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Oregon’s Percent for Art Program: A Public Legacy Contents

Oregon’s Commitment to Art in Public Spaces 2 Process and Impact of the State Art Collection 3

Art Melds with Engineering at Portland State University 4 6 0 0 2 A Timeless Mosaic at SOU’s Hannon Library 5 A Landmark Sculpture for the State of Oregon 6 Developing Public Art in Oregon’s Smaller Communities 7 Artist Profile: Henk Pander 8 photo: bruce forster Introduction

Oregon Realizes its Commitment to Art in Public Spaces

Living up to its pioneering reputation, Oregon was one of the first states in the nation to pass “I can never assume that I am in the studio Percent for Art legislation. Enacted in 1975, the state statute guides the acquisition of Oregon’s State Art alone. For I am in a partnership as I work. I am Collection, which includes more than 2,500 original art a partner with the site and the community. I am works. From Astoria to Agness, Baker City to Milton- Freewater, Bend to Klamath Falls, state buildings a partner with the city and its bureaus, with its and public spaces host permanent reminders of the citizens and with the future of place. And my breadth, variety and aesthetics of our history, environ- ment, people, and changing concerns. goal in these partnerships is to create a work

How the Percent for Art Program Developed which will provide a personal experience within the public setting, and keep on ticking.” The Percent for Art statute (ors 276.075) sets aside “not less than 1% of the direct construction funds of – Tad Savinar new or remodeled state buildings with construction Artist, Portland budgets of $100,000 or greater for the acquisition of art work which may be an integral part of the building, attached thereto, or capable of display in other State Buildings.” • A commitment to helping artists attain public Since its inception, the Percent for Art program has recognition and visibility through Percent for Art maintained: opportunities. • A commitment to the placement of permanent art of The Percent for Art Program remains dedicated the highest possible quality in public places where to the enhancement of the public environment and it is accessible to the broad public; improvement of the character and quality of state • A commitment to the successful integration of buildings in order to create an accessible, publicly artist, the public and architects working together owned legacy that is uplifting, enduring and available as a team; and to all.

commissioners staff connections Cynthia Addams Christine D’Arcy Connections is a series of Keizer, Chair Executive Director monographs published by Ron Paul Shannon Planchon the Oregon Arts Commission

oregon arts commission commission arts oregon Portland, Vice Chair Assistant Director highlighting best practices and Jean B. Boyer Cowling Laurel Schweitzer MacMillan the arts at work in Oregon. Medford Community Development Coordinator Debi Coleman Vicki Poppen Design Portland Arts Education Coordinator Thomas Osborne Bart Eberwein Meagan Atiyeh Thomas Osborne Design Portland Visual Arts Coordinator Bend Boyd Harris Renita McNaughtan Condon Executive Assistant Andrea Heid Eugene 775 Summer Street ne, Ste 200 • connections connections Royal Nebeker Salem, Oregon 97301-1280 Gearhart (503) 986-0082 Voice (503) 986-0260 Fax (503) 986-0123 tdd [email protected]

2 www.oregonartscommission.org oregon arts commission • connections 3 Hundreds of scalesaluminum in kinetic Prentice’s Tim the catch sculptures of movement slightest a vast activate air to in Oregon State atrium Kelly University’s Engineering Building. Public artists have been called on to envision public public envision on to been called have artists Public state local, on the art programs 300 public than More and support jobs, create Art projects for Percent - and communi architects with working environments, and Oregonians for spaces memorable create ties to inseparable often are Art projects for Percent visitors. our buildings, of and architecture history the from the of gates bronze ornate Chabre’s as Wayne such mosaic in the rotunda or the in Salem, Building Archive Artists University. Oregon Southern Library at Hannon to children for places courtyards, public inviting design we that sculpture make They learn. to and adults play paintings Their to. nicknames give by, navigate admire, of and places history the represent and photographs our region. of talents creative best and the Oregon, States. United the across operate levels and federal in the programs of and concentration is a depth There artists professional many the and Northwest, Pacific also region art in this public and create reside who world. and the country the across work economies. local to contribute who workers arts other in turn, They, as contractors. commissioned are Artists pour concrete, metal, cast to companies local hire local hire studios, rent They works. and install frame - com artwork outdoor a typical In and cranes. trucks immedi- return costs 80% of the of upwards mission, economy. Oregon the to ately work in our state just as surely as we want to sustain sustain to want as we as surely just in our state work resources. and economic natural state’s the Artist Anne Storrs used native plant imagery to create unexpected cast stone sculptures sculptures stone cast unexpected imagery create to plant native used Storrs Anne Artist River Columbia the in Trailhead West Hatfield O. Mark Senator the landscape at the in of one project, Trail This Millennium Oregon. Hood River, in Area Scenic National Gorge encouraged and history national our celebrated States, United the throughout fifty-one of form asa only not trails these experience to public the allowed that artworks discovery. journeyof asa but transportation, and recreation

The collection is a testimony to the fact that that fact the to is a testimony collection The Oregon’s state art collection now numbers over 2,500 2,500 over numbers now art collection state Oregon’s Since 1975, over 200 state construction projects projects construction 200 state 1975, over Since Through a series of meetings, the art selection art selection the a series meetings, of Through Artworks acquired through the Public Art program Art program Public the through acquired Artworks

also conveys that we want Oregon’s artists to stay and stay to artists Oregon’s want we that conveys also resource worthy of encouragement and nourishment. It It and nourishment. encouragement of worthy resource the creative imaginations of our artists are a state a state are our artists of imaginations creative the dollars and in the uniqueness of the works. the of uniqueness and in the dollars that confirm we buildings, art in our public of works the collection continues to appreciate, both in terms of of in terms both appreciate, to continues collection the fine placing By live. we how about care Oregonians and structurally integrated art installations. Value of of Value art installations. integrated and structurally glass, mosaics, murals, textiles, and both site specific specific site and both textiles, mosaics, murals, glass, dia, photography, original prints, sculpture, ceramics, ceramics, sculpture, prints, original dia, photography, works of art, including drawings, paintings, mixed me- mixed paintings, drawings, art, including of works the artist and the works of art in a building. of works and the artist the state. the across art works and appreciated art selection committee makes final selections of both of both selections final makes committee art selection questioned, debated, admired, noticed, have visitors the facility. Through shared discussion and review, the the and review, discussion shared Through facility. the and citizens workers, state of Thousands committees. which are reviewed for artistic merit and suitability to to and suitability merit artistic for reviewed are which on art selection participated 1,800 have Oregonians building. Most committees solicit artists’ proposals proposals artists’ solicit committees Most building. over funds, and for Art Percent for qualified have cations in order to select artwork appropriate for each for appropriate artwork select to in order cations - and lo materials styles, possible evaluates committee each project. each committee. Separate committees are formed for for formed are committees Separate each committee. the overall process, serving as a non-voting chair of of chair serving non-voting as a process, overall the Arts Commission’s Visual Arts Coordinator facilitates facilitates Coordinator Arts Visual Commission’s Arts project’s architect and arts professionals. The Oregon Oregon The professionals. and arts architect project’s committees comprised of community members, the the members, community comprised of committees are selected and commissioned by art selection art selection by commissioned and selected are State University. State Clastics,” from the collection of the Valley Library, Oregon Library, from the collection of the Valley Clastics,” Lee Kelly, “Naga” (left), and Terry Toedtemeier, “Basalt Toedtemeier, and Terry (left), “Naga” Lee Kelly,

Public Artists, Community and Community Economy Public Artists, Impact of the Collection

How Public Artworks Are SelectedHow Public Artworks Are Overview photo: bruce forster bruce photo: Stainless steel, dichroic glass, lighting glass, dichroic steel, Stainless Science, & Computer Engineering of College Maseeh University State Portland ,” 2006 ,” “tecotosh Ed Carpenter A renowned public artist living in Portland, Oregon, Oregon, in Portland, living artist public A renowned Ed Carpenter has been creating artworks for public public for artworks creating been has Ed Carpenter that years three the In 1970s. early the since spaces he purchased on “tecotosh,” worked Carpenter on the and relied companies local eight from materials engineers, including subcontractors, services fifteen of companies. and crane fabricators glass - com are they but when and light; structures, materials, sense of an overriding remains there way bined in this choices. material his of said Carpenter mystery,” Media Location Project Artist ,” ,” tecotosh www.oregonartscommission.org/public_art Portland artist Ed Carpenter’s sculpture, “ sculpture, Carpenter’s Ed artist Portland - arch the glass, dichroic with steel stainless Joining Portland State University engineering of principles basic four the illustrates creates and – sheer and torsion, compression, tension, – College Maseeh University’s State Portland to gateway a Science. Computer and Engineering of the across kinetic patterns bright projects work ing architecture. and surrounding entry plaza building’s the represents and light structure of “This interaction world; natural the with world engineered the of joining of behavior the understand We nature. science with In a Public Setting, Art Melds with Engineering Melds Art with a Public Setting, In “TECOTOSH” defines the urban plaza at Portland State University. State Portlandat definesplaza “TECOTOSH” the urban art on its website: public and community Program for Art on the State Percent resources offers Commission Arts The Oregon Ed Carpenter’s original Ed Carpenter’s “TECOTOSH,” for drawings the art to as presented committee. selection

oregon arts commission • connections 4 oregon arts commission • connections 5 photos: ken royce photography ken royce photos: Above: Artist Robert Stout installs each ceramic piece of “Resonance and Dispersion” each installs piece ceramic Stout of “Resonance Robert and Dispersion” Artist Above: Below: Theby hand. medallion completed mosaic seen from a second floor balcony.

Media Arts Department Department Arts Media Their website provides various guidelines and policies, as well as current opportunities for artists: www.racc.org for artists: opportunities as well as current policies, guidelines and various provides website Their

- inter three Library is composed of s Hannon

The Regional Arts & Culture Council manages one of the most respected public art programs in the nation, with the collections of the City of Portland and Multnomah County. and Multnomah County. of Portland in the of the the nation, with City collections programs art public respected one of the most manages Council & Culture The Regional Arts

Hannon Library, Southern Oregon University, University, Oregon Southern Library, Hannon Ashland Twin Dolphin Mosaics Dolphin Twin mosaic smalti and glass Ceramic “Resonance and Dispersion,” 2005 and Dispersion,” “Resonance

- sum the during weeks in six culminated project The Twin Dolphin Mosaics designs, produces and produces designs, Mosaics Dolphin Twin

Their 615-square-foot design for the grand entrance entrance grand the for design 615-square-foot Their In 1998, American husband and wife team Robert Robert team and wife 1998,In American husband

Southern Oregon University the work.” the expressing their appreciation for the intricacies of of intricacies the for appreciation their expressing actors and musicians – stopped by and talked with me, me, with talked by and – stopped and musicians actors visual artists – but dancers, writers, playwrights, playwrights, writers, – but dancers, artists visual Ashland were very welcoming and generous. Not only only Not and generous. very welcoming were Ashland for the work struck Stout, who said, “The who in artists Stout, struck work the for and Dispersion.” The level of community support support community of level The and Dispersion.” Hannon Library, meticulously installing “Resonance “Resonance installing meticulously Library, Hannon mer of 2005, when Robert Stout was in residence in the in the in residence was Stout 2005,mer of Robert when finalizing the design. An soudesign. the finalizing been selected, they worked for eight months in Italy in Italy months eight for worked they been selected, mosaic. the learned their proposal for the library rotunda had had library rotunda the for proposal their learned and assembling creating of process the document to installs each of their works themselves. When they they When themselves. works their each of installs there traveled and students faculty of team production circumference reflect fluid mechanics (physics). (physics). fluid mechanics reflect circumference data. The closely spaced lines that fan out around the the out around fan lines that spaced closely The data. an astrophysics computer model of spiral arm galaxy arm galaxy spiral of model computer an astrophysics the earth’s surface. The central spiral motif is based on motif spiral central The surface. earth’s the around the perimeter are reflective of wind patterns on of wind patterns reflective are perimeter the around locking design motifs. The looping curves that rotate rotate curves that looping The motifs. design locking of sou’of traditional Roman and Byzantine tiling techniques. tiling and Byzantine Roman traditional tionally known center of Byzantine mosaics – to study study – to mosaics Byzantine of center known tionally - – an interna Italy Ravenna, to moved Mosaics, Dolphin Stout and Stephanie Jurs, known collectively as Twin as Twin collectively known Jurs, and Stephanie Stout Location Media Artists Project Timeless ThemeTimeless Life to Husband and Wife Bring Husband and Wife With Ancient Technique, Ancient With Portland Art Museum curator Bill Mercer, who who Mercer, Bill curator Art Museum Portland 2003 “The Sampo,” Lee Imonen steel galvanized wood, Salvaged Salem Building, Office Mall North Oregon of State served on the art selection committee, commented, commented, committee, served art selection on the the is very dynamic, piece “The Imonen’s of design is very itself sculpture the into motion incorporated sculpture. of piece be a landmark will truly It strong. the consider art, we public at looking When we’re a is This be. will ultimately pieces these what of legacy is certainly whose career artist by a young piece major go up and up and up.” to going Finnish mythology, the Kalevala, in which gods create gods create in which Kalevala, the mythology, Finnish the help to Sampo,” “the mill, harvesting a magical story this felt artist The land. the with work people land. with connection own Oregon’s portray helped Project Artist Media Location

modern building.

Made of reclaimed counterpoint to the to counterpoint cedar, Lee Imonen’s “The Lee Imonen’s cedar, Sampo,” offers an organic an offers Sampo,” in sculpture from the University of Oregon. Oregon. of University the from in sculpture The North Mall Office Building in Salem, designed designed Salem, in Building Office Mall North The holds University, Willamette of a graduate Imonen, from is derived form the for inspiration Imonen’s North Mall Office Building State of Oregon, by Portland architecture firm Yost Grube Hall, was Hall, Grube Yost firm architecture by Portland the under constructed project building first Oregon’s 2000 Executive May Kitzhaber’s Governor of guidelines - art selec the intent, that With on Sustainability. Order works propose to artists challenged tion committee engage would sustainability, of goal the embodied that Oregon architecture. the and complement public the of sculpture a 30-foot for proposal Lee Imonen’s native goals. these of three all accomplished cedar salvaged a mfa the to directly responds “The Sampo,” sculpture, His use of its through building the of theme sustainable reclaimed cedars, salvaged several of height full the the for the primarymaterial as Roseburg, in a fire from sculpture the high, feet thirty over just Standing piece. courtyard. exterior building’s the of centerpiece is the between a balance strikes work the Conceptually, and mechanization (cedar) resources environmental large the linking elements structural fabricated (the - a regenerat references it form, overall its In timbers). a circling as a line and beginning energy, of cycle ing wheel. spoked A Landmark Sculpture Connects with Sustainability Theme Sustainability A Landmark Connects with Sculpture Artist Lee Imonen, Lee Imonen, Artist creator of “Thecreator Sampo.”

oregon arts commission • connections 6 oregon arts commission • connections 7 photo: courtesy oregon coast council on the arts council oregon coast courtesy photo: Public art should be an integral part of the design design the part of be an integral art should Public best not be the may in one community works What Communities Builds Arts Commission’s Arts Oregon The and planning of a community, and each public art and each public a community, of and planning community- larger to be connected should project the creation as such goals, or city-wide efforts building or street a new spaces, public or renewed new of can Communities building. or a new path, pedestrian identifies that plan art a public from benefit greatly art. public for opportunities communities similar Examining another. for project the understanding for can be useful and projects artist(s) the allow projects successful but truly process, unique their develop to art committee and public for art public and your community your Design ideas. and it place your will enjoy you way, that In yourselves. character. unique its will enjoy visitors that is likely matching and assistance technical offers Program - develop and community arts for opportunities grant local – to art planning public – including projects ment the Commission’s Visit and non-profits. governments (503) or call www.oregonartscommission.org, website, 986-0083 information. more for time. It can include the written word or performances. - - www.artsusa.org/services/public_art_network/ in the expanding field of public art. Their website offers bibliographies, planning tools, public art images, listserves and other resources: and other listserves art images, public tools, planning bibliographies, offers website art. Their field of public in the expanding Americans for the Arts’ Public Art Network (PAN) develops professional services for the broad array of individuals and organizations engaged engaged and organizations of individuals array for the broad services develops professional (PAN) Network Art Public for the Arts’ Americans Public art can take many forms, including free We use the term “art” broadly to signify those things things those signify to “art” broadly term use the We Public art opportunities should first be considered considered be first should art opportunities Public Oregon communities from Newport to Bend, Salem to to Salem Bend, to Newport from communities Oregon develops a place of character The art? public Why tion or part of an on-going process enhanced over It can be permanent or temporary, a single installa such as lighting, paving, street furniture and bridges. environment, and artist-designed functional elements fountains, kinetic pieces that move and react to the standing sculptures, landscape treatments, murals, private entity, are open and accessible to the public. public. the to and accessible open are entity, private places that, whether owned by the government or by a government by the owned whether that, places is art? What is public art? is public is art? What those designates “Public” meaningful. visually are that Consider how public art can enhance that vision. What What vision. that art can enhance public how Consider within the context of the vision for the community. community. the for vision the of context the within community-at-large. munity, or provide a public amenity for the good of the the of good the for amenity public a or provide munity, - com challenged an economically boost community, natural environment. Art can enhance a growing a growing Art can enhance environment. natural citizens and cultures and the way they shape the the shape they way and the and cultures citizens Grants Pass have undertaken local public art projects. art projects. public local undertaken have Pass Grants – its parts its all of interaction the through slowly Davis Park overlooking the Pacific Ocean. The work symbolizes the culture, historyand ecologythe culture, thesymbolizes of OregonCoast. overlooking TheDavis the Pacific Ocean. work Park Smaller Communities in Oregon’s Public Art Developing Artist Lon Brusselback installing his whale skeleton sculpture, “Qumni Kaltchik (Whale – Its Spirit),” in Newport’s Don in Newport’s (Whale Spirit),” “Qumni Kaltchik – Its Lon Brusselback sculpture, Artist his installing whale skeleton Artist Profile

Artist Henk Pander: Working Henk Pander in his studio. in the Public Realm √ photo: julie keefe

Oregon’s public art collection includes multiple leading to a major painting, “The Road,” which graces works by Portland artist Henk Pander. His artwork can the massive dining room’s almost eleven foot long wall. be found at the Department of Forestry, University of For this commission, Pander accepted the challenge to Oregon, Oregon State University and the State Capitol document the many different public safety personnel who in Salem. In addition to being one of the state’s most would train at the Academy. accomplished studio artists, Pander has created a Said Pander of the experience, “I requested a series reputation for immersing himself in study for public of ride-alongs with various police, sheriff and fire commissions as well as his personal work. When the departments to inform myself of the work of those New Carissa shipwrecked off the Oregon coast, Pander agencies and to develop visual materials that reflected sought permission to make studies on site. He flew on the experiences. I spent time in Hillsboro, Tillamook, his own to document post 9/11 New York, and has been Dallas, Redmond and LaGrande. I spoke to many granted entrance to nasa and Boeing Field to study and officers and witnessed many situations – from domestic document aircraft. to corrections to traffic accidents.” In 2001, Pander was commissioned to create a large “In my travels, I discovered their work to be complex, oil painting for the state’s Department of Forestry dangerous and multifaceted. Some of my watercolors are Headquarters in Tillamook. Traveling by camper, he explorations of possibilities for other major paintings; took up residence in remote locations in the Tillamook others are witness to moments and conditions I met in Forest, venturing out with forestry staff to study the my adventures with the various agencies. My work, “The landscape and better understand its complexities. Road,” is the culmination of my experiences, an imagi- When Oregon’s Public Safety Training Academy opened nary image of a traffic accident. It is set in a timeless in Salem in 2006, a collection of Pander’s watercolors and central Oregon landscape where the immediacy, danger conté studies was installed in the building’s hallways, and conflict of contemporary life takes on its urgency.”

“Some of my watercolors The centerpiece of are explorations of Henk Pander’s commission for possibilities for other the Public Safety major paintings; others Academy, “The Road,” oil on canvas, are witness to moments 80” x 142” and conditions I met in my adventures …” – Henk Pander

photo: ness-pace studio

775 Summer Street NE, Ste 200 Salem, Oregon 97301-1280