC to complete the project successfully, and for provincial one, I hope it brings attention to the visual arts which there is demonstrated commitment to be involved in the project, and and all the underappreciated working artists here, similar to • Expand the overall body of programs and the way the music scene is valued worldwide.” projects that the ACAC undertakes represent the variety of approaches to public art that are practiced today. Because the ACAC’s resources are limited, when possible, the ACAC should consider whether worthwhile opportunities or proposals for projects can be incorporated in a SPLOST project, developed as part of the Cultural Trail, or pursued through the annual grant program.
36 Athens Public Art Master Plan Athens Public Art Master Plan 37 Annual Work Plan and Budget
The following recommendations should be incorporated into the ACAC Guidelines as appropriate. The ACAC should develop an Annual Public Art Work Plan that outlines proposed public art activities and projects for the coming year. The Work Plan should include a budget request for ACCUG operating funds, covering administrative, project management, curatorial and planning support; grants to artists and organizations; and expenses for communications and marketing. The Work Plan should also list new and ongoing public art projects, including location, proposed budgets, allocation, artist selection process or artist (if already selected), anticipated completion date and a brief project description. This would be an informational report to the Mayor and Commission, and would be similar to the project status reports that ACAC already produces. The Annual Public Art Work Plan should be approved by the ACAC and forwarded to the Mayor and Commission for their information. The budget request should be submitted to the Mayor and Commission for their approval as part of the annual budget process.
Public Art Project Plans
The following recommendations should be incorporated into the ACAC Guidelines as appropriate. For each project, the ACAC should prepare a public art project plan. A project plan documents, for all parties involved, how a project will be planned and executed. Each project plan may be more or less comprehensive, depending on the Nack, mural on Preserve nature of the project, but the goal is to provide a clear framework for Arc tist Re ruitment and Selection Processes restaurant, Normaltown. managing the project, and for accountability and evaluation. Normally, a Courtesy Athens Cultural The following recommendations should be incorporated into the ACAC Guidelines as appropriate. project plan will include the following topics: Affairs Commission. Artist Selection • Allow for the representation of all relevant Yvonne Studevan, Untitled, • the goals for the project, • the community engagement stakeholder groups, and Police Evidence Facility. process, For each project, the ACAC should employ the Photo courtesy ACAC. • the project’s location and siting artist identification and selection process that • Ensure the ACAC draws on the expertise of considerations, • documentation needs, is most appropriate, depending on the goals for arts professionals • the timeline, • a list of internal and external the project, the budget, timeline, scope of work Artist Recruitment Processes • the budget and funding sources, stakeholders, and and other factors. The method of identifying The first phase of an artist selection process • post-installation needs. and selecting an artist for each project shall be • the preferred artist selection involves recruiting artists to be considered for a incorporated into the public art project plan, process, project. In the public art field, there are several and approved by the ACAC or the Mayor and generally accepted methods for recruiting Commission, as appropriate. The project plan should be drafted by ACAC staff or the Commissioner who artists: is a liaison to the project. It should be approved by the ACAC. General • Open Competition, For SPLOST projects, the ACAC should consult with the user group in The ACAC’s artist selection processes should: • Limited or Invitational Competition, developing the project plan. The project plan should be forwarded to the • Pro vide flexibility for the ACAC to follow a Mayor and Commission approval as part of the Project Concept approval • Roster, and process that is best suited to each specific phase. opportunity, • Curatorial Process. • Enable the ACAC to identify the artist who is best qualified to each specific opportunity,
38 Athens Public Art Master Plan Athens Public Art Master Plan 39 Open Competition roster as thoroughly as possible, then convene or other mutually agreeable means. The selection thorough immersion in the project, the site An open competition is a general call to artists a selection panel to review the artists on the panel would make a recommendation based on and the community is not regarded as a way of in which artists are asked to submit evidence roster against those criteria. The selection panel the artists’ credentials and interviews, using getting strong proposals. of their qualifications for a specific project. The would determine whether each applicant is criteria set out in the public art project plan. Instead, public art professionals usually call to artists should be tailored to the specific qualified, and if so, add them to the roster. Concept Proposal Process begin with a process like an Open Call or an opportunity, such as stipulating artists who To find artists for a specific project, a selection Artists can be selected on the basis of a concept Invitational process to identify a short list of have specific qualifications or who are from a panel would simply need to review the roster for the project, through a Request for Proposals qualified artists. At that point, a selection specific geographic area. A call to artists should be and pick a short list of artists for consideration. (RFP) process. In this approach, artists are can be made either through a Direct Selection sufficiently detailed to permit artists to determine The selection panel would then proceed following given a small contract to visit Athens–Clarke process, after an interview, or by asking the whether their work is appropriate for the project. one of the Artist Selection Processes below. County and to develop a concept for the artwork short list of artists to respond to an Request for Depending on the volume of responses, the The ACAC should consider outsourcing the they would create. The artists would begin Proposals, as described above. ACAC will either present all artist submissions, creation of a roster to an independent arts with an exploratory site visit. Subsequent to Local, Regional and National Artists or prescreen the submissions and only present organization through a contract. In outsourcing that visit, artists would present a physical It will be important for ACAC to work with a the most qualified. The artists who respond are the work, the ACAC should ensure that the representation of their work (rendering, three- range of local, regional and national artists. presented to a selection panel, which develops roster is a public resource, accessible to the dimensional model), and a written description Working with local and regional artists is a short list. ACAC and to others as needed. of the project, its concept, its materials and important to tap into local knowledge and to Limited or Invitational Competition Curatorial Process fabrication techniques, expectations regarding help local artists build their practices. Working site infrastructure needs, a preliminary budget A limited or invitational competition is a A curatorial process is a research-based process with national artists is important to tap into and a timeline. The selection panel would make broader currents of public art practice. process through which a limited number of in which a fine arts professional, such as a a recommendation based on its review of the artists are invited to submit evidence of their curator or a public art consultant chosen for concepts and the artists’ presentation, using The decision on whether local, regional or qualifications for a project. The ACAC would their expertise in the kind of project that is criteria set out in the public art project plan. national artists are appropriate for a project establish criteria and/or qualifications for the being commissioned, identifies the artists who depends on several factors. Direct Selection artist in the public art project plan, and ask one will be considered for the project. The curatorial • Budget. Artists from outside Athens will or more qualified third parties, such as artists, process would consider artists who, based At times the ACAC may recommend a direct require larger budgets, to compensate them curators, art faculty, public art consultants or on their past work and demonstrated ability, selection, in which it would contract directly for travel time and expenses. Regional artists other arts professionals to recommend a list could respond to the conditions posed by the with a specific artist for a particular project. will probably require a budget of $25,000 of artists. The recommended artists are then particular project or other project goals (i.e. Such a selection may occur for any reason, or more, and national artists will probably invited to respond to an RFQ or RFP. artists who reside in a particular community or but will generally occur when circumstances require a budget of $100,000 or more. neighborhood where a project is occurring, local surrounding the project make either an open or A selection panel would confirm the invitational • Complexity. Some projects might require list before artists are contacted to submit artists or regional artists, etc.) as expressed in limited competition unfeasible (for example: the public art project plan. a small budget, a short project timeline, specialized experience that necessitates qualifications for the project, and would conduct searching more widely for artists in order to the interviews and artist selection process. In a curatorial process, the recommendations community or social considerations, client demand, etc.). Direct selections would be made have a competitive pool. Roster of a curator should be reviewed by a selection panel, which would ultimately recommend the through a Curatorial Process, using criteria set • Need for local knowledge. Some projects A roster is a list of artists who are pre-qualified final selection of an artist. out in the public art project plan. might require a deep knowledge of the to undertake projects. It is best used when the community, which would make it more ACAC expects to commission numerous projects Artist Selection Processes RFPs versus RFQs difficult for an artist from elsewhere in a short period of time or numerous projects in In the second phase of an artist selection The two most common approaches to soliciting to be successful. a particular media, as the roster will provide an process, finalists are invited either to develop artists is to ask for their qualifications (Request In cases where national artists are sought, there efficient alternative to multiple RFPs for both a site-specific concept for the project or to for Qualifications / RFQ) or to ask for a proposal are still possibilities for involving local artists the ACAC and interested artists. For example, interview with the selection panel. (Request for Proposals / RFP). as an associated artist, as outlined in the Artist this plan recommends that the ACAC create a Qualifications Process Public art professionals try to avoid the RFP Development section of this plan. roster of muralists and use a roster to locate process at the outset of an artist selection “associated artists” for major commissions. Artists can be selected on the basis of their process for several reasons. Asking artists to To create a roster, the ACAC would develop an qualifications alone, through a Request for provide concepts without compensating them RFQ with specific criteria related to the pool Qualifications (RFQ) process. If an interview were for their work is regarded as unfair to artists. of artists it would like to create, distribute the requested, artists would be invited to have a Asking artists to provide concepts without conversation with the selection panel in person
40 Athens Public Art Master Plan Athens Public Art Master Plan 41 Selection Panels Criteria for Artist Selection V olunteer Leadership and Professional Staffing The ACAC should appoint selection panels Artists should be chosen on the basis of their The Athens Cultural Affairs Commission has operated, until recently, as an all-volunteer organization to recommend the selection of artists and qualifications, as they relate to the specific that handles the professional duties of managing a public art program. ACAC members have helped concepts for ACAC projects. Selection panels criteria set out in the public art project plan and the SPLOST office commission artworks for capital projects in the 2011 SPLOST cycle, managed an would operate on an ad-hoc basis, and the RFQ for the project, and on the probability annual grant program and managed the public art master plan process. Commission members also would be composed of internal stakeholders, of successful completion of the project. propose, advocate for and manage annual operating budgets from the Mayor and Commission. external stakeholders and independent arts professionals. For SPLOST projects, the Criteria For Concept Selection Last fiscal year, the ACAC hired a part-time staff person to coordinate administrative and logistical selection panel would include user group Artist concepts should be evaluated against work, especially for the public art master plan. members as well as arts professionals. the following criteria, in addition to any specific Volunteer leadership has played a critical role in the success of the ACAC to date, particularly in The role of the selection panels should be to: criteria set out in the public art project plan. regard to ensuring the work of the ACAC reflects the needs and desires of the community. However, • the volunteer structure has limitations when it comes to managing current projects and handling • Learn about the long-term goals, strategies The artwork will be original work created by an expanded workload. Because commissioners are limited to a fixed term of service, the ACAC has and parameters for public art related to the the submitting artist. difficulty in maintaining continuity of experience. To implement the goals and expanded program facility where the art will be located, • The artwork shall demonstrate the highest recommended in this plan, the ACAC will require a combination of continued volunteer leadership level of skill or craftsmanship. • Review artist qualifications and select and expanded professional support. finalists, • The artwork shall be appropriate within the Volunteer Leadership and Engagement • For commissions, review Concept proposed architectural, geographical, socio- cultural, and historical context, including Proposal(s) and/or qualifications, interview ACAC Commissioners use of appropriate scale and materials for finalists and recommend final selection to the site. ACAC will continue to benefit from its commissioners’ volunteer the ACAC, leadership of and involvement in day-to-day public art efforts. ACAC • The budget and timeline shall be realistic, • For acquisitions, review candidate artworks commissioners will be able to provide valuable community leadership, with a high probability of success. and make a recommendation to the ACAC, and tap into broad networks of collaborators and facilitate community • Provide a report on the reasons for its • The design, fabrication and installation shall engagement in ways that a staff member cannot. consider durability, resistance to vandalism, recommendations. However, over time, the ACAC should gradually transfer its hands-on long-term maintenance issues and weather project development and program administration responsibilities performance. to professional staff, and function more as a working board. • The project must not pose a threat to The commissioners’ efforts should focus more on community public safety. leadership, outreach, engagement and resource development. When necessary, ACAC commissioners could supplement the capacity of the staff, particularly in the areas of communications, research and meeting logistics. ACAC volunteers Helen Kuykendall and Laura Hoffman with ACCUG Liaison visiting artist Wing Young Huie. Photo by Todd W. Bressi. ACAC requires a direct, policy-level liaison with ACCUG leadership, such as the Mayor, Commissioners and City-County Manager’s office. The ACAC chair or a designated ACAC commissioner should play this role. The liaison should make budget and work plan presentations. ACAC also requires consistent liaison with ACCUG departments, such as Central Services and SPLOST. Currently, this responsibility falls to ACAC members who handle different projects. As a staff member is brought on board as an ACCUG employee, this employee should provide that liaision. The employee should report to the Director of Leisure Services, through the Arts and Nature Division administrator.
42 Athens Public Art Master Plan Athens Public Art Master Plan 43 Ad-Hoc Task Forces • Public Art in Development Task Force, to meet with • Manage special projects, such as a maintenance and Administrative Assistance developers to discuss the potential for public art in conservation plan, The ACAC should establish ad-hoc task forces to guide The ACAC will require ongoing project management their projects. The meetings would be mandatory, but the projects recommended in this plan, especially those • Coordinate content development for ACAC web, blog support and administrative assistance. This should be a including public art would be voluntary. that require partnerships with ACCUG agencies and other and social media, and staff function. The core duties of the ACAC staff will be to: organizations. Ad-hoc task forces would be similar to the User Groups • Oversee budgeting, contracting, billing and payments • Provide logistical support for community engagement user groups established for SPLOST projects in that they The ACAC should continue to work through user groups related to the above projects. processes, would draw on stakeholders specific to an initiative, have for SPLOST projects. User groups consist of ACCUG staff Additional duties may include: • Facilitate internal communications among ACAC focused missions and scopes of work and, in most cases, who are involved with the project, along with community members, including sharing of meeting agendas, be active for only a limited period of time. Task forces members who are stakeholders for the project. • Prepare grant requests, and reports and other information, would enable the ACAC to draw on broader community • Support the ACAC in making its annual Selection Panels expertise when needed, build working collaborative budget request. • Facilitate ongoing communication on behalf of the models, recruit potential new commissioners and expand The ACAC should establish a selection panel for each ACAC with other ACCUG agencies and external project the base of support for the public art program. artist selection. In cases where there is a task force or On-Call Assistance partners, user group, the task force or user group can form the core Each task force should be chaired by a member of the The ACAC should identify a range of public art • Manage external communications (web page, blog, of a selection panel. However, the selection panel should ACAC who has ample time remaining in their term to professionals who could be contracted with on an on-call social media), fulfill the duties of the task force, and should include be expanded to include arts professionals or artists who or as needed basis to accomplish certain tasks. • Track the overall ACAC budget and provide account at least one other ACAC member. Preferably, each task can contribute a perspective from an artistic point of Curating status reports, and force should include one member of the ACAC project view. The ACAC will require the involvement of arts management group and one member of the ACAC • Support fundraising and grant writing. Professional Assistance professionals who understand the local and regional art communications and outreach group. Staff Organization In the near term, the ACAC will require professional scene and will be able to help the ACAC recruit artists The membership of task forces should include a variety assistance on both a part-time, ongoing basis, and (from both Athens and beyond) to take part in projects, The ACAC staff should be located in a supportive of stakeholders, not just ACAC commissioners. Their specialized professional assistance on an occasional to facilitate artist selection processes and to work with environment, where there is an opportunity for creative activities could be supported by the ACAC professional on-call basis. Future ACAC operating and capital budgets artists to develop their projects. and professional stimulation and the availability of staff, or by ACAC commissioners acting as volunteers. technical and administrative support. should include adequate funding for this assistance, Public Art Planning The general role for members of ad-hoc task forces starting with a half-time staff person now, with hours In Athens, the most appropriate place to locate a public The ACAC will require the assistance of a public art should be to: increasing to full-time over the next four years, by art staff member is within Lyndon House, a community planner who can advise ACCUG on several matters, such as the time the next round of SPLOST projects is being visual arts center owned and managed by the Leisure • Provide overall guidance for projects, including public art recommendations into the upcoming implemented. Services Department, Arts and Nature Division. • Advise on technical details that are beyond the zoning revision, and developing guidelines for public art Following are the types of professional assistance that expertise of the ACAC, and signage and the acknowledgement of sponsors on murals. Lyndon House is a unique asset, including professionally will be needed. curated gallery spaces, specialized art studios with • Provide liaison to stakeholder groups and help Mural House Calls extensive course offerings, meeting rooms, a research obtain support in terms of site permissions, funding, Project Management The ACAC will require the assistance of a seasoned library, event spaces and festival grounds. Lyndon House marketing and in-kind assistance from them. The ACAC will require ongoing professional muralist who can provide guidance to businesses and would be able to provide creative and community- project management assistance in developing and This master plan recommends the following task forces: community groups about creating murals. engaged environment for public art staff, through implementing specific projects. The core duties involve: • Art Walk and Cultural Trail Task Force, to develop an interaction with the curators and artists who work there, • overall strategy, seek out immediate opportunities for Facilitate planning processes, such as planning the exhibitions and events that take place there, and implementation, and assist with marketing. of the downtown Art Walk and Cultural Trail with the residents who visit for classes and programs. The community task forces, facility could provide the base of operations for artist • Bus Shelter Task Force, to develop an overall priority • residencies and support the production of smaller-scale list for projects and assist in the implementation of Coordinate artist calls and selection processes for public projects. Lyndon House could also help with immediate priorities. specific projects and annual grants, administrative support, providing office space. • Bike Rack Task Force, to develop an overall priority • Coordinate project design, fabrication and installation list for projects and assist in the implementation of with artists, the SPLOST team and design teams, immediate priorities. • Manage communication with project partners, • Grants Task Force, to recommend opportunities and • Provide key liaison to ACCUG department directors strategies for public art grants each year. and staff,
44 Athens Public Art Master Plan Athens Public Art Master Plan 45 ACCUG Capital Improvement Program Appropriation Future SPLOST Cycles Future Public Funding Sources The ACAC should seek “percent for art” funding The ACAC should seek to tap into other ACAC currently draws on three sources of funding: an appropriation from the ACCUG operating in the forthcoming T-SPLOST and SPLOST streams of revenues when doing so will help budget, an annual allocation from the ACCUG capital improvement budget, and funding through the programs, as required by the Athens public art achieve the goals of both the ACAC and other SPLOST program. These funding sources should remain the core of ACAC funding. ordinance, and as allowable by state law. ACCUG entities. In the forthcoming SPLOST program, the ACAC Tax Allocation Districts ACCUG Operating Appropriation SPLOST Funding should also continue to seek flexible project Tax Allocation Districts allow for tax-increment The ACAC should continue to request increased The ACAC should maximize the use of existing funds, as it received in the current SPLOST financing for infrastructure and economic appropriations from the ACCUG operating SPLOST funding and pursue project funding as program. In addition, in the forthcoming development projects. Athens–Clarke County budget. Appropriations should be requested for recommended elsewhere in this plan. SPLOST program, ACAC should request funds has the authority to create TADs but has never the following costs: The current SPLOST program includes public for implementing: done so. The recently-completed downtown • Project management, curatorial and art funding that can be allocated at the ACAC’s • at least one Cultural Trail project, to be master plan calls for a broadly-based TAD administrative support, discretion. The first priority for this funding designated in the future, and to support a range of public and private should be to supplement the public art budgets • Artist and arts organization grants, • priority recommendations of the proposed investments around downtown. for capital projects for which the ACAC determines conservation plan. In Georgia, TAD funds can be used for grants • Communications, and that a one percent budget allocation would not for capital costs, which include: construction of • C ontracted services (artist rosters, artist be adequate. The second priority for this funding Special Opportunities new buildings; public works or improvements; development, on-call public art planning should be to implement “critical path” projects as From time to time, the Mayor and renovation, rehabilitation, demolition, or consulting, on call public art conservation identified in the five-year work plan. Commissioners may set aside funding for expansion of existing buildings; acquisition consulting) The ACAC should also work with the SPLOST special initiatives, or the ACCUG may apply of equipment; and clearing and grading of ACAC should also seek operating funds in its office to establish a policy for “construction for grants, that would provide opportunities land. The redevelopment plan for each district FY18 budget for a conservation and maintenance credits.” A “construction credit” arises in a for public at funding. In general, the public art specifies the permissible uses of the funds that study. This would build on the recently situation where an artwork replaces a design opportunities would have to be aligned with support the goals outlined in the Plan. completed inventory and would provide a component that would have been constructed the mission of the initiatives and the grant. As ACC continues to explore this financing tool, baseline of information that would allow ACAC otherwise. Generally the cost estimating for the The ACAC should work to ensure these funding there should be consideration of using TAD to request conservation funds as part of the next entire project would have identified a base cost sources do not unintentionally preclude the use funds as a source of funds for public art. Public SPLOST program. for that design component. Since that cost would of funds on public art. art could be required in any public or private now be covered by the art budget, the base cost Atlanta Highway and Lexington Road development that is supported by TAD funds, Capital Improvement Program for the component should be credited to the Corridor Improvements and a public art initiative such as the Cultural Appropriation public art budget. The Mayor and Commission have dedicated Trail could be established as an independent The ACAC should monitor allocations from the several hundred thousand dollars for public improvement to be supported by ACCUG Capital Improvement Program each improvements to major arterial corridors, such TAD funds. Any redevelopment plan that is year to ensure it is receiving the full amounts at Atlanta Highway and Lexington Road. There associated with a TAD should incorporate public required under the Sec. 1-25-5 of the ACC code. could be opportunities for gateway artworks art recommendations from this plan. The ACAC should confer with the Finance and artist-designed bus shelters along each Hotel Motel Tax Department to ensure that funds allocated route. from the annual CIP are being used with the ACCUG collects a seven percent tax on charges ACCUG Transportation Grant maximum flexibility allowed. for hotel/motel accommodations, amounting ACCUG has applied for federal Transportation to about $2.5 million in FY16. As a new hotel Investment Generating Economic Recovery comes online, HMT funds will increase. (TIGER) funding for transportation The allowable expenditures for these funds improvements. These funds could support the are defined by state law. At least four percent cost of artist-designed bus shelters. of Athens’ HMT levy is required by state law to promote tourism, conventions, trade shows and related purposes. This includes “Tourism Product Development,” or the creation or expansion of physical attractions that are
46 Athens Public Art Master Plan Athens Public Art Master Plan 47 available and open to the public and that Grants improve destination appeal to visitors, support The ACAC should attempt to expand public visitor experience, and are used by visitors. art funding by obtaining grants and private Historically, six percent of Athens’ HMT is donations, recognizing that independent arts dedicated to the Classic Center. organizations in Athens are also competing for The remainder of the HMT levy can be used for funding. any purpose that is eligible for general fund The ACAC should focus its fundraising on expenditures. For example, in FY16, Athens specific projects recommended in this plan, allocated HMT funds to be spent on traffic particularly if projects can be developed in calming and pedestrian safety projects. collaboration with other entities that would see HMT funds are a viable source of public art public art as helping to fulfill their missions. funding. Consideration should be given to the Our Town and ArtPlace America use of HMT funds for public art projects that are related to Tourism Product Development Our Town and ArtPlace America are grant (such as an Art Walk and Cultural Trail) and for programs that support a wide variety “creative place-making” endeavors. Our Town is managed public art marketing. Such funding would be Mandala murals on Big City determined through consultation with agencies by the National Endowment for the Arts, and Private Funding Sources Bread, created by youth that promote downtown tourism and would be funding is available only to local governments. ACCUG’s commitment to public art through operational and capital funding should be a powerful in the Lyndon House Arts ArtPlace is managed by a consortium of Center Mural Workshop approved by the Mayor and Commission. lever for persuading the private sector to make a similar investment. and Summer Camp, 2016. foundations, and requires a collaboration Inspired by drawings by Downtown Development Authority The ACAC should provide a clear, compelling set of opportunities for the private sector to support, between an arts organization and a community artist-in-residence David and civic and elected leadership should reinforce the message that Athens’ private sector is expected Hale. The Downtown Development Authority is or civic organization. funded through several sources, including a tax to contribute to this aspect of the community’s advancement. Building these expectations for With the development of this master plan, the district. The DDA assisted with the funding of private support usually takes a consistent message offered over a long period of time. ACAC would be strongly positioned to apply for artworks on the Washington Street Garage. The However, it is not reasonable to expect that private funding will supplant public funding, particularly both types of grants. ACAC should begin with an ACAC should discuss with the DDA the potential because state law does not provide for formal mechanisms for requiring developers to include public Our Town proposal, and after it builds more of a of collaborating on the funding the downtown art in their projects. track record, it can apply for an ArtPlace grant. Art Walk and Cultural Trail, potentially through Sponsors recommendations about opportunities for additional requests for its beautification C ost Recovery doing so. budget. The DDA could also be a marketing and Sponsorships from businesses and local When that ACAC receives grants from outside communications partner for those projects, organizations should be focused to support Developers of projects of a certain scale in sources, such as Our Town and ArtPlace, it contributing funding to those efforts as well specific projects or events. Generally, it is easier Athens, or in certain locations (downtown, should attempt to use grant funds to recover as incorporating those resources into its own to ask for sponsorships for discrete projects, regional centers, neighborhood centers) should some of its costs. For example, part of the grant marketing and promotion of downtown. and this will help ACAC reach milestones on its be required to review the Public Art Master Plan income should be allocated to pay for staff time priority projects. Art Walk displays, Cultural Trail and to meet with the ACAC to discuss how public necessary to manage the grants and the projects. projects, bus shelters, bike racks and murals art might be incorporated into their sites, as are all the types of ACAC projects that could part of the predevelopment process, or how they conceivably be supported by sponsors. might sponsor artworks, as indicated above. The
Developers ACAC could establish a task force to carry out this work. Currently, developers do not have any obligation or incentive to include public art in their In particular, the ACAC should urge developers development projects. Under Georgia state to assist with the development of murals, bus law, municipalities do not have direct tools for shelters, the Art Walk or the Cultural Trail, as requiring developers to do this. those projects pertain to their property. Nevertheless, ACCUG and the ACC should make clear their preference for developers to include public art in their projects and provide
48 Athens Public Art Master Plan Athens Public Art Master Plan 49 Classic Center Cultural Foundation Acknowledgement Guidelines The Classic Center Cultural Foundation raises The ACAC should develop guidelines that funds to support the overall mission of the provide clear expectations for how donors would Classic Center, and sometimes uses those funds be recognized, without interfering with the to acquire artworks to add to the Classic Center public’s enjoyment of art projects. collection. Generally, these guidelines should consider The ACAC should discuss with the Classic the relative positioning of sponsorship credits Center Cultural Foundation the potential of versus artist credits and basic information collaborating on the following projects: about a project, and limitations on the use • The downtown Art Walk, particularly of logos, colors and typography that brand a aspects of the Art Walk that would improve business. Guidelines should apply to signage, pedestrian connectivity to the Classic Center printed material and web material. from other areas of downtown. C ost Recovery • The Cultural Trail, particularly elements that When that ACAC receives grants from outside relate to the Classic Center. sources, such as sponsorships, it should • A downtown mural wall, as part of the range attempt to use those funds to recover some of of cultural offerings that are promoted to its costs. For example, part of the sponsorship Makers Fest at Lyndon House. Photo courtesy Our Arrow at the Lyndon House Arts Center. visitors. income for an Art Walk exhibition should be allocated to pay for staff time necessary to Fundraising Campaign manage the Art Walk. The ACAC should develop simple materials, Ar tist Development such as a slide presentation and/or one-page The ACAC should be attentive to helping the community develop a robust capacity to create public art through two “FAQ” sheets, that can be used to recruit main strategies: sponsors for these projects. A slide presentation should include background on the value of • Ensure that it offers a wide range of commissions at different budget levels, in different media and at different public art to the community, the opportunities scales, so that artists in a wide range of practices can have access to commissions. for supporting public art, and the benefits of • Support all segments of the public art ecosystem through enrichment programming. The ACAC should carefully sponsoring public art. For specific projects, such consider its role in these programs; while the ACAC may have resources to offer, it should consider collaborating as Cultural Trail sites, more specific fundraising or contracting with independent arts organizations to organize the programs described below. That would help approaches and materials would be developed. the ACAC focus on its core mission while helping to support the growth of other arts organizations in Athens.
Collaborations with Associated Artists For large commissions created by experienced public a minimum of $5,000, and higher depending on the artists, the ACAC should require the commissioned scale of the project and the associated artist’s role. artists to collaborate with artists who are less advanced • The ACAC should maintain a roster of artists in their careers or not as experienced in public art. who could be considered as associated artists, Generally, this will create opportunities for more less and provide the commissioned artist with seasoned artists to learn from more experienced ones. recommendations if necessary. In some cases, this might result in a collaborative credit that artists can use in their portfolios. • The commissioned artist’s approach to collaborating with an associated artist should be one of the • For commissions over $100,000, require that the criteria for evaluating the artist in the artist commissioned artist collaborate with an associated selection process. artist who is less experienced in public art. • The commissioned artist and associated artist • The ACAC should set aside a fee for the associated should negotiate the nature of their collaboration, artist that is separate from the commissioned what the associated artist will contribute to the artist’s budget. The associated artist fee should be project, and how credit will be offered.
50 Athens Public Art Master Plan Athens Public Art Master Plan 51 Professional Development Workshops Visiting Artists / Curators As independent entrepreneurs, public The ACAC should catalyze local artist artists must learn how to stand out in a very engagement with the broader public art competitive environment. Many artists would community. benefit from workshops focusing on aspects The ACAC should sponsor a periodic visiting of putting together qualifications packages artist / curator series that engages artists in and applications, such as developing an artist Athens–Clarke County with public artists who statement and artist resume, photographing are practicing elsewhere. Visiting artists could and documenting work and budgeting. These spend their time giving a public lecture, leading skills are not only important to competing for a practicum or professional development public art projects or awards, but also can be workshop, and making studio visits. applied to other applications processes that artists might consider outside of ACAC projects. The visiting artist / curator series could be organized in collaboration with faculty from The ACAC should consider how it can catalyze the University of Georgia, who would be able to these workshops, but not be in the lead of provide access to service learning or humanities developing, organizing or facilitating them. enrichment funding. Beverly Pepper, Ascension, The ACAC should consider offering an annual Georgia Museum of Art. grant in the range of $500 to $1,000 to Professional Networking Photo Courtesy Georgia Museum of Art. independent arts organizations in Athens The ACAC should investigate approaches to that wish to offer professional development helping artists network with professional public workshops for artists. ACAC commissioners art organizations. These approaches might be Partnerships: Public Art Ecosystem who have managed public art commissions undertaken in collaboration with the Athens Area In vibrant cultural communities, public art agencies are part of a broader ecosystem. Artists, artist can be resources to these workshops in the Arts Council or the Lamar Dodd School of Art. collaboratives, independent arts organizations, galleries, fine arts schools, curators and fabricators curriculum development or facilitating of the Scholarships all play an important role in creating public art projects and advancing the work that artists do. workshops. The ACAC should ask the contracted The ACAC could consider offering scholarships, organization to determine from local artists + A CAC should consider sponsoring artist through mini-grants, to professional artists University of Georgia what professional development topics in public residencies within an Office of Service from Athens–Clarke County who would like The University of Georgia has numerous art would be most useful, before developing the Learning “engagement hub” as a means to become involved with larger public art resources that help shape the arts and culture workshop curriculum. for an artist to connect with experts networks. Grants of $250 could be used to community in Athens–Clarke County. Most on import current issues, and for the Public Art Practicums underwrite registration fees or travel costs for notably among these are the Lamar Dodd School university partners to have an additional artists who wish to attend public art networking of Art and the Willson Center for Humanities As artists develop public art projects in channel of access to the community. The conferences such as the Public Art Network, and Arts. In addition, the Office of Service Athens–Clarke County, the ACAC should provide Watershed UGA “living laboratory,” for Open Engagement or Hand-in-Glove. Learning creates “engagement hubs” that opportunities for them to share their project example, has already catalyzed several on support campus-wide collaboration, community development processes in a practicum setting Simulcasting campus art projects related to watershed engagement and interdisciplinary service- with other artists in the community. The ACAC and water quality awareness. The ACAC could consider simulcasting the Creative learning around topics such as food systems, should provide a small amount of funding in Time Summit, a leading social practice conference, watersheds, hunger and K-12 learning that are + A CAC should collaborate with the Lamar each artist’s contract that would compensate for local artists who are not able to attend. important public policy issues. Dodd School of Art on a service learning the artist for this effort. course related to public art in Athens, • ACAC should cultivate, where possible, which combines student field research on institutional partnerships where the the existing collection and student studio resources of the university and ACAC are work creating new projects. Visiting artists combined to create innovative frameworks could be brought to Athens under this for sharing resource to advance public course format. ACAC could recommend practice in Athens. artists who have a major commission, or make a commission in Athens part of the arrangements.
52 Athens Public Art Master Plan Athens Public Art Master Plan 53 + ACAC should consider supporting extra Downtown Organizations time for visiting artists to UGA (who There are several organizations that are typically come for a brief time to lecture dedicated to promoting the economy and well- and visit classes) to provide time for being of downtown, notably the Downtown activities that directly engage the local Development Authority, the Classic Center community. Visiting artists are chosen by Cultural Foundation and the Convention and faculty committee. Visitors Bureau. The ACAC should collaborate • ACAC should also cultivate partnerships with these organizations on various activities: with individual faculty members who can • implementing the Art Walk and the Cultural access resources from their departments, Matthew Mazzotta, outdoor living room at Lamar Dodd School of Art. Photo by Todd W. Bressi. Trail, as outlined in the implementation schools and the Willson Center for initiatives plans for those projects, that advance teaching, research and public art practice. • ensuring that public art is included in other public and private developments downtown, C ommunications and support is needed. Secondary audiences include the visual In order to facilitate this cross fertilization, the such as the proposed amphitheater near the arts community, particularly when the ACAC is distributing ACAC should set aside one or two commission Marketing Classic Center, a call to artists, and the stakeholders in the area of a project spots for University appointees. Goals and Messages that is being developed. • encouraging murals downtown, and Successful communications and marketing starts with a The ACAC should also consider the Mayor, Commission and Independent Visual Arts Organizations • developing public education and marketing series of key goals and messages to support those goals. ACCUG administrative leadership a key audience as well, as Athens hosts several independent visual arts materials. their support will be necessary for the funding and operation organizations, most notably the Athens Area Communications across all platforms should be to support of the program. Arts Council (AAAC) and Athica. AAAC provides these key goals and messages. support for practicing artists, and launched the The ACAC’s key goal should be to convey the following Content popular artist-designed bus shelter program. messages about public art: Over time the ACAC should develop more content about Athica is a contemporary art gallery. • public art is a community asset, beautifying Athens– the works in its collection. This could include updated ACAC should collaborate with these Clarke County and connecting its diverse communities. photography and comments and interviews from people organizations in order to increase its creative • the ACAC is a wise steward of public resources, using who encounter the art. Additionally, existing content should reach, reduce the workload of its staff and them to catalyze creative expression, leverage other be re-evaluated to ensure that it helps to convey the key volunteers, and generally strengthen the resources and strengthen the local arts community. messages described above. climate for public art in ACC. Options include: The ACAC’s secondary goals for communications and For projects that are in development, the ACAC should • Contracting with independent marketing should be to convey: consider providing “real-time” updates, such as concept arts organizations to manage the proposals, reports from stakeholder meetings and “work in • the breadth and depth of the resources in Athens–Clarke implementation of projects like bus progress” reports from the artists and stakeholders. These County, shelters and murals. updates should be archived, as they provide a first draft of • public art welcomes, and depends on, community • Contracting with independent arts the formal documentation of the artwork. The ACAC has engagement and community support, and organizations for services such as begun this process for the project at World of Wonder Park. developing artist rosters or professional • public art involves a depth of thought, creativity and These content improvements are important for conveying development programming. collaboration. the message that the ACAC is creating fresh, relevant work. • Allowing independent arts organizations The ACAC can also provide a service by offering “how-to” It is especially critical for temporary projects, for which the to apply for grants for public art projects. information to businesses and others that would like to documentation will be the key way for people to access commission art projects such as murals. information about the project. And it helps keep the program and its operations in the public eye. Audience The ACAC occasionally uses its Facebook and Twitter feeds to Successful communications and marketing also identifies promote public art opportunities and news from other local, and addresses itself to key audiences. regional and national public art organizations. The ACAC For the ACAC Public Art Program, the key audience is the should evaluate whether the announcements dilutes the general public, especially people who the ACAC hopes will ACAC messages about its own work. benefit from public art projects and whose participation and
54 Athens Public Art Master Plan Athens Public Art Master Plan 55 Tools Maps/Public Art Tours Internet and Social Media As the public art collection continues to grow, and as funding is available, ACAC should develop The ACAC’s main communication tools are its web a digital and print map of where public art is page, blog, Facebook page and Twitter feed. While located throughout the city with information its Facebook and Twitter feed provide current about each piece highlighted. The ACAC should information about the program, the banners and delay plans to develop an audio tour or a project areas of the web page can feel dated, and smartphone app until there is more of critical should be refreshed more frequently. mass of projects within walking distance. Print and Radio In general, public art programs are better off The ACAC has strong relationships with print building on existing digital platforms rather and radio media. Coverage of the master plan than building their own. One important reason included daily and weekly print publications, is, using third party platforms relieves the and interviews on four radio programs. The public art program from being responsible for ACAC should maintain these contacts and software or platform updates. For example, create regular story availabilities for these Culture Now offers a web site that currently media. integrates the mapping of more than 75 public Dedication and Celebration Events art collections, and makes a version of the web site available over smart phones. As each project is completed, it creates an Bob Quinn, Ben T. Epps. Courtesy Athens Cultural Affairs Commission. opportunity for a community celebration. All Collateral Materials those involved in the selection and creation of Collateral materials, such as brochures, the artwork should be invited to celebrate it and booklets, cards and posters about public welcome it into the community. These events art projects, can provide more in-depth C ollection Management can be as simple as a press conference, or they documentation in a format that people can may turn into a block party depending upon the keep and enjoy. The ACAC should develop a The following recommendations should be incorporated into the ACAC Guidelines as appropriate. scope of the project and its location. strategy for creating collateral material for O wnership ACAC should adopt standard signage design existing and forthcoming artworks. so that over time the public can more easily All public art funded by ACCUG and/or located on recognize which artworks are in the ACCUG Grants for Audience Engagement ACCUG property should be owned and insured by collection. The ACAC should consider using some of its ACCUG. Project Records grant funds to support innovative approaches to D ocumentation of the Collection engaging audiences with public art in Athens– Files for each commission, acquisition or Clarke County. Potential projects could range ACAC will be responsible for keeping records donation should be maintained in a single from artistic reinterpretations of public art to of the ACCUG public art collection, including location accessible to ACAC and Central Services. “how-to” guides for certain types of projects to developing records for existing work and The files should include, as appropriate: documenting new works entering the collection. interpretive materials available in print, on the • Plans and drawings generated by the artist web or through apps. Project Identification during the commissioning process. Each new artwork should be identified with • Copies of project correspondence. standard signage stating the artist’s name, the • The maintenance instructions provided by the artwork title, the media and the date the work artist and subsequent conservation records. was created. The signage should be placed in an appropriate location near the artwork that can be • A copy of the artist contract. easily viewed by pedestrians. • Hard copies of images of the artwork during Over time, signage should be created or updated fabrication, installation and after installation. for existing works in ACCUG’s collection to ensure • Media clippings. that the works are recognized as belonging to ACCUG and that people can learn about the work.
56 Athens Public Art Master Plan Athens Public Art Master Plan 57 Public Art Inventory Conservation The ACAC must review and recommend to the Mayor the matter. The ACAC may choose to hold a public ACAC should maintain a full inventory or database Conservation is the regularly scheduled examination, and Commission any proposal for de-accessioning or meeting for the purpose of gathering community input. of the entire ACCUG public art collection, in a format documentation, treatment and preventative care relocating an artwork. Consideration of de-accession The ACAC must notify the artist and solicit their input. accessible to ACAC and Central Services. This of public art. Conservation work is conducted by a or relocation should involve the same degree of The ACAC may recommend any of the following inventory should include, as appropriate: professional art conservator. careful review as a decision to commission a work courses of action as a result of its review, in the of art; decisions should be informed by professional following order of preference: • Artist name and contact information ACAC and Central Services should collaborate on the judgment and in the interests of the public. • Title of work commissioning of a baseline conservation study of the • Repair the artwork Criteria current public art collection, through a funding request • Relocate artwork • Location (kept in a format compatible with the to the Mayor and Commission. The study would The ACAC may consider the de-accession, relocation • Remove work from display and store City’s GIS system) involve hiring a professional conservator to conduct or removal of a work of art for any of the following • Year completed/installed a survey of the condition of each work in the ACCUG conditions: • If no other alternative is evident, remove and • Media public art collection and make recommendations for • The condition or security of the artwork cannot be permanently dispose of artwork. Disposal should conservation, cost estimates and a recommended first include return to the artist, then donation to • Dimensions reasonably guaranteed; schedule for implementation. The survey should be charity or other government entity. • The artwork requires excessive maintenance or • Budget/cost and source of funds conducted every five years. • has defaults of design or workmanship and repair Sell or trade artwork (secure professional • A brief description of the work suitable for Central Services will be responsible for subsequent or remedy is impractical or unfeasible; appraisal and advertise sale; seek competitive publication conservation work. Conservation should be paid for bids; dispose of work) • The artwork has been damaged and repair is • Maintenance and conservation needs as defined by Central Services operating funds or through special In the case of a relocation or de-accession, the ACAC impractical or unfeasible; by the artist and conservation assessments grant funds or funds set aside by ACAC specifically will make a recommendation to the Mayor and for conservation. Central Services and ACAC should • The artwork endangers public safety; • Schedule of maintenance or conservation needs Commission, which makes the final decision. request a conservation fund as part of the next SPLOST • Significant changes in the use, character, or • Conservation history program. design of the site have occurred that affect the Visual Artists Rights Act • Accession number ACAC should take steps to identify conservation integrity or relevance of the work; Conservation, maintenance and de-accessioning should take place in accordance with the Visual needs of new artworks prior to their fabrication and • Significant adverse public reaction has been C onservation And Maintenance Artists Rights Act of 1990. Artists whose work is installation. ACAC should require, when necessary, documented over an extended period of time (a of the Collection under consideration for de-accessioning shall be that artists consult with a conservator during the minimum of five years); Public art is a community asset that should be design development phase of the project to identify notified by reasonable means, to include written • The work is of inferior quality or is judged to have properly maintained. Conservation and routine the conservation needs of the project. Alternately, notification by registered mail, and shall have the little aesthetic and/or cultural value; maintenance should be undertaken to preserve ACAC should require that design documents be right of first refusal to purchase the artwork(s) or artworks in the best possible condition. reviewed by an independent conservator prior to • A suitable location for the artwork has been reclaim the artwork(s) if purchase is not required. Maintenance executing the fabrication and installation portion of a identified that better satisfies the original goals contract. For commissioned works, the artist should of the project; or Maintenance is the routine care and repair of works provide ACAC with a worksheet that identifies the of public art that does not require specialized • The artist requests removal or relocation of the conservation and maintenance needs of the work, expertise (i.e.: dusting, washing, lubrication of artwork due to any of the concerns listed above. including the frequency, methods and materials moving parts). ACAC will coordinate with Central Procedure recommended. Central Services should be consulted Services and ACCUG departments to ensure an during the maintenance review. Central Services and ACCUG agencies should notify appropriate maintenance for each artwork. the ACAC immediately if an artwork is seriously Central Services will be responsible for routine De-Accession and Relocation of Artworks damaged, or if a department plans to relocate an maintenance and repair of public art located on ACCUG should seek to ensure the ongoing integrity artwork, remove an artwork or in any way alter ACCUG property. Central Services should not conduct of the artwork in the ACCUG collection and the sites the site where an artwork is located. ACAC should any repair work without consulting with the ACAC. for which they were created, to the greatest extent notify Central Services and the affected agency if it Central Services should notify ACAC immediately if feasible, in accordance with the artists’ original determines that relocation or de-accession should be an artwork is damaged or stolen. intentions, and consistent with the rights afforded considered. The ACAC should inspect each artwork at by the 1990 Visual Artists Rights Act. However, The ACAC shall review the circumstances surrounding least once a year, and provide recommendations to from time to time there will be circumstances when the damaged artwork or proposed de-accession or Central Services about maintenance or ACCUG will deem it necessary to relocate or remove a relocation. The ACAC may appoint a task force to review repair needs. work of art in the ACCUG collection.
58 Athens Public Art Master Plan Athens Public Art Master Plan 59 E valuation Roles and Responsibilities Evaluation is discussed frequently in the public art field but most public art programs do not have Mayor and Commission Athens Cultural Affairs Commission experience with evaluative processes. There are two general reasons for doing evaluations. One is to The Mayor and Commission are the chief The Athens Cultural Affairs Commission is assess whether a project achieved its goals, which is often necessary for reporting to funders. The legislative body of Athens–Clarke County Unified an eleven-member, volunteer group that was other is to inform future designs about processes, programs and projects, which useful to improving Government. The Mayor is elected at large. The created by the ACCUG to oversee and implement the impact public art has on a community. members of the Commission are elected by public art and other cultural affairs programs in An evaluative process can focus on a specific project or an entire program. The ACAC should consider district. The Mayor and Commission: ACC. The ACAC mission is: steps to implement both types of evaluation. • Approve the Public Art Master Plan, • Make recommendations to the Mayor and Project Evaluations Event Evaluations • Approve ACAC annual budget and work plan, Commission on development and promotion of practices and policies pertaining to arts The ACAC should evaluate individual projects When the ACAC sponsors or collaborates on • Approve public art recommendations for and culture, at their conclusion by asking people who were an event, such as a lecture or a professional SPLOST projects, involved to complete a simple survey or exit development workshop, it should develop a • Foster the development and enjoyment of • Approve schematic plans for SPLOST projects, interview. The survey and/or interview should short questionnaire that collects feedback about performing, visual, musical, literary arts and focus on questions about the goals and process the event. The questionnaire can be focused on • Approve contracts as required by ACCUG other cultural activities in the Athens-Clarke of the project. If the evaluation is conducted as a meeting format, content and location, as well purchasing policies, and County community, and survey, it should allow for open-ended responses as questions that gauge whether the meeting • Accepts donations of public art. • Expand public awareness, understanding, as well as structured responses. The findings achieved its goals. and enjoyment of arts and culture in should be used to inform goals and process C ity–County Manager everyday life. strategies for future projects. Ongoing Informal Feedback The City–County Manager is the chief executive Its specific role in regard to public art is: The ACAC should collect ongoing informal officer of the Athens–Clarke County Unified Program Evaluations feedback through a portal on its web page / Government. The City–County Manager: • Develop an annual work plan and annual The ACAC should periodically evaluate its blog that allows people to upload comments, budget request and monitor ACAC annual • Approves contracts as required by ACCUG overall progress and the artworks it is creating or through comments it receives through social budget, purchasing policies. by collecting information from a broad group of media platforms. It should also encourage • Create selection panels and task forces when people, from project insiders to casual observers. comments on topical blog posts. This feedback necessary and appoint members, should be reviewed and archived, though it The easiest way to do this is through an online • Make recommendations to Mayor and should be recognized that it carries different survey for residents, businesses, visitors and Commission about project budgets and weight than evaluations that are conducted users. The survey could be supplemented by scopes, artist selection and schematic systematically. key stakeholder and intercept interviews. The development of SPLOST projects, survey should track several baseline questions, • Make recommendations to Mayor and such as people’s familiarity with the ACAC and Commission about donations of public art, its specific commissions, as well as people’s engagement with public art projects and • Coordinate the review of de-accessioning commissions that were undertaken since the and relocating public art, and make Public Art Master Plan was adopted. recommendations to the Mayor and Commission, The online survey should build on the survey was conducted for this master plan, so results • Provide key liaison to elected officials, can be compared, and could include additional • Coordinate external outreach to arts and questions that could be carried forth on future community organizations, and the university, surveys. • Assist in the development of The first survey should be undertaken in communications materials, and three years, to help evaluate progress on the • Assist in the development of fundraising recommendations of the master plan and to materials and in fundraising outreach. obtain information about public priorities before the next SPLOST cycle is approved.
60 Athens Public Art Master Plan Athens Public Art Master Plan 61 ACAC Staff T ask Force Selection Panels C entral Services The Athens Cultural Affairs Commission Ad-hoc Task Forces are established by the ACAC Selection panels are appointed from time to Central Services, part of ACCUG, is responsible staff provides project management and to guide the projects recommended in this plan, time by the ACAC to recommend the selection for the management for providing general administrative support. Currently, ACAC especially those that require partnerships with of artists and concepts for ACAC projects. They services to ACCUG. In this capacity General contracts with a part-time arts administrator to ACCUG agencies and other organizations. operate on an ad-hoc basis, and are composed Services: provide administrative and logistical support. The general role for members of ad-hoc Task of internal stakeholders, external stakeholders • Oversees the maintenance, repair and In the long run, ACCUG should hire a full-time Forces should be to: and independent arts professionals. Selection conservation of artwork in the ACUUG employee to provide project management and panels: collection, administrative support. • Provide overall guidance for projects, • Learn about the long-term goals, strategies • Collaborates with ACAC by providing early • Facilitate planning processes, such as • Advise on technical details that are beyond and parameters for public art related to the the expertise of the ACAC, and review of sites and strategies for projects planning of the downtown Art Walk and facility where the art will be located, in the public realm, such as Art Walk and Cultural Trail with community task forces, • Provide liaison to stakeholder groups • Review artist qualifications and selects Cultural Trail projects, and • Coordinate artist calls and selection and help obtain support in terms of site finalists, permissions, funding, marketing and in-kind • Administers the donation review process. processes for specific projects and annual assistance from them. • For commissions, review Concept grants, Proposal(s) and/or qualifications, interview Ad-hoc Task Forces are different from • Coordinate project design, fabrication and finalists and recommend final selection to standing ACAC committees in that they have installation with artists, the SPLOST team the ACAC, focused missions and, in some cases, limited and design teams, time frames. They also include a variety of • For acquisitions, review candidate artworks • Manage communication with project stakeholders, not just ACAC commissioners. and makes a recommendation to the ACAC, partners, and • Provide key liaison to ACCUG department User Groups • Provide to the ACAC a report on the reasons directors and staff, Project-specific “user groups” are formed by for its recommendations. the SPLOST office to provide input on specific • Manage special projects, such as a capital projects. User groups: SPLOST Office maintenance and conservation plan, • Provide recommendations to the ACAC on The SPLOST office, part of ACCUG, administers • Coordinate content development for ACAC SPLOST funds and manages SPLOST projects. web, blog and social media, and the approach to public art that is desired for each capital project. The SPLOST office: • Oversee budgeting, contracting, billing and • Collaborates with ACAC on the development payments related to the above projects. of approaches for including public art in Additional duties may include: SPLOST projects, and • Prepare grant requests, and • Oversees the financial management of • Support the ACAC in making its annual SPLOST projects. budget request.
62 Athens Public Art Master Plan Athens Public Art Master Plan 63 Definitions Call to Artists Mural Selection Panel Roster The general term for a request for artists to An ad-hoc group appointed by the Athens A registry of artists who are pre-qualified to be A ccession apply for a public art commission. A call to Cultural Affairs Commission to make considered for various projects sponsored by the The act of adding or acquiring a work of art to artists can be issued as Request for Proposals recommendations about adding artists to the ACAC; for example, a roster of muralists. The the Athens–Clarke County Public Art Collection (RFP), which asks for the submission of both an ACAC muralist roster, and to select muralists for registry would include specific criteria for the through commission, purchase or gift. artist’s credentials and a conceptual proposal the ACAC rotating mural wall. inclusion of artists, depending on the nature of for an artwork, or a Request for Qualifications the project. ACCUG Policy (RFQ), which asks for the submission of an Selection Panel The Unified Government of Athens–Clarke artist’s credentials. This Public Art Policy as adopted by the Athens County. Cultural Affairs Commission, including any An ad-hoc group appointed by the Athens Capital Improvement Program (CIP) future additions, deletions or revisions thereto. Cultural Affairs Commission to make Annual Work Plan The ACCUG program for advance planning of recommendations about artist selection and A plan developed by ACAC that outlines public capital developments. Project Plan artist concepts to the ACAC. art activities for the coming year, reports on A document, developed by the ACAC, that SPLOST the status of ongoing and proposed public Construction Project outlines the work that must be done to art projects, and recommends and operating Any capital project paid for wholly or in part by undertake a specific public art commission or The “Special Purpose Local Option Sales Tax,” budget for the ACAC for the coming year. ACCUG to construct or remodel any building, acquisition and establishes the goals against which is the primary funding mechanism for decorative or commemorative structure, park, or which the project will be reviewed. The project capital projects in Athens–Clarke County. Artist parking facility or any portion thereof. plan is approved by the ACAC before a project Task Force An individual who meets one or more of the begins. It is also referred to the Mayor and following criteria: Curator Commission, in the case of SPLOST projects. A group appointed by the Athens Cultural Affairs Commission to handle a specific task • realizes income through the sale, A fine arts professional who assists in the Public Art related to the administration of the Public Art performance, publication or commission of development of a public art project, primarily by Program, such as providing recommendations original works of art; locating an artist suitable for a project, assisting An original artwork in any media, produced by the artist in developing their concept, and an artist or by a team of artists that has been on bus shelters or the grant program. Task • has previously exhibited, presented, assisting in the implementation of the project. planned and executed with the intention of forces include both Commission members performed or published original works of art being staged in the physical public domain, and others with expertise specific to the task in museums, galleries or other recognized De-accessioning usually outside and accessible to all. at hand. Task forces are appointed with fixed art venues and publications; The permanent removal of a work from the responsibilities and, usually, for a fixed duration • has formal training or education in a field of ACCUG public art collection by selling, donating Public Art Collection of time. art; and or destroying it. The body of artworks that have been reviewed User Groups • has received awards or other forms of The removal of an artwork from the ACCUG against adopted and standardized criteria, A group appointed by the SPLOST office that recognition from arts juries, arts grant Public Art Collection. approved and formally recommended for generally consists of internal and external panels, critics and similar entities for his/her ACCUG ownership by the Athens Cultural Affairs stakeholders for a SPLOST project, and which artistic abilities or accomplishments. Donations Commission and for installation or exhibition in public locations, in or on publically owned works with the ACAC in the planning of the Environmental design professionals, such Artworks donated to ACCUG from a private buildings, on publically owned land, or in or on public art component of that SPLOST project. as architects or landscape architects, can be individual or institution and/or other outside other locations leased or provided to ACCUG considered artists if they otherwise meet the sources. through donation, easement or other means. criteria in this definition. Loan Public Art Ordinance Artwork Artworks provided to the ACCUG to be displayed The legislation that authorizes the Athens Tangible creations in all forms, media or in public space for a fixed period of time and to Cultural Affairs Commission and the allocation combination thereof created by or under the be returned to the owner after the loan period of funds for public art, as recorded in Chapter direction of one or more artists, whether expires. 1-25 of the Athens–Clarke County Municipal two or three dimensional, existing in a single Code, “Athens Cultural Affairs Commission.” copy or in a limited edition, that is not mass produced, include commercial representation or incorporate a logo.
64 Athens Public Art Master Plan Athens Public Art Master Plan 65 Artist Roundtable at the The following implementation guides have been Broad Collective. Photo developed as “playbooks” or instruction manuals Courtesy ACAC. for the ACAC to follow when implementing specific public art projects. They are meant to exist on their own, literally, to be excerpted and photocopied as one Implementation might take a recipe out of a cookbook. Guides for As the playbooks are working documents, they are advisory: they can be amended annotated, expanded Public Art or updated by the ACAC to reflect lessons learned in implementing past projects. Similarly, the ACAC can draft additional “playbooks” should it decide to take on different types of projects.
Collage images left, clockwise from top left: Brian Smith sculpture, Jittery Joes sign, graffiti, LatinoFest, Peter Ferrari/ Living Walls mural.
Implementation Guides for public art 67 Implementation Guide #1: SPLOST Projects
SPLOST projects will remain the core of the ACAC’s work. This implementation guide outlines a model approach for identifying appropriate opportunities for public art in SPLOST projects, including coordination with ACCUG agencies while projects are in the conceptual phase, and with the SPLOST phase as they move through project definition, design and construction. This model approach can be amended, annotated, expanded or updated by the ACAC to reflect lessons learned in implementing past projects.
P reliminary Identification continues. Some priority downtown projects are identified elsewhere in these recommendations. It is important to identify opportunities for public art in ACCUG capital projects at the earliest possible stage of project SPLOST Planning development, so that adequate budgets and timeframes for implementation can be anticipated, and so that community A second stage of identifying opportunities for public art is expectations can be explored early on. when capital projects are incorporated into a forthcoming SPLOST capital improvement program. It is critical to Criteria for Selecting SPLOST Capital Projects anticipate which SPLOST projects might include public art, so budgets can be set accordingly in the SPLOST bond issue. Every few years Athens–Clarke County initiates a new round of capital projects that are funded through SPLOST. The ACAC SPLOST Public Art Funds can recommend, and the Mayor and Commission can approve, Maureen Kelly, Nest, Classic Center Atrium. Photo courtesy ACAC. the inclusion of public art in any of those projects. The Each round of SPLOST funding should also include capital following considerations should guide the selection of public funds for public art that are independent of the funds that art in SPLOST Capital Projects: are attached to specific projects, and can be assigned to projects elsewhere in Athens. The ACAC should use the P roject Planning This is the phase at which ACAC can make a formal • The public visibility and accessibility of the site. recommendation to include public art in a project, what following criteria to guide the selection of projects that will Preliminary Project Planning • The potential for public engagement in the development be supported with SPLOST capital funds. Priority should be the general approach to the public art project should be, of the project. given to projects that meet as many of the following criteria Sometimes, several years may elapse between the time that and what the funding level should be, as per the public art a SPLOST capital improvement program is adopted and the ordinance. This recommendation should be based on the • The feasibility of integrating public art into the project, as possible: project development takes place. The ACAC can use this direction of the ACAC Public Art Master Plan, as well as input based on the type of project and the project schedule. • The project cannot obtain funding from another source, intervening time to develop more specific expectations for from the user group. such as a capital budget, grant or donor. M aster Planning public art in any particular project, researching public art The ACAC and the user groups play complementary but • The project has obtained funding from another source, approaches, community engagement approaches, budgets different roles in this process. The earliest opportunity for identifying public art projects is a such as a capital budget, grant or donor, but cannot be and even potential artists. This information can then be a The ACAC should consider the broad context of the public art long-term master planning process. In Athens–Clarke County, realized to its full potential without additional funding. resource to the user groups and the design teams working on long-term master plans are usually undertaken by agencies or project, in regard to the overall goals for public art in Athens– • The project is related to a larger priority of the Mayor and the project. commissions, at the direction of the Mayor and Commission. Clarke County and other recommendations of the public art Commission. master plan. The ACAC should also provide the user group Leisure Services, for example, has proposed to undertake Project Concept Phase • F unds can catalyze a priority opportunity in one of ACAC’s with this context, as well as background on the opportunity a parks, recreation and open space master plan, and program directions. The SPLOST project development process first considers (examples, budget ranges, selection processes). The user opportunities and priorities for public art should be identified public art during the Project Concept phase. At this phase of group should bring knowledge about the project, such as the through that planning process. Those recommendations the project, the basic requirements of the capital project are hopes and needs of the facility users, and operational and should be carried through as project planning continues. considered (program, siting requirements, special engineering maintenance requirements. The downtown master plan, created as an advisory document, or approval considerations). A user group, consisting of Based on information-sharing conversations, the ACAC also identifies numerous opportunities for public art. representatives of the agency building the project and should make a preliminary recommendation to the user These opportunities should be examined more closely as community members, is convened to advise the process. group and the SPLOST team about incorporating public art the development of public and private projects downtown into the project.
68 Athens Public Art Master Plan Implementation Guides for public art 69 Based on feedback from the user group and the SPLOST Schematic / Preliminary Plan Phase team, the ACAC should make a recommendation for public The second phase of capital project development is the art that is incorporated in the Project Concept report that Schematic Phase (for vertical structures) or the Preliminary is forwarded to the Mayor and Commission for approval. Plan Phase (for horizontal infrastructure). This brings The ACAC’s recommendation should take the form of a projects to 30 or 40 percent design, thereby confirming basic public art project plan, which is detailed elsewhere in these design assumptions and cost estimates. The Schematic or recommendations. The project plan recommendations should Preliminary Plan documentation is also approved by the indicate the goals for the public art, the type of artwork that Mayor and Commission. is being sought, the artist selection process, community engagement process, proposed budget and schedule. When possible, the ACAC should select an artist according to the process outlined in the approved project plan, contract Budget Level Considerations with the artist, obtain an artist concept and coordinate the schematic design of the artwork with the schematic design The Athens public art ordinance allows the ACAC to of the project, so that those aspects of the public art can recommend that one percent of the construction budget for a be reviewed by the Mayor and Commission at the time the SPLOST project be used for public art, more than one percent, schematic design of the overall project is reviewed and or less than one percent. In the current round of SPLOST approved by the ACAC. If this timing is not possible, the projects, most public art budgets, if they were calculated to schematic design of the artwork should be referred to the be one percent of the overall project budgets, would be too Mayor and Commission in as timely a manner as possible. small on their own to support a public art project that best meets the goals of the opportunity. In addition, projects with small public art budgets still require full ACAC oversight P roject Implementation and management, which can be an inefficient use of its resources. Final Design and Fabrication The ACAC should coordinate with the SPLOST office on a When a public art budget for a SPLOST project is too small, schedule for final design, fabrication and installation. Costa Building, a future SPLOST project. Photo by Holly Alderman. the ACAC should consider the following options. If the project is a high priority based on the project selection criteria recommended elsewhere in this plan, ACAC can recommend C ommunity Engagement Phase supplementing the SPLOST project funds with: Community engagement processes are an important part of the public art process. This topic is discussed in a separate • SPLOST public art funds or city capital funds that are section of these recommendations. otherwise allocated to the ACAC, • under-spending from other SPLOST projects,1 or C ommunity Education, Marketing and • funding from external sources, such as partnerships, Communications to the extent that the time that it takes to secure such Each public art project should have a specific community 2 funding does not impede the schedule for the project. education, marketing and communications plan. This topic is If the project is not a high priority based on the project discussed in a separate section of these recommendations. selection criteria recommended elsewhere in this plan, ACAC can recommend: • using the SPLOST project funds to support a simple design element, such as a bike rack, bus shelter, bench or
stamped concrete, as appropriate to the location and the 1 In this case, the public artwork would need to be installed independently of the project construction, as SPLOST under-spending are usually not confirmed until the out-years budget available, or of a SPLOST cycle. • using the SPLOST project funds to support a related 2 This is most appropriate if the community has a strong desire for a particular outcome, and has capacity to generate additional funding. In this case, the public opportunity, such as an artist residency related to the site. artwork would need to be installed independently of the project construction.
70 Athens Public Art Master Plan Implementation Guides for public art 71 Implementation Guide #2: Tme porary Artworks: • There is a willing partner, such as a property owner, an art The Art Walk Approach donor, a funder, or an organization that can assist with Art Walk and Cultural Trail Projects funding the project. The development of an Art Walk could begin in the near term. It would not only result in temporary artworks on view Curatorial Strategy The Art Walk and Cultural Trail are potential new short-term and long-term initiatives for the ACAC. This implementation guide downtown in relatively short order, but also allow for the site The curatorial strategy will discuss the approach to selecting describes how those projects can be mobilized through ACAC leadership, working with a variety of partners and drawing on a evaluation, partnerships and funding necessary to pursue the artworks and the relationship between the public art and variety of resources. This is a recommended process for developing these projects; it can be amended by the ACAC to reflect longer term Cultural Trail. people’s experience of the city. Some of the key questions lessons learned and changing circumstances. Preliminary Planning to be addressed are: Should the work of one artist or many • Provide guidance to the development of narrative artists be shown? What is the geographic area from which T he Acac Role The initial steps in planning an Art Walk are developing a storylines for the Cultural Trail. artists should be considered? Is there a theme that guides The ACAC should play a leadership role in developing the curatorial strategy, securing sites for the display of artworks, the selection of artists, or that artists are asked to respond • Review and recommend curatorial plan for the Art Walk. Art Walk and the Cultural Trail. The ACAC’s leadership role is setting a schedule for the exhibition, developing a budget, to? Are there multiple sites chosen, or just one? The important to ensure that: • Ensure that the full range of partners are involved in the obtaining funding, putting necessary partnerships in place, curatorial strategy should be developed by the Exhibition • Public resources are coordinated effectively and can be development of the Art Walk and the Cultural Trail. developing a communications strategy and developing Coordinator, in consultation with the task force, and a call to artists. This work could be led by an “exhibition used to leverage partnerships and private resources. • Advise on Art Walk RFQ and RFQs for Cultural Trail projects. approved by the ACAC. coordinator,” either the recommended public art program • The Art Walk and Cultural Trail are coordinated with • Appoint representatives to the selection panels for Art manager or a paid consulting curator. The exhibition Budgeting and Funding Athens marketing and tourism strategies and funding. Walk exhibitions and for Cultural Trail projects. coordinator would work in with the Art Walk and Cultural Budgeting should consider costs for site preparation, curator • The quality of the artworks in the Art Walk and Cultural • Review recommendations of artists selected for Art Walk Trail Task Force. and artist fees, transportation and installation, marketing Trail are managed so that they represent a fresh and and Cultural Trail. Siting and related public events. evolving set of artworks. • Identify resources for the Art Walk and the Cultural Trail. At the outset of organizing an exhibition, the Exhibition Some of these costs could be absorbed into operating, • Professional standards are maintained in securing marketing and promotion budgets of partnering • Advise on and assist in implementation of community coordinator, in consultation with the task force, should artworks and displaying them, and organizations. Other sources of funding could include engagement strategies for the Art Walk and the Cultural Trail. inventory a series of potential locations to consider for • The Art Walk and Cultural Trail supported with education temporary installations. The inventory should take into revenues from the ACC’s Hotel Occupancy Tax and private- and communications resources that make them accessible account the ownership of the site, considerations related sector sponsorships. to the broader community. to pedestrian circulation, and considerations related to ACAC funds should be committed only in accordance with the installation, such as the presence of underground utilities at guidelines provided elsewhere in this plan. the site. The siting strategy should be approved by the ACAC. Ar l t Wa k and Cultural Trail Task Force The budget and funding plans for each exhibition should be Criteria for Selecting Art Walk Locations approved by the ACAC. The implementation of an Art Walk and a Cultural Trail will require a variety of partnerships. The ACAC should form and Projects related to the Art Walk will be driven by the Artist Selection lead a task force for the project. The task force should include, availability of partnership opportunities and sites. Priority at the minimum, representatives of: should be given to projects that meet as many of the Artist selection should occur through one of the artist following criteria as possible: selection processes described elsewhere in these • ACAC recommendations. Two processes should be given special • The project site can be made ready for the presentation • Classic Center and Classic Center Cultural Foundation consideration. An Open Call method would be appropriate for of public art with minimal additional site preparation and a juried exhibition, such as a regional sculpture exhibition. • Convention and Visitors Bureau expense. The Curatorial method would be most appropriate for a • Downtown Development Authority • The site is available for the display of art on a permanent thematic exhibition or for rotating work at a particular site, • Athens Historical Society basis or for the length of the exhibition, depending on such as Lyndon House or City Hall. The ACAC should approve whether it is a permanent or temporary artwork. • Central Services the artist selection process, as well as the artist selection. • The project site will reinforce pedestrian connections to The role of the task force should be to: Downtown Master major downtown destinations, such as the Classic Center, • Provide guidance to the preliminary planning of the Art Plan proposal for a greenway and an Lyndon House, the Morton Theatre and the University Walk and the Cultural Trail. artwalk connecting of Georgia main campus. Future phases could extend to Lyndon House Arts Center. outward along major corridors, such as West Broad, East Broad, Prince and Oconee streets.
72 Athens Public Art Master Plan Implementation Guides for public art 73 Responsibilities C ommunity Education, Marketing and • Funding partners will provide funds for Cultural Trail Budgeting and Funding project development, as well as expenses (maintenance, Artists should be required to loan an existing artwork or Communications Budgeting should consider costs for site preparation, curator marketing/education) that can’t be covered through create an original artwork, transport it to the site, install it, Each public art project in Athens–Clarke County should and artist fees, fabrication, transportation and installation, operating budgets. remove it when necessary, and carry adequate insurance for have a specific community education, marketing and marketing and related public events. the artwork while it is being transported. They should be communications plan. This topic is discussed in a separate • Marketing partners will ensure that information about Some of these costs could be absorbed into operating, encouraged to sell their work, but not to remove it until the section of these recommendations. the Cultural Trail is accessible to residents of Athens– marketing and promotion budgets of partnering organizations. Clarke County’s and available as part of regional tourism exhibition is over. For the Art Walk, this plan should consider two audiences, Other sources of funding could include revenues from the promotion. The curator and project manager should handle the creative residents of Athens and visitors. City’s Hotel Occupancy Tax and private-sector sponsorships. and administrative details of developing and installing the ACAC funds should be committed only in accordance with the Criteria for Selecting Cultural Trail Locations Art Walk. The curator should provide information about the guidelines provided elsewhere in this plan. Pe rmanent Commissions: artworks, the artists and the overall exhibition to the public. Projects related to the Cultural Trail will be driven by the The budget and funding plans for the initial planning The Cultural Trail Approach availability of partnership opportunities and sites. Priority The ACAC should pay artists an honorarium for their services, process, and for the implementation of each specific project, should be given to projects that meet as many of the facilitate permissions, provide insurance for the artwork while The development of a Cultural Trail would be a long-term should be approved by the ACAC. following criteria as possible: it is being exhibited, and assist with marketing and outreach. endeavor. Work could begin concurrently with the work on the Art Walk, which could provide a way to test the feasibility • The project site can be made ready for the presentation C ommunity Education, Marketing and Partnerships for Art Walk Temporary Exhibitions of projects in various locations and build partnerships of public art with minimal additional site preparation and Communications necessary to pursue the Cultural Trail. Projects would expense. The ACAC should seek a variety of partnerships for Each public art project in Athens should have a specific probably take several years to come to fruition. developing Art Walk exhibitions. • The project site will reinforce pedestrian connections to community education, marketing and communications major downtown destinations, such as the Classic Center, plan. This topic is discussed in a separate section of these Partnerships could include ACCUG agencies (Central Services), Preliminary Planning Lyndon House, the Morton Theatre, the University of recommendations. owners/operators of exhibition sites, arts organizations, The development of a Cultural Trail should begin with the Georgia main campus and Dudley Park (where interpretive funders, and downtown promotion organizations such as For the Cultural Trail, this plan should consider two creation of a strategy for interpreting the multiple narratives features already exist). Future phases could extend the Downtown Development Authority and Convention and audiences, residents of Athens and visitors. of Athens throughout the spaces of downtown. This strategy outward along corridors like West Broad, East Broad, Visitors Bureau. should outline interpretive themes and inventory and map Prince and Oconee streets. • Site partners will provide access to locations for potential sites that could be used to interpret different • There is an adjacent ACCUG capital project can contribute displaying temporary artworks. These partners might aspects of those themes. For each site, the inventory should to the cost of implementing the project. also assist with site preparation, site management and include a short synopsis of how one of the themes could marketing, depending on their capacity. be interpreted at that site, and who potential partners for • There is a willing partner, such as a property owner, an art donor, a funder, or an organization that can assist with • Funding partners will provide funds for exhibition developing an artwork at the site might be. Overall, this the interpretation. expenses (such as artist fees and transportation) that inventory would result in a long-term strategy that would be can’t be covered through operating budgets. implemented, project by project, over many years. • Adequate funding has been identified, whether through SPLOST funding completely, or a combination of sources. • Artistic partners will provide access to artworks for Partnerships display. For example, a gallery may be willing to loan an • The project will address one of the community’s key artwork for an exhibition. The ACAC should seek a variety of partnerships for narratives. developing the Cultural Trail. • Marketing partners will ensure that information about Commissioning Phase the Art Walk is accessible to residents of Athens and • Planning partners will assist in the development of the available as part of Athens’ tourism promotion. Cultural Trail strategy — interpretive themes, locations The ACAC will implement permanent Cultural Trail projects and partners. as opportunities become available. This will primarily be Partnerships should be documented, outlining the role of determined by funding opportunities. each partner. • Site partners will provide access to locations for installing artworks along the Cultural Trail. These partners might Additions to the permanent Art Walk will be driven by the also assist with site preparation, site management, availability of sites and of partnerships. maintenance and marketing, depending on their capacity. Artist selection should be through the process described above. Because budgets are small, an invitational process is Morton Theatre wall, potential mural site. Photo by Holly Alderman. recommended.
74 Athens Public Art Master Plan Implementation Guides for public art 75 Implementation Guide #3: Murals
The ACAC can support the creation of more murals in Athens through several strategies. This is a recommended process for developing murals; it can be amended by the ACAC to reflect lessons learned and changing circumstances.
Downtown Mural Wall Installation The ACAC should support the creation of murals in Athens– At the beginning of the project, the ACAC should prepare the Clarke County by organizing and managing a wall for rotating wall so it is suitable for long-term use as a wall where murals murals. Every year, the ACAC should support at least two are painted over at least every six months. mural projects that would be painted on the mural wall. Each mural should be painted out with a white or grey base coat before the new mural is applied. Preliminary Planning The ACAC should secure permission to work on a wall that Funding meets as many of the following criteria as possible: The mural wall can be funded from ACAC annual budget • is in a location that is highly visible to the public, funds, CIP funds, or a sponsorship. Allocate $1,000 per preferably downtown, year for a wall lease and $1,000 for initial wall preparation. • is adjacent to a space that is activated by other uses Allocate up to $2,500 per mural installation, and $500 for painting out the previous mural. • can be secured with an agreement for use for at least a year at the outset, but preferably longer, M ural House Calls • can be secured at low or no cost, Broderick Flanigan, Show us a better way. Photo by Ian Brown. The ACAC should contract with a muralist who would serve • owner will allow for ACAC to curate the wall with no, or as an on-call consultant to advise any property owner or minimal, owner oversight of the artist selection or the business who would be interested in creating a mural. creative content of the murals, and Muralists should be added to the roster if they meet the The mural house call would provide on-site guidance for M uralist Roster following criteria: • requires minimal preparation. developing a mural. The consulting contract could be The ACAC should create a roster of muralists for its own structured as an annual on-call fee, or a per-visit fee. The use, and for the use of property owners and businesses who • Have completed at least three murals for public or Artist Selection consultant should submit a report to the ACAC before would like to find a muralist for a private commission. private clients. Artists for the mural wall should be selected from the ACAC invoices are paid, and report on visits at a regular ACAC The ACAC should issue an open call to artists, seeking • Can provide references from at least three mural clients mural roster. Each year, the Mural Selection Panel should business meeting. muralists who could work on the mural wall or on murals and/or arts professionals, and recommend at least two artists from the roster who would be in other locations in Athens, with annual deadlines. Once • Live or have a studio within 100 miles of Athens. invited to create a mural on the ACAC mural wall. Funding a year, the ACAC should convene a Mural Selection Panel The purpose of the Muralist Roster would be to provide Artists who are selected to work on the wall should meet the The mural house call consultant should be funded from the to evaluate artist credentials and add qualified artists to a the ACAC, community organizations, property owners and following criteria, in addition to the mural roster criteria: ACAC annual budget. Allocate $60 per site visit, with a cap of roster of muralists, where their credentials would remain for businesses ready access to a list of muralists that they can 12 per year. three years. • Shall not have been commissioned previously to paint a contact for projects. Criteria for mural-making experience mural funded by the ACAC. The roster should include examples of past work, and for and proximity to Athens are meant to help ensure muralists each example the artists should be asked to indicate the The ACAC should enter into a mural agreement with the will be a good fit for Athens projects. These groups would date and location of the work, size, dimensions, materials selected artist. The agreement should indicate the duration be free to consider other muralists for their projects, and (type of paint), costs (if known), whether the murals required of the mural, the approximate date that it would be removed ACAC would not have any role in the contracting between the scaffolds or lifts, and whether the murals were developed or the process through which the removal of the mural will be project sponsor and the owner. through a participatory process. Each artist should be invited determined. to upload a maximum of 12 images to the slide registry. This information will provide potential clients with a good sense of the muralist’s experience and capabilities, so the client can choose accordingly.
76 Athens Public Art Master Plan Implementation Guides for public art 77 M ural Grants Funding The ACAC should support the creation of murals in Athens– Mural grants could be funded from ACAC annual budget Clarke County by accepting applications for murals as part funds, CIP funds or a sponsorship. Special project murals, of its annual grant program, which is discussed elsewhere in such as murals along corridors, would be funded through these recommendations. funds allocated by the Mayor and Commission for those special projects. Criteria for Mural Grants Allocate up to $2,500 per mural grant, plus an additional Applications for mural grants should meet the following $500 if substantial wall preparation is needed. threshold criteria: • The muralist must be on the ACAC Muralist Roster, or Sp ecial Project Murals must meet the criteria for being added to the roster, From time to time, the ACAC may receive direct funding to • The project should be co-sponsored by a community- manage mural projects in specific areas of the community. based organization, For example, murals may be a strategy for corridor • The project should include a community engagement improvements that are being studied by the Mayor and process, Commission and for which there is dedicated funding. In these cases, the ACAC may set up specific criteria for the • The community partner must match ACAC funds, and development of mural projects, in addition to or instead of • The artist must be paid a fee for their services. the mural grant criteria.
Criteria for Mural Locations Artist Selection The development and siting of new murals will be driven by Artists would be selected from the Muralist Roster. collaborations between artists, community partners and the Joel Rosenberg, untitled mural, 1321 Oconee St. Commissioned by St. Udio Studio. owners of walls where murals are proposed. Priority should Funding be given to projects and sites that meet as many of the Funding will come from direct funding provided by others, for following criteria as possible. example, corridor improvement funds. M ural Guide • There is a clear partnership between an artist, a The ACAC should publish a short guide to creating murals, community and a wall owner. M ural Documentation to help local property owners and businesses through the • The artist has demonstrated experience in producing a process. It should include a brief outline of the mural-making The ACAC should collect documentation of all murals that it mural of the scope that is proposed. process, issues to consider in ensuring the longevity of funds. This is important to ensure that the information that • The condition of the wall is sound and will allow for the murals, and a sample agreement with artists. is collected about each mural is consistent, and so that ACAC installation of a long-term artwork. has more flexibility about how to use the documentation in The guide should include relevant sections of the sign codes • The wall owner will grant permission for a mural to be its marketing and promotion. Photographs and/or videos of as well as visual examples of elements that would not be painted and is willing to enter into a written agreement the mural in progress, photos of the completed mural and an permitted as artwork and would require consideration of outlining the terms and conditions of the installation of artist interview would be baseline documentation. the mural as a sign. The guide should be posted on both the the mural. Planning Department and the ACAC web pages. • The wall is easily visible to the public, in a place that is likely to be seen by pedestrians as well as drivers. • The wall is in a location where there is a natural community constituency, or a community partnership, that can be engaged in the creation of the mural.
78 Athens Public Art Master Plan Implementation Guides for public art 79 Implementation Guide #4: Bus Shelters Ar tist Selection • For commercial, institutional or residential developments with bus stops, the project sponsors should be requested The ACAC should issue a call to artists and design teams for to contribute the cost of an artist-designed bus shelter. bus shelter projects. These would be considered “externally funded” bus Every year, the ACAC should consider the possibility of commissioning a small number of bus shelter projects. This is a Generally, the RFQs should follow the open call method, shelters. These allocations should cover the entire cost of recommended process for developing bus shelters; it can be amended by the ACAC to reflect lessons learned and changing with a qualifications-based approach. The qualifications the shelters. circumstances. review should be rigorous in regard to the team’s design Ts a k Force P reliminary Planning and fabrication capacity. Should the task force wish to see proposals for bus shelters, the ACAC should pay artist a Ar tist / Design Team Support The implementation of bus shelters will require a variety of The ACAC should request that the Bus Shelter Task Force stipend for their concepts. As with any public art commission, the artist / design teams partnerships. The ACAC should form and lead a task force for submit, each year: Submissions should be reviewed by a selection panel, which that are selected will be expected to produce a bus shelter the project. The task force should include, at the minimum: • a running list of priority locations and update it each year, should consist of members of the task force, as well as: that meets all codes and safety considerations, as outlined • A representative of ACAC who will lead the task force and using criteria are listed elsewhere in this plan as well as by stakeholders such as public works and Athens Transit • At least one additional representative from the field of report to the ACAC any other criteria that Athens Transit and Public Works and made available as an attachment to the RFQ. Artist / visual art (sculpture) and/or architectural design. • A representative of the Athens Area Arts Council, which would add, design teams must demonstrate the architectural and/or initiated the bus shelter program and has managed past • recommendations related to externally funded bus shelters, engineering capacity necessary to produce suitable designs. Funn di g bus shelter projects • standard criteria for bus shelter design, to comply with The ACAC should contract with a consulting engineer • A representative of Athens Transit codes and functional requirements, Funding for bus shelters can come from a variety of sources. who can advise artist / design teams and review their submissions from a technical perspective. The ACAC and its • The ACAC can consider allocating funding from SPLOST • A representative of ACCUG Public Works • a realistic budget level for new shelters, based on the consulting engineer should not be responsible for bringing project #007, Transit Vehicles and Bus Stop Improvement • A representative of the ACCUG Planning Department experience from constructing past bus shelters, and designs into compliance. Program. In this case, the “percent for art” funding • recommendations for funding sources. • A rider representative should cover the costs of the artist designed bus shelter The role of the task force should be to: Based on this report, the ACAC should commission bus above and beyond the normal cost of a bus shelter. That P roject Management shelters for which sites and funding are available. The number is, Athens Transit should provide a credit to the budget of • Oversee the development of a master list of priority The bus shelter projects will require professional of shelters would depend on ACAC capacity, but the target the basic cost of a bus shelter. management to oversee artist selection and the design, locations should be two shelters per year. • The ACAC can consider allocating funding from SPLOST fabrication and installation of the shelters. The ACAC should • Identify resources for new shelters project #021, Public Art Program. In this case, the assign this task to its professional staff, or consider the • Review opportunities and determine locations for new bus Cr iteria for Locating Bus Shelters “percent for art” funding should cover the costs of the viability of contracting with outside project management, shelters artist designed bus shelter above and beyond the normal The development and siting of new bus shelters will be driven such as the Athens Area Arts Council. cost of a bus shelter. That is, Athens Transit should • Review proposals for externally funded bus shelters by collaboration with Athens Transit and communities along provide a credit to the budget of the basic cost of a bus • Advise on RFQs for artists, particularly in regard to transit lines. Priority should be given to project sites that shelter. technical specifications for shelters and the qualifications meet as many of the following criteria as possible: • The ACAC should seek allocations from the funds that that should be required of artists and design teams • Bus stops with high use, as documented by Athens Transit the Mayor and Commission have budgeted for corridor • Serve as the core of a selection panel for artists for bus data, including schools, major employers and transfer improvement projects. These funds could support shelters stations, shelters along Lexington Road, Atlanta Highway and • Advise on community engagement strategies • Bus stops in locations that reinforce other ACCUG another other corridors that are priorities for the Mayor initiatives, such as corridor improvements, and Commission. These would be considered “externally • Bus stops that serve neighborhoods that voice a strong funded” bus shelters. These allocations should cover the demand for artist-designed bus shelters, and entire cost of the shelters. • Bus stops that are already scheduled by Athens Transit for • The ACAC should seek funding from a $2 million the addition of a bus shelter. federal grant that ACCUG has submitted for the design, engineering and construction of new bus shelters and enhancements to existing bus stops. Christopher Fennell, Bus Shelter. Commissioned by Athens Area Arts Council.
80 Athens Public Art Master Plan Implementation Guides for public art 81 Implementation Guide #5: Bike Racks Cr iteria for Locating Bike Racks Funn di g The development and siting of new bike racks will be driven Funding for bike racks can come from a variety of sources. by collaboration with community partners. Priority should be • The ACAC can consider allocating funding from SPLOST Every year, the ACAC should consider the possibility of commissioning a small number of bike rack projects. This is a given to locations that meet as many of the following criteria project #007, Transit Vehicles and Bus Stop Improvement recommended process for developing bike racks; it can be amended by the ACAC to reflect lessons learned and changing as possible: Program, and SPLOST project #021, Public Art Program. circumstances. • Locations with heavy users of bicyclists, such as schools, • For bike racks along Lexington Highway and Atlanta parks and greenways, community facilities, shopping Ts a k Force P reliminary Planning Highway, the ACAC should seek allocations from the areas, park-and-ride lots and workplaces. funds that the Mayor and Commission have budgeted The implementation of bike racks will require a variety of The ACAC should request that the Bike Rack Task Force • Locations that reinforce other ACCUG initiatives, such as for corridor improvement projects. These would be partnerships. The ACAC should form and lead a task force for submit, each year: corridor improvements, considered “externally funded” bike racks. These the project. The task force should include, at the minimum: • a running list of priority locations and update it each year, • Locations with stakeholders that voice a strong demand allocations should cover the entire cost of the bike racks. • A representative of ACAC who will lead the task force and using criteria are listed elsewhere in this plan as well as for bike racks, • For new employment or residential develops with bike report to the ACAC, any other criteria that Athens Public Works would add, • Locations that meet all functional and safety racks, the project sponsors should be encouraged to • A representative of ACCUG Public Works, • recommendations related to externally funded bike racks, considerations for bike racks, contribute the cost of an artist-designed bike racks. • A representative of Central Services, and • a realistic budget level for new bike racks, based on the These would be considered “externally funded” bike • Locations where sponsorships for the design, fabrication racks. These allocations should cover the entire cost of • A bicycle organization representative. experience from constructing past bike racks, and installation of the bike racks can be obtained. the bike racks. The role of the task force should be to: • recommendations for funding sources and partnerships Based on this report, the ACAC should commission bike racks • Oversee the development of a master list of priority Ar tist Selection Ar tist / Design Team Support locations, for which sites and funding are available. Based on ACAC capacity, the target should be two bike racks per year. The ACAC should issue a call to artists and design teams As with any public art commission, the artist / design teams • Identify resources for new bike racks, for bike rack projects. Generally, these should follow the that are selected will be expected to produce a bike rack • Review opportunities and determine locations for new open call method, with a qualifications-based approach. that meets all codes and safety considerations, as outlined bike racks, The qualifications review should be rigorous in regard to the by stakeholders such as Public Works and Central Services team’s design and fabrication capacity. • Review proposals for externally funded bike racks, and made available as an attachment to the RFQ. Artist / Submissions should be reviewed by a selection panel, which design teams must demonstrate the architectural and/or • Advise on RFQs for artists, particularly in regard should consist of members of the task force, as well as: engineering capacity necessary to produce suitable designs. to technical specifications for bike racks and the qualifications that should be required of artists and • At least one additional representative from the field of The ACAC should retain a consulting engineer who can design teams, visual art (sculpture) and/or architectural design. advise artist / design teams and review their submissions from a technical perspective. The ACAC and its consulting • Serve as the core of a selection panel for artists for bike engineer should not be responsible for bringing designs into racks, and compliance. • Advise on community engagement strategies. Alternatively, the ACAC should identify a list of approved fabricators to whom artists and design teams can be referred.
P roject Management The ACAC should consider the viability of outside project Michael Ely, Recycles. Commissioned by Classic Center Cultural Foundation. management to oversee artist selection and the design, fabrication and installation of the bike racks.
82 Athens Public Art Master Plan Implementation Guides for public art 83 Implementation Guide #6: Roles and Responsibilities Cr a iteri in Grant Projects • Artists must meet the definition of artist in the ACAC Grants to Artists and Organizations guidelines. Artists • Artists must demonstrate evidence of qualifications to Every year, the ACAC should dedicate funds for making public art grants to individual artists, non-profit community Artists should be responsible for establishing community undertake the type of project they are proposing. partnership and for all aspects of planning and executing the organizations and non-profit arts organizations. This is a recommended process for managing the grants program; • Artists must demonstrate match for the grant, as projects. it can be modified by the ACAC to reflect lessons learned and changing circumstances. required by ACAC guidelines. • A non-profit ollaboratingc organization must have the Planning Ar tist Selection Non-profits capacity to support the artist with work and exhibition Non-profit organizations, both arts and community-based, At the beginning of the calendar year, as it begins its budget Generally, the ACAC should solicit grant applications through space, services, materials, funds, communications, can provide resources to assist the artists. Resources can planning, the ACAC should also determine what the focus an open call, with criteria specifically tailored to the priorities access to community members and/or audiences, etc. of the grant program will be for the coming year. The ACAC and opportunities that the ACAC would like to pursue that include a space to work, materials and supplies, donated • A non-profit ollaboratingc organization must have the should develop specific goals and criteria based on its year. The open call should be circulated as soon as the ACAC labor, connections to individuals and other organizations, capacity to maintain artwork once it is completed. priorities and the opportunities at the time, as well as any is informed of its budget for the coming year, so that grant and locations for projects. Arts organizations can also provide requirements from the source of the grant funds. funds can be allocated as early in the fiscal year as possible. curatorial guidance. • The proposed siting of the project must meet ACAC guidelines for the siting of projects. In developing the goals and criteria for grants, the ACAC The ACAC should form a selection panel to review proposals. ACAC should strongly consider the overall goals for public art in The selection panel can be the same as the task force, or it Athens, including the priorities of expanding public art into can include different membership, at the discretion of the The ACAC should provide curatorial guidance, connections underserved communities, and of strengthening the local arts ACAC. The selection panel should be chaired by a member of to individuals and other organizations, assistance with community’s ability to create public art. the ACAC. permissions and assistance with marketing the project. Makers Fest at Lyndon House. Photo courtesy Our Arrow at the Lyndon House Arts Center. The ACAC should consider appointing a task force of While most grants should be made on an annual basis, the artists and community-based organizations to advise on ACAC should be prepared to act at any time for projects that opportunities and priorities for the coming year. The task involve important partnerships. force should seek input from past grantees, the School of Art, College of Environmental Design and Office of Service Learning at the University of Georgia, and non-profit community service organizations. The task force should meet once, in a meeting facilitated by a member of the ACAC, and its recommendations should be advisory to the ACAC.
84 Athens Public Art Master Plan Implementation Guides for public art 85 Implementation Guide #7: Artist Residencies Cr iteria for Evaluating Artists and Funn di g for Residencies Residency Proposals The ACAC can draw on various funding sources for The ACAC should consider supporting residencies that are residencies, depending on the project to which the residency The ACAC should encourage artist residencies as a focused tool for developing community-based public art projects. generated by: is attached. It is recommended that at least one artist or community grant each year be for a project with a residency approach. • The ACAC, in conjunction with a project it would like to • If a residency is linked to the process of developing a This is a recommended process for developing artist residencies; it can be modified by the ACAC to reflect lessons learned commission, capital project and results in a permanent artwork, it and changing circumstances. could be funded through the SPLOST program, which • A sponsoring organization, which would then search for Residencies can take a variety of forms, but they generally involve an approach where an artist is embedded within an allows for funding to be used for artist fees. an artist, or organization or in a particular place for an extended period of time. The goal is for an artist to have a depth of contact with a • If a residency is linked to a proposal for an ACAC grant, community or a place over time, which can result in a different process for developing work and for engaging with communities. • An artist who teams up with a potential sponsor. then the residency could be funded through the grant A residency can also allow an artist to draw on the unique resources that a host organization can provide. Residencies can The following criteria should be used to evaluate proposals funding source. Normally that means operating funds result in permanent or temporary artworks in any type of media. for residencies and the selection of artists, as appropriate. that are allocated each year to the ACAC, but it could For the ACAC, residencies can be an important tool for achieving its goals of reaching communities, addressing issues and also include special sponsorships from businesses or developing project approaches that would not be reached by typical public infrastructure projects. Artists organizations that have an interest in the project. • Artists must meet the definition of artist in the ACAC Resi dency Approaches Res ponsibilities guidelines, Artist residencies can be established in a variety of contexts. The key to the success of a residency is ensuring all • Artists must demonstrate evidence of qualifications to • A grant to an artist, non-profit arts organization or non- participants know what they are bringing to the project, and achieve the specific goals of the residency, and what their role in the project is. profit community organization can take the form of a • Artists must have the availability to fulfill the terms of residency. A residency could be issue-based, sponsored by the residency. an organization working on issues such as food systems, Artists hunger or watersheds. Alternatively an issue could be Artists should be responsible for undertaking all aspects of Sponsors place-based, in a location such as a recreation center, the project, including developing the process for the artwork, • For residencies supported by ACAC grants, the sponsoring library, school, park, historical resource or greenway. determining the approach to collaboration, and developing organization must be able to provide the required match. the artwork. • A permanent capital project could also be approached The match can take the form of cash or in-kind services through a residency. The residency approach would work or materials. best when the capital project is occurring at a facility Sponsors • A non-profit ollaboratingc organization must have the that already exists, such as a park or recreation center. Sponsors can include non-profit groups, ACCUG agencies capacity to support the artist with work and exhibition A residency could be established at the existing facility, or university programs. Sponsors should provide resources space, services, materials, funds, communications, with a process that results in a permanent artwork that is to assist the artists with their work. Resources can include access to community members and/or audiences, etc. related to the capital project. funding, a space to work, materials and supplies, donated labor, and access to individuals and other organizations. Arts • A non-profit ollaboratingc organization must have the • A university–community partnership project could take organizations should also be expected to provide creative capacity to exhibit the artwork and/or maintain artwork the form of a residency. Artists could be connected guidance. once it is completed. to services projects developed through the College of Environmental Design or the Office of Service Learning. • The proposed siting of the project must meet ACAC Chris Taylor, Nest Building Project, State Botanical Garden. ACAC guidelines for the siting of projects. The ACAC should provide creative guidance, connections to individuals and other organizations, facilitate permissions and assistance in marketing the project.
86 Athens Public Art Master Plan Implementation Guides for public art 87 Implementation Guide #8: Major Grants
The ACAC should supplement its own funding and expand its capabilities by applying for grants that support major new projects.
O ur Town Ar tPlace America National Creative The next deadline for Our Town is September 12, 2016. Placemaking Fund Notification is in April, 2017, and projects can begin in ArtPlace America is a ten-year project, launched by a August, 2017. The ACAC should strongly consider making an consortium of foundations, to explore the interaction application. Following are some important considerations. between the arts and community development goals. Starting • Identify a project. The Our Town program emphasizes in 2011, it began making several dozen grants each year from creative place-making. This generally means projects its National Creative Placemaking Fund, with the last cycle of that are organized to bring public activity to places, and grants expected to be made in 2020. ArtPlace also has also which involve partnerships between local government and made a one-time set of Community Development Investment non-profits. The Art Walk and Cultural Trail, Bike Racks Grants, and is involved with research and field building. and Bus Shelters, or projects within the food or watershed ArtPlace America focuses on projects that do four things2: system, could be potential candidates. The idea of • Define a ommunityc based in geography, such as a block, connections raised in this plan could be the starting point neighborhood, city or region. for a successful concept. • Articulate a change the people living and working in that • Identify a partner. According to the NEA: “Partnerships community would like to see must involve at least two primary partners as defined by these guidelines: a nonprofit 501(c)(3) organization and a • Propose an arts-based intervention to help achieve that local government entity. One of the two primary partners change must be a cultural (arts or design) organization. Only the • Develop a way to know whether the change occurred two primary partners can serve as lead applicants, but The ACAC should develop a proposal that addresses these additional partners across all sectors are encouraged. If (a) criteria. As it sometimes takes more than one try to obtain state university has nonprofit status designated by the an ArtPlace grant, it should aim to submit in the 2018 grant IRS, … it may serve as the required nonprofit partner on Matthew Mazzotta, outdoor living room at Tate Plaza. Photo by Todd W. Bressi. cycle, which will probably have a deadline of January, 2018. an Our Town project.” The ACAC should set up a small working group of ACAC • Identify match funding. Our Town Grants must include a members and potential partners to develop an application. one-to-one match. Since the project would not start until August, 2017, at the earliest, the grant could be used to leverage funding for FY18. 1 https://www.arts.gov/grants-organizations/our-town/frequently-asked-questions- arts-engagement The NEA offers extensive background on the program 2 This information is adapted from the ArtPlace America web page, http://www. and prior grants on its web page, as well as informational artplaceamerica.org/our-work/national-creative-placemaking-fund/introduction. webinars in the months leading to the application deadline.1 The ACAC should set up a small working group of ACAC members and potential partners to develop an application.
88 Athens Public Art Master Plan Implementation Guides for public art 89 Maureen Kelly, Nest, Classic Center Atrium. Photo courtesy The Classic Center.
Appe ndices 1. SPLost Project Recommendations 2. Guidelines for Donations
3. Guidelines for Public Art in Private Development
Collage images left, clockwise from top left: Jamie Calkin Mural (courtesy Athens CVB), double-barrelled cannon (Scott Kinney, courtesy Athens CVB), Last Resort Grill mural, Pinewoods Estates mural, guerilla mosaic.
Implementation Guides for public art 91 Appe ndix 1: SPLOST Project Recommendations Rails-to-Trails; Project #08 O conee Rivers Greenway Network Description: This project will complete the approved Connectors, Project #09 Fi re Station #2 Replacement; Budget, artist selection: For a place-based project, the development of the first phase of the Firefly Trail between Description: This project will provide for capital Project #03, 2017 public art budget would need to be increased from $14,000 East Broad Street and Old Winterville Road, to initiate improvements of greenway corridors and connectors to $50,000; the budget for a mural might be $25,000 to development of the Trail between Old Winterville Road along the North Oconee River. These improvements follow Description: This fire station, in West Athens on Atlanta $30,000.The appropriate artist pool and theme should be and the City of Winterville. These improvements follow the Athens–Clarke County Greenway Network Plan that Highway, is being replaced. determined when more is known about the project. the Athens-Clarke County Greenway Network Plan that the Mayor and Commission updated in 2014 to create Opportunity: The user group convened in September 2014 and the Mayor and Commission updated in 2014 to create conservation zones, wildlife corridors, and recreation / supported the idea of public art inside the fire hall. However, Tr ansit Vehicles and Bus Stops; conservation zones, wildlife corridors, and recreation / transportation facilities. if the fire station were at a visible location along the Atlanta Project #07 transportation facilities. The next phase of the Oconee River Greenway will from its Highway, an outdoor project should be pursued. This approach Description: The Transit Vehicles and Bus Stop Improvements The first phase of the Firefly Trail will run from downtown terminus at Oconee Street south to College Station. would help beautify one of the most important entry corridors program will provide for the replacement of older transit along East Broad Street, cross the river on a new bridge, into Athens–Clarke County and reinforce an important priority Opportunity: There are opportunities for public art to be vehicles or acquisition of new vehicles to expand service connect to Dudley Park, and head east along a rail-trail of the Mayor and Commission. This would require further located at the trailheads on east Broad and College Station and for capital improvements to system bus stops. Capital corridor towards the perimeter highway, about a mile consultation with the user group. Road. Recommended approaches are two-dimensional improvements are to include installation of signage, pad altogether. artworks embedded in pausing places, or artworks Budget, artist selection: The public art budget of $26,000 pavement, seating, covered shelters, landscaping, bicycle Opportunity: There is an opportunity for public art at the incorporated into any vertical or gateway features that are would need to be supplemented substantially, perhaps to racks, route information, and related bus stop improvements. trailhead on East Broad. The trailhead at Old Winterville Rd otherwise being designed. These types of projects should be $100,000, to achieve the goal of an outdoor project. Lighting Opportunity: Continue the popular bus shelter program should also be considered for an opportunity. Recommended considered because of the cost-sharing that can be achieved will be important for an outdoor project, so funds would need initiated by the Athens Area Arts Council. Develop a approaches are two-dimensional artworks embedded in with the construction budget, spreading the public art to be allocated from the project or the public art budget for partnership with AAAC, Athens Transit and Public Works pausing places, or artworks incorporated into any vertical or further, and because they can be accessible to a wider variety that. At the budget level of $100,000, this could be a regional to plan and implement a new series of shelters. Expand by gateway features that are otherwise being designed. These of artists, potentially with less public art experience. (southeast) or national call to artists, in order to tap into a commissioning a series of artist-designed bike racks. types of projects should be considered because of the cost- broader pool of artists capable of working at this scale. There is another opportunity to develop a longer-strategy for sharing that can be achieved with the construction budget, Budget and Artist Selection: Each bus shelter would cost the future extensions of the Greenway. In general, trailheads spreading the public art further, and because they can be $10,000 to $15,000. This amount should be evaluated against and major road crossings should be considered as potential Co o perative Extension Center Facility; accessible to a wider variety of artists, potentially with less the cost of bus shelters already commissioned. Each bike rack locations for artwork integrated into the trail design, so as to Project #10, 2016-2020 public art experience. should be budgeted at $2,500, including artist fee, materials uniquely identify the trail and increase civic spirit. Description: The Cooperative Extension Service Center will and transportation to the site. There is another opportunity to develop a longer-strategy provide for facilities to support staff functions, program and In all cases, the ACAC should closely follow the design of the for the future extensions of the Firefly Trail as well as the educational services, the 4-H Program, and other community Funding: This is not identified in current ACAC work plan trail and the trail elements to identify specific opportunities greenway network. In general, all trailheads and major road events sponsored by the Athens-Clarke County. As of this as a project that would generate public art funding. Revisit for public art as early as possible. crossings should be considered as potential locations for writing, the Commission has not yet determined the location this decision to see if any of these funds can be used to artwork integrated into the trail design, so as to uniquely Budget and Artist Selection: A minimum of $40,000 budget of the project. Public usage is expected to be very high, develop artist-designed bus shelters and bike racks. Also identify the trail and increase civic spirit. should be established for one project. though one newspaper article indicated 200 people would consider funding from Mayor and Commission allocations visit per week. The ACAC met with the project’s user group, for enhancements along the Lexington Highway and Atlanta In all cases, the ACAC should closely follow the design of the which supported public art at the project and requested that Highway corridors. Also seek sponsorships from developers and trail and the trail elements to identify specific opportunities the RFP be limited to local artists. major employers whose properties are served by Athens Transit. for public art as early as possible. Opportunity: Because of the nature of the facility – public Budget and Artist Selection: Currently, the budget is estimated education around agricultural and food systems — and its at $60,000. This should be adequate for a gateway at East audience, which includes 4H Clubs, this would be a priority Broad Street but might need to be increased by $20,000 if a location for public art. One approach to consider is the second project at Old Winterville Road were considered. exploration of community food systems that was launched This commission might be appropriate for local artists, during the public art master plan process. The work might be but the commission will need to be carefully defined and educational or interactive; it also might seed a project that there will need to be strong project management support to would connect the disparate parts of the Athens food system. assist the artist in producing the integrated artworks. The commissions might be undertaken by one artist, or if there is a simple repeatable element, by multiple artists.
92 Athens Public Art Master Plan Implementation Guides for public art 93 Sn ra dy C eek Park Improvements, Du dley Park Improvements, Y outh & Community Facility; C osta Building Renovation; Project #14 Project #17, 2018 Project #22 Project #32 Description: This 782-acre park surrounds 260-acre Lake Description: Improvements for Dudley Park will provide for Description: The Youth and Community Enrichment Facility Description: This project involves the renovation of and Chapman and offers a variety of activities throughout the infrastructure in accordance with the Dudley Park Master Partnership will provide a new facility in partnership with existing ACCUG three-story building located at the corner year, with facilities like those in typical state parks. Picnic Plan, which has not yet been developed, and will ultimately one or more organizations for youth development and family of Washington Avenue and Lumpkin Street, downtown. sites, wooded trails, swimming, playgrounds, fishing, dog be approved by the Mayor and Commission. Examples of sub- educational programs in Athens-Clarke County. It is expected Most recently, a branch of the ACC police department was runs, disc golf course, sports area and rental pavilion facilities projects include the construction of an amphitheater and that the partner(s) will provide capital funds to the project to housed in the building. Originally, it was erected by the Costa are highlights of this large local park. associated support facilities such as dressing and restroom support SPLOST funding. The project is envisioned to include Family as a factory to manufacture their famous ice cream The renovation and further development of Sandy Creek facilities; a sound and ticket booth; administrative and components such as a computer lab and technology center, commercially, which they did until 1939. Park will make improvements in areas within Sandy Creek security space; development of a multiuse field, playground classrooms and conference space, game room, teen center, Opportunity: Create a demonstration project for an Art Walk Park, such as the Visitors Center, as well as provide for the facilities, and park signage; and other related park access half gymnasium, associated administrative and operational Cultural Trail station here. Include either an interpretive renovation of park restrooms to comply with ADA standards, improvements. areas, and an exterior stage area and sports field. Currently, artwork, or permanent pads for temporary rotating work that rehabilitation of the campground, and general infrastructure Opportunity: Because of Dudley Park’s location — between it is expected that this project will be a collaboration with could be funded through an Art Walk project. This could be a improvements to park structures and roadways in accordance downtown, the UGA campus and East Athens, and along the the Athens Boys & Girls Clubs, and will be operated by that model for using funds from SPLOST projects with budgets in with the Sandy Creek Park Master Plan. Oconee River Greenway — it could one day be a crossroads of organization. It is not clear what the location will be. the downtown area. Opportunity: A public art opportunity should be identified Athens. The opportunities for public art can’t be determined Opportunity: Because this project serves youth and is located Budget and Artist Selection: The public art budget when plans for this park come into closer focus. until the master planning process gets underway, but the in an underserved community, it would be a good opportunity is estimated to be $21,000. This might need to be artwork here should strive to something civic that embraces for public art. However, a project plan would need to be Budget and Artist Selection: The projected public art supplemented modestly, by $9,000, so that it is adequate to all the communities who might visit the park. developed in collaboration with the Boys and Girls Clubs. create an interpretive artwork on this location. budget, $20,000, will likely need to be supplemented with This would be a good opportunity for a local artist to develop general SPLOST public art funds, perhaps by as much as Budget and Artist Selection: However, as the capital investment is only $650,000, the public art budget will a youth-engaged project, potentially even a participatory $80,000. The value of this expenditure, compared to other 1 New Fire Station facility of approximately 12,000 square feet; Estimated construction be small, and will need to be supplemented with general or “social practice” type project that results in a permanent budget; $2,600,000; Estimated public art budget; $26,000. Expected public usage, opportunities that require support from SPLOST public art artwork, perhaps through an artist residency model. The minimal; Estimated construction period; calendar year 2017; SPLOST public art funds, perhaps by as much as $73,500. https://athensclarkecounty.com/2041/Project-3-Fire-Protection-Services-Safet allocation, will need to be evaluated once plans for the park challenge will be to ensure a strong artistic outcome with a come into closer focus. The value of this expenditure, compared to other 2 New Center facility of approximately 8,000 square feet w/ exterior storage & garden small budget. facilities; Estimated construction budget; $1,400,000; Estimated public art budget; opportunities that require support from SPLOST public art $14,000; Expected public usage; very high; Estimated construction period; calendar year 2017; https://athensclarkecounty.com/2061/Project-10-Cooperative-Ext-Service-Cente Gene ral Park Improvements, allocation, will need to be evaluated once plans for the park Budget and Artist Selection: There is an estimated budget come into closer focus. of $20,000. A project should be developed at this level 3 Estimated construction budget; $1,850,000. No estimated public art budget, Project #16 but 1% set-aside would amount to $18,500. Estimated construction period; calendar of funding, or with minimal increase. Select a local artist years 2015 through 2020. https://athensclarkecounty.com/2058/Project-7-Transit- Vehicles-Bus-Stops Description: The Parks Facilities Improvements project will interested in participatory art projects with children. provide for infrastructure improvements at various parks and 4 Estimated construction budget; $7,700,000. Estimated public art budget, $60,000. Expected public usage, high. Estimated construction period; varies by section; beginning Leisure Services Department facilities, and may include sub- in 2016 and through 2020; https://athensclarkecounty.com/2059/Project-8-Rails-to- Trails-Network-Progra projects such as repairs to pool areas, gym floors, and tennis 5 Estimated construction budget; $8,000,000. Estimated public art budget; $15,000 - courts; playground improvements; installation of field lighting; $55,000. Expected public usage; high. Estimated construction period; varies by section; beginning in 2016 and through 2020; https://athensclarkecounty.com/2060/Project-9- addition or replacement of park equipment such as picnic Oconee-Greenway-Network-Connec tables and grills as well as signage; general improvements to 6 Various improvements within Sandy Creek Park; Estimated construction budget; park access; and erosion control of park areas. $1,400,000; Estimated public art budget; $14,000; Expected public usage; very high; Estimated construction period; beginning in 2017 and through 2020; https:// Budget and Artist Selection: The public art budget is athensclarkecounty.com/2066/Project-14-Sandy-Creek-Park-Renovation 7 Various improvements within multiple parks throughout the County; Estimated $20,000. Explore with Leisure Services and SPLOST the construction budget; $2,000,000; Estimated public art budget; $20,000; Expected possibility of reallocating these funds to another site within public usage; very high to off the charts; Estimated construction period(s); varies by park; beginning in 2016 and through 2020 the department. Commission public art a community park 8 Various improvements within Dudley Park; Estimated construction budget; $650,000; in an underserved area of Athens, organize a residency at a Estimated public art budget; $6,500; Expected public usage; very high; Estimated construction period; 2018 recreation center, or supplement art budgets for Sandy Creek 9 New facility of approximately 13,000 square feet offering youth development programs or Dudley parks. and services; Estimated construction budget (SPLOST funding); $2,000,000; Estimated public art budget: $20,000; Expected public usage; very high; operated by Athens Boys & Girls Clubs; Estimated construction period; 2018 10 Estimated construction/renovation budget: $2,100,000; Estimated public art budget; $21,000; Expected public usage; unknown; re-purpose of building undetermined; Estimated construction period; 2019
94 Athens Public Art Master Plan Implementation Guides for public art 95 Appe ndix 2: Guidelines for Donations and • Outline of installation requirements, including a cost Reviewr C iteria estimate for installation. The ACAC shall evaluate proposals based on the following Commemorative Artworks • Outline of maintenance requirements, including a cost sets of criteria: Donations of artworks can be a useful way of building spaces, estimate. Aesthetic and Siting Athens–Clarke County’s public art collection and serving the • Ensure that donated artworks are in keeping with ACAC’s • Written explanation of legal issues, including but • The artwork should be appropriate in terms of size, scale, community. However, each proposal should be considered vision and goals for its collection, and its expectations for not limited to, certifying the current legal owner of color, material, form and style for the location where it is carefully in light of ACCUG’s overall goals and expectations the quality of the artworks in the public realm, the artwork(s) and, the existence of any copyrights, for public art, to ensure that public spaces and other public patents or other title rights in or to the artwork(s); and to be placed. The artwork should take advantage of any • Ensure that donated artworks are sited appropriately in resources are used as wisely as possible. an explanation of any conditions or limitations on the special features of the site, such as light, landscape and terms of media, scale, site usage and aesthetics, view shed. ACCUG currently has an overall procedure for evaluating donation of the artwork(s), such as any interests to donations, and the ACAC has guidelines that operate within • Ensure that technical concerns and costs such as remain with the Artist. • The artwork shall be an exemplar of the artist’s body of installation, lighting, insurance, easements, ongoing that procedure. The key components of the current ACCUG The ACAC may recommend to Central Services a waiver of work, and of work in the genre in general. It should be maintenance, conservation and safety are thoroughly donation review procedure are: any of these requirements in cases where they do not apply. unique and not derivative of other artists’ work. considered and addressed. • The artwork shall be of a genre or media that • Proposals for donations that are perpetual in nature must Internal Review be forwarded to the Mayor and Commission. Donations • Determine whether it is appropriate for ACCUG to complements the other works on view in the must be accepted or declined within 90 days unless an contribute resources to the donation. Central Services is responsible for circulating the application ACAC’s public art collection, and shall not result in a extended period of time is agreed to by the donor.1 among various ACCUG agencies, including the ACAC, for preponderance of artwork in one genre or another. P rocess for Review review and comment. Before circulating the application, • Central Services is assigned responsibility for • The artwork shall be of a high level of quality, reflecting Central Services should confer with ACAC to ensure the administration of the donation review process. Any Informational Meeting Athens’ overall desire for excellence in its visual application is complete. appearance. agency receiving an offer of donation should report it Donors of artworks are requested to contact ACAC to discuss to Central Services, which will collect comments from the nature of the donation and applicable review procedures. ACAC Review • The artwork shall exhibit timeless qualities, with all departments and forward to the ACCUG Manager Once an application is complete, the ACAC reviews the significance and appeal that will allow it to be enjoyed Application and ACCUG Attorney for review. The Manager makes a donor’s proposal according to the “Criteria for Donated or over subsequent viewings and for generations to come. recommendation to the Mayor and Commission.2 Central Services and ACAC assist the donor in submitting an Loaned Artwork.” The ACAC may delegate this responsibility • The artwork shall be appropriate to Athens–Clarke • A CAC’s guidelines include a section, “Donations & application that provides the following information: to a special task force consisting of ACAC members and County’s community standards in regard to the genre Loans of Artwork,” that outlines ACAC’s role in making • Title of the artwork, its dimensions, medium and date of stakeholder. of the artwork and its materials. Artworks shall not recommendations on donations. execution. A representative of the individual or organization making advocate for a particular political or religious point of view, nor shall they promote disparaging, hateful or The following guidelines should replace existing ACAC • Digital images of the artwork or other appropriate a proposal will be invited to make a brief informational incendiary points of view. guidelines, and operate within established ACCUG policies. presentation materials. presentation to the ACAC or the task force that it designates. The ACAC may request additional information before making • Artist’s statement about the artwork, if applicable. Technical It n roduction its recommendation. • Proposed site location(s), method of display and required • The artwork shall have been created by an artist, as The community of Athens-Clarke County encourages The ACAC makes a recommendation to accept or non- site improvements. defined in the Public Art Master Plan. donations of works of art for public places. When donations accept the application. The ACAC may attach conditions to a or long-term loans of artworks are offered to ACCUG, and • Resume or other credentials of the artist, including recommendation of acceptance. • The location should be consistent with the Public Art samples of other work. Master Plan and any other plans that have been officially proposed for placement in any public space or facility, the The ACAC evaluation of proposal will be coordinated and adopted by ACCUG. proposal shall be reviewed by the Athens Cultural Affairs • Warranty of originality (certification that the artwork is an staffed by ACAC staff. Commission in collaboration with the department that has original creation or limited edition). • The placement of the artwork should not cause an been offered the donation, and then recommended to the Mayor and Commission Review oversaturation of public art in any area of the city. • Statement of appraised value of art. Mayor and Commission or the Manager in accordance with All donations of public art must be reviewed and approved by “Oversaturation” means a concentration of public art • Depending on the structural and fabrication design of the ACCUG’s overall Donations Acceptance Policy. the Mayor and Commission. Central Services will coordinate beyond that recommended in the Public Art Master Plan piece, a certification by a Georgia-registered architect, The following procedures for accepting donations of artworks interagency review. or the location of various pieces in such proximity to landscape architect, or professional engineer in regard to (permanent and long-term loans) are intended to: each other so as to detract from the visual setting and the stability and durability of the artwork. enjoyment of each piece or the overall landscape. • Ensure that donated artworks are in keeping with the ACCUG’s overall goals and plans for public facilities and
96 Athens Public Art Master Plan Implementation Guides for public art 97 • The siting of the artwork should not interfere with • Proposed donations of artworks that commemorate A ccessioning of Artwork existing or proposed circulation and use patterns for the specific disasters (whether natural or man- made), The following process shall be followed in accessioning location where it is to be placed. health-related themes or organizations in general artwork that has been accepted by the Mayor and should not normally be considered, unless it can be • The artwork shall be created from durable construction Commission: and materials, suitable for permanent location in an demonstrated that they are unique to Athens and that • Assign accession number according to an appropriate outdoor environment. It should be possible to clean, their long-term impact has uniquely shaped the history numbering plan. maintain, and repair the artwork with easily available of the community. materials and techniques. • Proposed donations of commemorative artworks and • Complete documentation of the artwork and incorporate it into the Public Art Inventory in the Athens Cultural • The artwork should not be susceptible to undue wear and memorials must not duplicate the themes or subject Affairs Commission office. tear or present hazards to the public. matter of an existing memorial in Athens–Clarke County. • Proposed donations of commemorative artworks and E xemptions Additional Criteria for Commemorative or memorials shall not in any circumstances depict subjects These guidelines shall not apply to: Memorial Artworks that are trademarked or commercially licensed, nor shall • Artwork loaned to ACCUG for one year or less. • Proposed donations of commemorative artworks and any type of acknowledgement, including plaques, include Sculpture by Brian Smith donated to the Sandy Creek Nature Center. memorials must have cultural significance to the general logos or other commercial graphics. • Artwork loaned for inclusion in temporary exhibitions in Photo by Meridith C. McKinley. public, not just one individual or an interest group. The facilities and spaces managed by ACCUG. subject will be commemorated only if it is generally Cn o ditions of Acceptance • Gifts of State presented to ACCUG by other governmental accepted that its long-term impact has uniquely shaped ACCUG shall accept donations of artworks only when: entities (municipal, state, national, foreign). Gifts of Athens’ history. • The donation is accompanied by an appropriate warranty State may be accepted by the Mayor or City/County • Proposed donations of commemorative artworks and of originality and a legal instrument of conveyance of title Manager on behalf of ACCUG in accordance with its own memorials must concern subjects that have been tangibly (or similar acceptable documentation), and maintenance acceptance policies. Appropriate placement shall be and directly associated with Athens–Clarke County. In the protocols and material inventory. determined by ACCUG after receiving recommendations case of contributions of an individual or a particular group • The donor pays for all costs related to the donation, from the ACAC. Appropriate recognition and publicity of people, for example, strongest consideration will be including transportation, installation, signage and a shall be the responsibility of ACCUG. given to those who have had an impact on the history of maintenance reserve. • Bus shelters, bike racks and other artworks that are paid Athens–Clarke County overall, the state of Georgia or the for with donated funds, when they are commissioned nation. • The signage for the donated artwork meets ACAC design guidelines. through the standard ACAC public art process. • Proposed donations of commemorative artworks and memorials that recognize individuals should not be • The donation is made without restrictions as to future use or disposition of the artworks. 1 Policy CSD-004 Donations Acceptance Policy considered until at least five years after the death of the 2 Policy CSD-004.1 Review of Offers of Donation or Loan of Goods, Services or Other individual. Proposed donations of artworks or memorials I nstallation of the Artwork Items that commemorate events should not be considered until at least ten years after the occurrence of the event. The siting of donated or loaned artworks will be coordinated Where an overwhelming and undisputed community by Central Services in collaboration with the ACAC and the consensus exists, proposals may be considered before department that manages the site where the artwork will these periods have passed. be located. If possible, the artist who created the donated or loaned artwork should be consulted regarding siting and • Proposed donations of commemorative artworks and installation issues. The artist or a representative of the artist memorials that recognize organizations in general, or should supervise the installation. specific topics including but not limited to historical events, disasters or health-related themes, should not normally be considered, unless it can be demonstrated that the circumstances are unique to Athens–Clarke County and that the event or topic has uniquely shaped the history of the community.
98 Athens Public Art Master Plan Implementation Guides for public art 99 Appe ndix 3: Guidelines for Public Art Add itional Requirements for Projects Reco gnition that Use Public Funding or are ACCUG should recognize private developments that work with in Private Development Provided as a Public Benefit ACCUG to install public art on private property. Recognition When public art is financed or funded through a public opportunities could include a plaque/medallion placed near Gui delines for Public Art in Duration finance mechanism, such as a TAD district, or when public the artwork, promotion of the artwork and the business’s Private Development Public art created as a part of a development project should art is provided by a developer as a public benefit through a contribution in City publications, and listing of the project The following guidelines should be considered as voluntary remain for the life of the development. Conversely, a plan approval or agreement with ACCUG, these requirements (with background information) on the ACAC web page. developer can create a permanent location for changing art, for all developers who wish to incorporate public art in their must be followed: On-site signage should meet public art guidelines developed projects or wish to create public art that is donated to ACCUG. and endow or provide ongoing funding to a cultural institution • The above guidelines must be followed. by the ACAC. In addition, these guidelines should be requirements for to program that location with changing artworks. • The project identification, artist selection and artwork developers who are using a public funding mechanism for Indoor Art concept must be reviewed and recommended by the public art, or who are creating public art through a public Interior art in private buildings is welcomed, especially in appropriate board, and approved by ACAC. requirement. a semi-public gathering place like an atrium or a lobby. • The artist must be an artist as defined in the ACAC In addition, they should be incorporated by reference into any However, indoor art should not be construed as fulfilling any guidelines, and cannot otherwise be a member of the public action that requires developers to include public art. agreement for providing public art as a benefit or amenity. developer’s design team. A ccessibility Seasonal and Thematic Displays • M aintenance is the responsibility of the owner, who must give copy of maintenance plan to the ACAC and allow Public art should be visible and easily accessible to the Public art projects cannot include seasonal or thematic ACAC to do a periodic conservation assessment. general public, not in an area where access is restricted solely displays (e.g., lights related to holidays, special events or to the immediate users of a property. fundraising causes). • If the artwork is sold, ACCUG must be repaid the original expenditure for the artwork. C ommercial Expression Me aintenanc Public art projects cannot include any form of commercial The owner of the artwork is responsible for the maintenance Rei qu rements for Projects to be expression, including logos, color or audio motifs, slogans, in perpetuity. Donated to the City themes or any other components that are suggestive of a A developer may commission public art that will ultimately private entity’s identity, branding or marketing. The only Assignment of Responsibility be donated to ACCUG. When this occurs, these requirements exception is a logo indicating the sponsorship of a project, The agreements related to the creation of the artwork and the must be followed: as a discreet component of signage or digital media that responsibility of maintaining the artwork must be conveyed • The above guidelines must be followed. identifies the project. to future owners of the site. • The artist must be an artist as defined in the ACAC guidelines, and cannot otherwise be a member of the developer’s design team. The Glass Cube Gallery is one of several artworks that are featured in the • The project identification, artist selection and concept publically-accessible areas at the Hotel Indigo. must be approved by ACCUG staff, with recommendation from ACAC. • Any additional requirements attached to the donation acceptance process.
100 Athens Public Art Master Plan Implementation Guides for public art 101 AC KNowlEDGEMENTS
ACC Mayor AND Commission S nteeri g Committee U niversity of Georgia M eeting Hosts Mayor Nancy Denson Bob Carson / Financial Advisor, Carson Nicholas Allen / Director, Willson Center Athens Clarke County Public Library Creature Comforts District 1 - Sharyn Dickerson Advisory Inc. David Barbe / Director, Music Business Program Athens Clarke County Chamber of Commerce Georgia State Botanical Gardens District 2 - Harry Sims David Matheny / Architect, Armentrout Pratt Cassity / Director, Center for Community Athens Council on Aging Lyndon House Art Center District 3 - Melissa Link Matheny Thurmond Design and Preservation Athens Farmers Market Sparrow’s Nest District 4 - Allison Wright David Stein / Co-Founder Creature Comforts Jack Crowley / Program Coordinator, Bell’s Market Strickland’s District 5 - Jared Bailey Brewing Environmental Planning & Design Broad 9A Tlaloc District 6 - Jerry NeSmith Desi Sharpe / Chair Athens Area Art Council Chris Garvin / Director, Lamar Dodd School of Art Cedar Shoals Willson Center District 7 - Diane Bell Diane Bell / ACC District 7 County Katie Geha / Director of Galleries, Lamar Cine District 8 - Andy Herod Commissioner Dodd School of Art Clarke Central High School District 9 - Kelly Girtz Fenwick Broyard / Executive Director Jennifer Lewis / Center for Community Design Clarke Middle School District 10 - Mike Hamby Community Connection and Preservation Joan Prittie / Executive Director Project Safe Russell J. Mumper, Vice Provost A thens Cultural Affairs Stanley Bermudez / Artist, Fine Art Professor J. Scott Pippen, Carl Vinson Institute Commission University of North Georgia Lynn Sanders-Bustle, Chair, Art Education, Holly Alderman, Master Plan Co-Chair Lamar Dodd School of Art Marc Beechuk, Master Plan Co-Chair ACC Departments Ronald Thomas / MEPD Gwinnett Coordinator Ashley McCormack, Master Plan Chair Central Services - David Fluck Jennifer Jo Thompson / Crop and Soil Sciences Didi Dunphy Housing & Community Development - Deborah Judith Wasserman / Landscape Architecture Helen Kuykendall Lonan, Rob Travena, Joanne Seglin Lloyd Winstead / Willson Center Jan Hebbard Leisure Services - Kent Kilpatrick, Pam Reidy Laura Hoffman Manager’s Office - Alan Reddish, Blaine IN DIviDUals Linda Ford Williams, Robert Hiss, Jestin Johnson Barbara Andrews, David Boyd Leon Leathers Planning - Brad Griffin Mel Cochran, Nance Daniels Marilyn Wolf Ragatz SPLOST - Derek Doster, Keith Sanders Bruce Lonnee , Don Martin Matthew Justus Transit - Butch McDuffie Annelies Mondi, Ryan Moore Melissa Lee Transportation & Public Works - David Clark, Patricia J. Priest, Barbara Sims Michael Lachowski Drew Raessler Angela Steedley, Ronald Thomas Sarah Traub Terris Thomas, Robert Tucker ATHENS ORGANIZATIONS Lloyd Winstead ACAC Liaisons Lynn Battle Green / Morton Theatre Brian Seagraves / Leisure Services Heather Benham / Athens Land Trust Ar tists Sp ecial Thanks Pam Reidy / Leisure Services Alex Borges / Casa Amistad Jared Brown, Robert Clements Abby Hicks, Hotel Indigo Paul Cramer / Classic Center Elizabeth Debban, Mary Engel WGAU ACAC Assistants Kelly Doyle-Mace / Morton Theatre Jennifer Hartley, Maureen Kelly WUGA Rob White Doc Eldridge / Athens Area Chamber of Heidi Hensley, Nick Napoletano WXAG Tatiana Veneruso Commerce Yvonne Studevan, Chet Thomas Casa Amistad CONSULTANT TEAM Jill Helme / Athfest Creates Jason Whitley Todd Bressi Chuck Jones / Athens Convention and Visitors Meridith McKinley, Via Partnership Bureau Bruce Burton, Graphic Design Delene Porter / Athens Area Community Foundation Matthew Mazzotta, Guest Artist Kelly Robbins-Thompson / Athens Land Trust Seitu Jones, Guest Artist Desi Sharpe / Athens Area Arts Council Wing Young-Huie, Guest Artist Pam Thompson / Athens Downtown Broderick Flanigan, Artist Assistant Development Authority Stephanie Van Dyck / Classic Center Kira Hegeman, Artist Assistant
102 Athens Public Art Master Plan Implementation Guides for public art 103 S nteeri g Committee Preservation Russell Mumper, Vice Provost Meeting Hosts Bob Carson / Financial Advisor, Carson Advisory Inc. Education, Lamar Dodd School Athens Clarke County Public Library David Matheny / Architect, Armentrout Matheny Lynn Sanders-Bustle, Art Jennifer Jo Thompson Athens Clarke County Chamber of Commerce Thurmond Judith Wasserman Bell’s Market David Stein / Co-Founder Creature Comforts Brewing Broad 9A Ar tists Desi Sharpe / Chair Athens Area Art Council Clarke Middle School Jared Brown Diane Bell / ACC District 7 County Commissioner Lyndon House Art Center Bob Clements Fenwick Broyard / Executive Director, Community Stickland’s Elizabeth Debban Connection [other places mattehw and seitu and wing went] Mary Engel Joan Prittie / Executive Director Project Safe Jennifer Hartley Stanley Bermudez / Artist, Fine Art Professor Maureen Kelly University of North Georgia Heidi Hensley ACC Departments Nick Napoletano Central Services - David Fluck Harold Rittenberry Housing & Community Development - Deborah Lonan, Yvonne Studevan Rob Travena, Joanne Seglin Chet Thomas Leisure Services - Kent Kilpatrick, Pam Reidy Jason Whitley Manager’s Office - Alan Reddish, Blaine Williams, Robert Hiss, Jestin Johnson INTE RViews Planning - Brad Griffin Barbara Andrews SPLOST - Derek Doster, Keith Sanders Lynn Battle Green Transit - Butch McDuffie Heather Benham Transportation & Public Works - David Clark, Drew David Boyd Raessler Alex Borges ATHENS ORGANIZATIONS Mel Cochran Desi Sharpe, Athens Area Arts Council Nance Daniels Heather Benham, Athens Land Trust Kelly Doyle-Mace Paul Cramer, Classic Center Bruce Lonnee Doc Eldridge, Athens Area Chamber of Commerce Don Martin Jill Helme, Athfest Creates Annelies Mondi Chuck Jones, Athens Convention and Visitors Bureau Ryan Moore J. Scott Pippin U niversity of Georgia Delene Porter Nicholas Allen / Director, Willson Center for Patricia J. Priest Humanities & Arts Kelly Robbins-Thompson David Barbe Barbara Sims Pratt Cassity / Director, Center for Community Design Angela Steedley and Preservation Ronald Thomas Jack Crowley / Program Coordinator, Environmental Terris Thomas Planning & Design Pam Thompson Chris Garvin / Director, Lamar Dodd School of Art Robert Tucker Katie Geha / Director of Galleries, Lamar Dodd Lloyd Winstead School of Art Stephanie Van Dyck Jennifer Lewis / Center for Community Design and