call to artists request for qualifications

Art Glass Transit Shelters Public Art Project - (SG-5)

The Art Glass Transit Shelters Mill Woods Stop public art competition is open to professional Canadian Indigenous artists or artist teams residing in , and is held in accordance with the City of policy “Percent for Art to Provide and Encourage Art in Public Areas” (C458C).

Budget: $97,000.00 CAD (maximum, all inclusive) Deadline for Submissions: 4:30 pm on Thursday, January 12, 2017 Delivery: Spring 2019 Installation: Summer 2019

Short-listed artists will be required to participate in a workshop in Edmonton on February 3rd or 4th 2017. Please refer to page 9 for travel and maquette fee information.

For more information, contact Chelsea Boida: phone (780) 424–2787 ext. 229 or email: [email protected]

The Edmonton Arts Council is committed to equity in all aspects of its work, and invites proposals from all potentially interested artists. We thank all artists for contributing their time and professional work for their initial concept proposal submissions.

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Art Glass Transit Shelters - Mill Woods About Edmonton Located on the banks of the , Edmonton, is known as “Festival City” and “Gateway to the North.” With more than one million people living in the Greater Edmonton region, the city is the largest, northernmost municipality in North America. Geographically, Edmonton is situated at the boundary between prairie and boreal forest. The river valley constitutes the longest stretch of connected urban parkland in North America.

Edmonton is home to Canada’s second-largest urban Indigenous community. The City of Edmonton lies in the heart of Treaty No. 6 territory and honours the traditions and spirit of the area. For centuries this area has been a place of gathering, relationship building, harmony, balance, and commerce for many peoples. It was in this place that early relationships led to the development of Treaty No. 6 Territory, the Province of Alberta, and the City of Edmonton. This relationship with the Confederacy of Treaty Six First Nations has been recognized by the City of Edmonton through City Council’s Declaration-Strengthening Relationships between the City of Edmonton, Urban Aboriginal Peoples, the Edmonton Urban Aboriginal Accord, and the Memorandum of Cooperation and Dialogue signed in 2012.

Since the 1800s Edmonton has been home to the Métis people who were some of the first settlers in the Edmonton area and played a significant role in its development. They continue to be the largest proportion of the Indigenous population in Edmonton.

This deep history, and the subsequent migration of many new Canadians to the area, imbues Edmonton with a rich cultural and ethnic heritage. This diversity contributes to a dynamic urban landscape alive with arts and culture, business, research and development, and industry. Indicators for the next twelve years point to steady economic and population growth. As Edmonton’s economy flourishes, so does the spirit of revitalization. Edmonton is undergoing an unprecedented amount of infrastructure growth with major roadways, streetscapes, and significant development in neighbourhoods.

Aspects of these, and other municipal projects, including public transportation, provide public art opportunities through the City’s “Percent for Art to Provide and Encourage Art in Public Areas” policy.

Edmonton’s spirit of optimism is reflected through its ever-evolving Public Art Collection. With more than 200 pieces, the Collection includes visual art from a variety of disciplines by local, national and international artists.

Valley Line Light Rail Transit Project Background Edmonton is a rapidly growing municipality. In order to keep up with increasing transportation capacity needs, Edmonton City Council adopted a long-term LRT Networks Plan to define the future size, scale and operation of a regional Light Rapid Transit (LRT) system. Eventually, the network will encompass six lines linking the northwest, northeast, southeast and southwest ends of the city. Like many international cities, Edmonton will adopt a commuter and environmentally friendly low-floor system for some of their new lines.

The is the first part of this new system and will be constructed in two phases. The first phase, a line stretching 13.1 km southeast, will link downtown Edmonton with Mill Woods. The line will run a new low floor design to integrate into the surrounding communities with small stops, reduced traffic speeds and a minimum of gates, warning bells and flashing lights.

The 12 Stops on the Valley Line will range in size from landmark elevated stations to smaller neighbourhood Stops. Art opportunities are available at these access points and other significant locations along the line. The Public Art plan for the Valley Line envisions artworks that reflect the diversity and character of the communities served by the line.

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Valley Line Light Rail Transit Project Background- Continued The Valley Line will be procured through a Private-Public Partnership (P3). The City of Edmonton (“the City”) will enter into a contract with a consortium. The consortium is called Project Co (the Prime Contractor). Coordination, in terms of delivery and installation of the art between the artists and Project Co, facilitated by the EAC and City, is paramount to the successful integration of Public Art into the Valley Line Project. Neighbourhood Context –Mill Woods The winding streets of this community set it apart from the orderly grid pattern that defines much of Edmonton. Located in , the community is bounded by four of Edmonton’s major thoroughfares. Although the community once demarcated the city’s southernmost boundary, it is now adjacent to several new residential developments. These include: The Meadows to the east across 34 Street; Southeast Edmonton to the south, and Ellerslie to the southwest. Access to the latter neighbourhoods is over – the ring road surrounding Edmonton.

Mill Woods is a unique community, developed on a city-planned and funded land assembly; designed and built to provide quality, affordable homes to offset inflation. During the latter part of the 20th century it became a gathering place for immigrants from around the world as well as migrants from other parts of Canada. International events directly shaped the community’s identity and cultural diversity: the expulsion, in 1972, of Ugandans of Indian origin; the 1973 coup in Chile; emigration of Sikhs from Punjab, and of other South Asians from Pakistan in the early 1970s, and the arrival of ethnic Chinese ’boat people‘ from Vietnam in 1979-1980.

“Mill Woods is what (journalist and author) Doug Saunders has called an ‘Arrival City’, a place where people moved from another part of the country, or from another country, to become established in Edmonton. The concept of linking Public Art to transportation sites reflects the movement of peoples.” ~ Catherine Cole, Historian, Mill Woods Living History Project

This area was part of the Papaschase (translated as ‘Big Woodpecker’ in Cree) Indian Reserve #136. On August 21st, 1877 Cree Chief Papaschase signed an adhesion to Treaty No. 6 at . The reserve covered 65 square kilometers comprising of 42 sections of land, now defined by the major thoroughfares bounding Mill Woods. In the midst of the Riel Rebellion of 1885, the government’s “Half Breed Scrip Commission” arrived in Edmonton offering scrip – certificates redeemable for land or money – to people of mixed Indian and European ancestry. This included any Treaty status Indians who could show they were of Métis ancestry. Members of the Papaschase Band, motivated by starvation, poverty, and disillusionment over Canada’s failure to honour the Treaty’s terms, requested and received scrip.

{In 1888} “the reserve was illegally surrendered. The band did not give its consent. Only three men gave their consent to the proposed surrender and this was not full consent.” ~ Calvin Bruneau, the elected chief of the Papaschase First Nation

By 1888 the land was surveyed for agricultural use and sold to settlers**. The area became part of a large agricultural segment known as Bruederfeld. Many settlers, mostly from Russia and Germany, arrived in the late 1800s to settle the area of Mill Woods. They ran a communal farm and had many ties to Bruederheim and the Moravian Church. The area name “Mill Woods” comes from two physical characteristics of the land. Mill Creek flows through the northeastern corner of the area, which was once woodland. Many of the neighbourhood names in Mill Woods are Cree words, which reflect the area’s history.

*See Project Images on pages 16-18 **See Project Images on pages 14 and 15 for maps of Papaschase Reserve boundaries and City map.

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For more information, please visit:

• Valley Line LRT https://www.edmonton.ca/projects_plans/valley-line-lrt-mill-woods-to-lewis-farms.aspx • City Of Edmonton Website http://www.edmonton.ca/for_residents/neighbourhoods/know-your-neighbourhood.aspx# • http://seedmonton.ca/about-mwpc/history-of-mill-woods / http://www.millwoodshistory.org • Edmonton Archives Websites https://archivesphotos.edmonton.ca/Presto/home/Default.aspx • http://edmonton.ca/city_government/edmonton_archives/edmontons-hidden-communities.aspx • www.papaschase.ca • Amiskwaciy History Series- History of the Papaschase https://www.youtube.com/watch?v=Cgi4ScpAS00 • Amiskwaciy History Series https://www.youtube.com/results?search_query=amiskwaciy+history+series • http://spacing.ca/edmonton/2014/08/27/papaschase-big-woodpecker/ • https://twitter.com/hashtag/papaschase

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Shelter Description The Valley Line theme for this stop is “contemporary park”. There will be four glass shelters in total, all on the south side of 28 Avenue, between the LRT tracks of this centre-loading platform. The shelters are constructed under a curved wood roof canopy and are enclosed with glazed flat glass walls supported by steel or aluminium columns and metal roof connections. Each shelter features three fixed walls (two side walls and the back of the shelter). The front wall includes fixed panels and sliding doors.

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Public Art Opportunity The Edmonton Arts Council Public Art Program, on the behalf of the City of Edmonton, is seeking a Canadian Indigenous artist or artist team residing in Canada, to integrate site-specific public art in the glass for the Mill Woods Stop shelters. The location is a significant and highly visible public art installation opportunity for artists who can translate their art forms into permanent treatments on the glass specified for the shelters. Appropriate forms include print, paint, photography, text, graphics, drawings, etc. Artwork imagery on glass can be created using silk-screen, frit, sandblasting, glass paint and other permanent applications. NOTE: Digital film interlayers or other processes susceptible to fading will NOT be accepted.

• The artwork should be an identifying and unifying feature at this stop. • In a manner that is culturally appropriate to the peoples of this region, artwork concepts should consider the significant cultural heritage and legacy of this area, the rich histories, stories and customs that tell of this place, and Indigenous perspectives of the Papaschase people. • Applicants must identify their conceptual approach to the project and a preliminary indication of a community engagement strategy in Letter of Intent. • Digital originals or reproductions of artwork will be required to translate the work into a permanent application with a manufacturer. Consider your team with this in mind. EAC will provide direction on process to shortlisited artists as needed. • The Artwork concept may be fragmented in a series across some or all of the shelters at the stop. • For safety reasons – art glass designs should maintain 80% transparency. Specifications will be provided.

Community Engagement Shortlisted artists are required to participate in a workshop and site visit on February 3rd or 4th 2017, in Edmonton.

This workshop provides an invaluable first step in formulating an artistic concept and community engagement strategy. Artists will interact with local Indigenous Elders and knowledge holders during this one-day event. It will be facilitated by Edmonton- born Métis artist, curator, critic, and professor (University of Regina) David Garneau.

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Artwork Design Parameters The artwork must adhere to the following design parameters: • Does not cause opportunity for access to restricted areas (i.e. do not build in such a manner as to allow climbing to areas not normally accessible to the public); • Does not pose a risk of injury to the public (example: sharp points, slip hazards, etc.); • Meets fire codes with respect to flammability as applicable; • Meet Alberta Building Code standards, if applicable; • Be vandal resistant; • Does not interfere with the operation and serviceability of the area; • Must be designed to be accessible for maintenance; • Must be 80% transparent and allow for both: outside visibility of people within the shelter, and inside visibility of outside surroundings. For safety, design must allow for visibility through the glass; • Must be constructed of durable, permanent materials and adhere to shelter glass specifications, to be provided at the shortlist stage.

Artist responsibilities include, but are not limited to: • Adhere to Project Co’s schedules and deadlines. • Produce art glass panes to meet Project Co’s specifications. • Coordinate delivery of art glass panes to a location specified by Project Co within a radius of 50 km from the installation location. • Ensure all aspects of engineering of work meet best practices. • Supervise installation on site as necessary.

Note: Artist commission is inclusive of all work needed to complete the artwork including but not limited to - consultations, community engagement, design, digitalization, cost of glass, art process on glass, delivery of glass to designated location in Edmonton, travel, attendance on site during installation, insurances and taxes.

Project Co’s responsibilities include, but are not limited to: • Provide timely, adequate scheduling and drawing information including all relevant plans, elevations, sections, dimensions, shop drawings and glass specifications of the art zone to meet the artists’ fabrication schedule. • Provide material specifications of glass panes and any other special design/engineering/access parameters or restrictions that will impact the art opportunity. • Provide location access routes and schedules for delivery of art glass panes. • Install the art glass panes into the final assembly. • Install the art glass in accordance with the artist’s design. • All aspects and cost of the installation are the responsibility of Project Co.

For reference drawings and illustrations please refer to the appendix at the back of this call.

See Project Images on page 13 for examples of glass art in public art projects.

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Artwork Permanence All artwork proposals will receive a preliminary conservation review for permanence of materials and construction methods in order to proactively address maintenance and conservation concerns. The EAC Public Art Conservation program supports the artistic process while ensuring that all commissioned artworks are high quality, durable, and maintainable.

Because the Edmonton Public Art Collection is located in the public realm, it is important that durable materials are used. Artwork proposals should take into consideration the location in which they will be sited. This can include (but is not limited to) repeated weather changes and climactic cycles, sunlight exposure, physical environment risks, and countless audience interactions.

For additional resources, please go to http://publicart.edmontonarts.ca/public_art_-_about_public_art/public_art_guide_for_ artists/ and http://publicart.edmontonarts.ca/public_art_programs_-_conservation/

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Selection Process: The commissioned artwork will be chosen through a two-stage artwork selection process: • The first stage will short-list applicants based on qualifications and preliminary written ideas. • Three short-listed artists/teams will participate in a site visit and workshop with Papaschase and other knowledge holders prior to preparing full proposals. The Edmonton Arts Council will reimburse up to $1,000 travel and accommodation expenses upon presentation of receipts. The workshop is tentatively scheduled for February 3rd or 4th, 2017. • The second stage of the competition will select an artwork based on a full project proposal with illustrations adequate to describe the concept, and a glass sample. Shortlisted artists will be paid $1,000 all inclusive for their proposals.

Selection Committee members will include representation as follows: City of Edmonton, project team, artist and community representatives. The Selection Committee is under no obligation to choose any finalists. All decisions of the Selection Committee are final. The City of Edmonton and the Edmonton Arts Council reserve the rights to revoke the public art call and/ or public art project.

Communication with the Selection Committee: The Edmonton Arts Council will be responsible for all communication, either verbal or in writing, between Artists making submissions and members of the Selection Committee. Any communication between applicants and Selection Committee members regarding submissions or the competition may result in disqualification.

Entry Requirements: Please send entry requirements 1 - 6 as a single pdf file, no hard copies of these requirements will be accepted. Submissions can be supplied on a CD, or e-mailed. Incomplete applications will not be accepted. Artists must submit the following in order to qualify for consideration in the competition:

r 1. SUBMISSION FORM Complete and signed with contact information;

r 2. LETTER OF INTENT Written letter outlining why you are interested in this project, how it relates to your art practice and how you would approach this project as an artist. Discussion about your plans for community consultation should be included here. (One page maximum).

r 3. ARTIST STATEMENT & BIO Total of one page maximum.

r 4. REFERENCES Three, with a minimum of one from either public art commissioning agents, or clients or consultants. Please provide references’ current contact information.

r 5. CURRICULUM VITAE Detailing professional experience as an artist, prior public art experience, and / other relevant information; max 3 pages. If applying as a team please identify all with a brief CV for each.

r 6. VISUAL DOCUMENTATION Of previous public artworks or artworks which best illustrate a related body of artwork to the proposal. Include a maximum of 10 images JPEG files only please, we will not accept pdf, PowerPoint or tiff formats; minimum 150 dpi;Number each JPEG to correspond with the Visual Documentation List. r 7. DOCUMENTATION LIST Provide a written list that clearly identifies the Visual Documentation with corresponding numbers and titles. For previous public artworks include details of title, date, locations, commissioning agent or client, budget, medium, size and a brief description of the work. 10 call to artists

Criteria for Selection: Artists who meet the following criteria may be considered for commission: • Ideally some experience in completing public art projects with equivalent budgets; • Adept at creating artwork that reflects community spirit; • Quality of overall past work.

Deadline for Submissions: Complete submissions must be received in office no later than 4:30 pm on Thursday, January 12, 2016.

Submissions are to be received by e-mail or link (eg. Dropbox or Google Drive) to: Chelsea Boida [email protected]

Return of Submissions: Following completion of the competition, applications will be kept on file and the artist’s name added to the Edmonton Public Art database. If the artist does not want to have their application added to the database, then indicate so on the entry form.

Loss or Damage: While every precaution will be taken to prevent loss or damage, the jury, the Edmonton Arts Council and their agents shall not be liable for any loss or damage, however caused.

Commission: The total commission for the artwork is $97,000.00 CAD (including GST) and must cover all costs associated with the design, fabrication, shipping, and supervising of installation for relevant site locations of the artwork including but not limited to artist fees, materials, insurance, etc.

Original Work: The artist must guarantee that the artwork is original and does not violate the copyright of any other person.

Contract: The artist(s) will enter into a contract with the Edmonton Arts Council.

Copyright: The artist(s) must be prepared to assign ownership and Title of the artwork to the City of Edmonton. Reproduction rights may be negotiated. The artist will retain copyright as the creator. The City of Edmonton will not alter the artwork for purposes of maintenance, conservation, etc. without prior consultation with the artist. The City of Edmonton reserves the right to move or de-accession the artwork if necessary and will make every effort to notify the artist.

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ART GLASS TRANSIT SHELTERS - Mill Woods Public Art Project

Name:

Address:

City/Province: Postal Code/Country:

Phone (home): Phone (work):

Email Address: Website (if applicable):

Please retain my application as part of the Edmonton Public Art artist database at the Edmonton Arts Council. (Check one.) r YES r NO How did you hear about this Call to Artists? r EAC Weekly r EAC Monthly r Art Rubicon r Akimbo

Other: ______

I , ______(PRINT NAME) hereby make a Submission for the ART GLASS TRANSIT SHELTERS - Mill Woods Public Art Project and am in agreement with the Terms of Competition as outlined in the Information Package.

Applicant Signature Date

Check List – Include all of the following:

r 1. SUBMISSION FORM r 5. CURRICULUM VITAE r 2. LETTER OF INTENT r 6. VISUAL DOCUMENTATION r 3. ARTIST STATEMENT & BIOGRAPHY r 7. DOCUMENTATION LIST r 4. REFERENCES

Submit: Subject line: Art Glass Mill Woods E-mail to: Chelsea Boida [email protected]

Deadline: Received no later than 4:30 pm Thursday, Janurary 12, 2017.

The information on this application is being collected under the authority of Section 33(c) of the FOIP Act and will be used by the Edmonton Arts Council to determine eligibility for Edmonton Arts Council Public Art programs. The aggregate data may be used for program planning and evaluation. All information collected by the Edmonton Arts Council is protected by the provisions of the FOIP Act. You may direct questions about the collection, use or disclosure of your personal information by this program to the Edmonton Arts Council at (780) 424-2787.

12 project images , fritted glass, Burien, Washington USA Washington Burien,, fritted glass, digital images sandblasted (etched) onto onto (etched) images sandblasted digital Untitled, Untitled, Forest Illumination Forest http://www.4culture.org/publicart/collection/profile.aspx?projectid=64&cat1 =Collection&cat2=Project&cat3=A-J&cat3b= Julie Berger, Barbara Astman, Barbara Astman, Ontario CAN Toronto, glass, http://www.shopyank.com/ba/wolfond.html vitreous enamels on vitreous , etching, fusing, laminating, and laminating, fusing, , etching, Over Houston I was Dreaming of Spirit Animals, I was Cappy Thomas, Thomas, Cappy USA Washington Seattle, glass, https://www.flickr.com/photos/agrinberg/23711751440/in/photolist- 68m1YU-68m1Gh-C8jVAG/ Gordon Huether, Gordon USA Texas Houston, painting on glass, https://www.codaworx.com/project/over-houston-william-p-hobby-airport

Examples of Art Glass in Public Art Projects 13 project images

Plan of the Subdivision into sections of the lands Reserved for the Band of Chief ‘Papaschase’ 1898

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Downtown

Mill Creek Ravine

Whitemud Ravine

Portion of a 1915 Papaschase Reserve sectional map combined with the Edmonton city boundary scan Source: Laliberte, L.W., 2014, “315: Edmonton sheet, west of fourth meridian, Alberta. -- 9th ed. rev. to the 1st of Sept. 1915.”, http:// dx.doi.org/10.7939/DVN/10167 Libraries [Distributor] V3 [Version] 15 project images

Downtown

Mill Creek Ravine

Art Opportunity/ Mill Woods Transit Stop

Whitemud Ravine

Mill Woods Town Centre Neighbourhood

Mill Woods Community Boundary

Satellite Map of Edmonton and area (Source: Google Maps)

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Art Opportunity/ Transit Mill Woods Stop Town Mill Woods Neighbourhood Mill Woods Community Boundary Community Woods Mill

Satellite Map of Edmonton and area (Source: Google Maps)

17 project images Mill Woods Town Centre Town Mill Woods Neighbourhood Boundary Art Opportunity/ Transit Mill Woods Stop Valley Line LRT Route Valley

Satellite Map of Mill Woods Town Centre Neighbourhood and area. Source: https://www.edmonton.ca/projects_plans/valley_line_lrt/se-w-lrt-interactive-map.aspx 18

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