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PUBLIC ART MASTERPLAN MEETINGS �Q4a o, Q Gil :Lj I ijjl�ll - - t DERBY SQUARE FLEASALVAGEART VINTAGE & ART MARKET -a� »ER13 Y SQ UTA I>E h,xo��i, seri>>��r., <tr�r�,t, ��t�� Still making history r t Request for Proposals City of Salem, Massachusetts RFP #0-18 Consulting Services for Public Art Master Plan October 15, 2012 1 I I LEGAL NOTICE CITY OF SALEM RFP # 0-18 Sealed Proposals will be received at the Office of the City Purchasing Agent, 120 Washington Street, 3rd floor, Salem, MA 01970, on or before 10:00 A.M., November 5, 2012, at which time and place they will be opened: CONSULTING SERVICES FOR PUBLIC ART MASTER PLAN The Proposal award is made by the Purchasing Agent and is subject to Mayoral approval. The City of Salem reserves the right to reject any and all bids or to waive any informalities in the Proposal process, if deemed in the City's best interest. Whitney Haskell, Purchasing Agent Monday, October 15, 2012 2 City of Salem, Massachusetts October 12, 2012 General Conditions and Requirements Proposal for Consultant Services for Public Art Master Plan RFP# 0-18 1. Proposal Rules This proposal is solicited to the General Public. This contract is not being awarded pursuant to Chapter 30B of the Massachusetts General Laws, as this procurement is for an exempt service. The Consultant Agreement is subject to approval by the Mayor of Salem, Massachusetts. 2. Reviewing Period All proposals meeting proposal requirements and conditions may be held by the City of Salem (City) for a period not to exceed ninety (90) days from the date of the opening of proposals for the purpose of reviewing the proposals and investigating the qualifications of consultants, prior to the awarding of the contract. 3. Budget The City has a budget for this project of $30,000. 4. Compliance with Applicable Laws The contract shall be governed by and construed in accordance with the laws of the Commonwealth of Massachusetts. The proposal must comply with all Federal, State and municipal laws, ordinances, rules and/or regulations. 5. Questions and Interpretations Any substantive questions regarding the proposal documents shall be referred to the City of Salem Purchasing Department in writing at least five working days prior to the date and time for receipt of proposals. All answers and interpretations and any changes to the documents will be issued in the form of addenda to all consultants of record. 6. Ability and Experience The City will not award a contract to any consultant who cannot furnish satisfactory evidence of their ability and experience to perform the requested services. The City may make such investigations as it deems necessary to determine the above and a consultant shall furnish information requested in this regard and shall furnish it under oath if required. 7. Certification of Non-Collusion and Tax Attestation Form All consultants must sign the attached form, which incorporates both an attestation 3 clause regarding Massachusetts State tax returns and a certificate of non-collusion. These signed forms must be submitted with the non-price proposal package. Failure to sign and submit the form is cause for that proposal to be rejected. 8. Corrections Erasures or other changes in the proposal must be explained or noted over the signature of the consultant. 9. Conflict of Interest The consultant agrees that to the extent that such law is applicable to the duties it is to perform hereunder, it will comply with the provisions of Chapter 286A of the General Laws concerning conflict of interest. The consultant covenants that it presently has no interest and shall not require any interest, direct or indirect, which would conflict in any manner or degree with the performance under the agreement. No employee of the City and no public official who exercises any function or responsibilities in the review or approval of the undertaking or carrying out of this agreement shall participate in any decision relating to this agreement which affects his personal interest or the interest of any corporation, partnership, or association in which he is directly or indirectly interested or have any financial interest, direct or indirect in this agreement or the proceeds thereof. 10.Prospective Consultant's Qualifications The prospective consultant replying to the RFP shall be or represent a firm, company or corporation possessing experience and expertise in public art master planning and the professional standards thereof, to undertake and successfully complete the Scope of Services as outlined in this RFP. 11.Signature All proposals shall be complete, factual, and signed by an authorized officer of the consultant's company on the appropriate page(s). 12.Contract For Services The contract for services will be negotiated by the chosen consultant and the City. 13.Waiver The City reserves the right to reject any and all proposals, or to waive any informalities in the proposal process, if deemed in the City's best interest. 14.Number of Copies The proposer shall provide one original and seven (7) copies each of the non-price and price proposal to the City of Salem Purchasing Department and one electronic version of the non-price proposals. The non-price and price proposal will be sealed in a separate envelope. Each envelope shall be marked non-price or price proposal with the RFP Number, Proposal Name, and time and date of proposal opening. 4 r 15.Place and Time Sealed proposals will be received at the City of Salem Purchasing Department, 120 Washington Street, 3rd Floor, Salem, MA 01970 on or before 10:00 AM on November 5, 2012 at which time and place they will be opened and registered. 16.Modifications A consultant may correct, modify, or withdraw a proposal by sealed, written notice clearly marked as a correction, modification, or withdrawal and received at the Salem Purchasing Department prior to the time and date set for the proposal deadline. Failure to comply with the above conditions and requirements or any attached specifications or any other minimum qualifications will be justification to reject any proposal as incomplete. 5 City of Salem Request for Proposals Consultant Services for Public Art Master Plan RFP # 0-18 The City of Salem requests proposals from public art consultants to complete a citywide public art master plan for the City of Salem. Particular emphasis will be placed on the Essex Street Pedestrian Mall as the master plan's focal point. The consultant will develop placement and design guidelines for public art, including performance, and provide recommendations for an artist selection process, with a focus on procuring world-class public art, and create policies for on-going art program management and maintenance. He or she will also advise the city's efforts to incorporate public art into the pedestrian mall, as the mall exists currently, and as redesign plans evolve over the next six months. This project is funded by an ArtWorks grant from the National Endowment for the Arts. A strong emphasis will be placed on obtaining outstanding work from high-caliber artists. BACKGROUND Salem, Massachusetts is a small city (approximately 41,000 people) with a multi-faceted identity. It is a coastal community of unique historic resources, cohesive neighborhoods, an economically and culturally diverse population, strong medical, educational, and cultural institutions, and a diverse economy. Salem welcomes approximately one million visitors annually who come to enjoy its many destinations, festivals, and attractions. Throughout economic and social transformations over the last four centuries, Salem has retained its identity through periods of complex and often difficult change. The City's history includes the Salem Witch Trials; an era of maritime trade; another period defined by an industrial economy; decline and disinvestment; and a subsequent economic recovery that included the rebirth of a thriving downtown. Salem also boasts a strong architectural tradition, with many significant historic properties that provide links to the past and give definition to the City's character. Salem is home to world-class museums and venues, including the Peabody Essex (PEM)—America's oldest continuously operating museum—which has an attendance of approximately 135,000 to 150,000 visitors per year. The downtown boasts the first National Historic Site designated by Congress—the Salem Maritime National Historic Site—on Salem's historic waterfront. The National Park Service's Regional Visitor Center is located across Essex Street from the PEM and together with the Historic Site has 750,000 visitors annually. In addition to cultural and historic places associated with Salem's maritime history, downtown is home to several witch-themed attractions associated with Salem's witch trials history. The City also hosts a variety of art festivals and theater and music events throughout the year. 6 r PROJECT HISTORY The concept for a public art master plan grew out of efforts to improve Salem's Essex Street Pedestrian Mall, a district in the heart of downtown with the potential to become one of the city's best-loved public spaces. The City has made the redesign of the corridor a high priority, and held a series of community forums dedicated to this issue in 2010, resulting in a conceptual plan for the mall (see Essex Street Pilot Project, http://www.salem.com/Pages/SalemMA DPCD/studiesreports/concept.ppt ). During the public engagement process, the incorporation of public art into the redesign was identified as an important element to transforming the corridor into a great urban place. Existing liabilities such as large expanses of empty wall space and visually disconnected spaces along the corridor could be recast opportunities for placement of public art. Integrating public art into the mall was suggested as a means of providing zones for public leisure and events, including performance; engaging underutilized vertical spaces as backdrops for activity; highlighting gateways and connection points between the mall and the rest of downtown; and enhancing the character of the mall. Now that the idea of planning for public art on the mall has been conceived, the City seeks to expand this concept throughout the City as a way to create a unique urban environment for visitors and residents alike. PURPOSE Publicly accessible displays of art enrich urban life, act as an expression of community identity, revitalize neglected or unremarkable spaces, and generally enhance the public realm. The City of Salem is establishing a master plan for public art to guide future temporary and permanent art installations and performance in public spaces throughout the city, and to incorporate art into city planning and design. We hope to inspire conversation, provoke thought and emotion, and enhance the public's aesthetic experience. The primary goals of the master plan are to provide recommended locations for public art, articulate a set of values to guide our public art program, provide criteria for art and artist selection, outline policies for ongoing maintenance, and provide guidance for incorporating art into projects throughout the city, with a specific focus on the redesign of the Pedestrian Mall. The master plan will include an active community engagement process. The Consultant will work with a committee of residents, local artists, the Peabody Essex Museum, the Salem Partnership, business owners and other key stakeholders. A maximum fee of $30,000 has been established for this project. The project must be completed by the end of May, 2013. 7 SCOPE OF CONSULTANT SERVICES Within the framework of the city's stated objectives and the following basic tasks, we will look to the prospective public art consultant to submit a detailed scope containing a detailed work plan. Thinking expansively, the Consultant should seek to broaden the City's field of creative expression. Tasks: 1. Assessment a. Participate in an initial kickoff meeting with city staff and working group members b. Review existing materials and resources, including information and conceptual plans from Pedestrian Mall redesign effort; this may include discussion with the Pedestrian Mall urban design team. c. Establish a set of values to guide the city's public art program; discuss what the public hopes to achieve through the introduction of public art into key public spaces and/or infrastructure 2. Synthesis and Draft Recommendations a. Articulate initial interpretation of values to guide the city's public art program b. Identify opportunities for incorporation of public art into public spaces and/or city infrastructure c. Provide guidance to the city regarding incorporation of public art into plans for redesigning the Pedestrian Mall d. Provide draft policy recommendations for the city's public art program (including art and artist selection, and ongoing management and maintenance) 3. Draft Master Plan a. Prepare summary memorandum of work to date and recommendations b. Initial plan and recommendations to be presented at a public meeting 4. Final Master Plan a. Final plan and recommendations to be presented at a public meeting 5. Work Products a. Twenty-five (25) color copies of the final report and one (1) unbound and reproducible master hard copy including maps and graphics b. The Consultant is also responsible for submitting one (1) copy of the final report in digital format (Word or PDF) c. The Consultant will submit a reproducible copy of all maps, graphics, slide presentations, surveys, and photographs to the City. Presentation materials, such as display boards, slides, videos, etc., shall be submitted to the City. All deliverables will become property of the City. For each task/activity, define tasks, set timelines for assessment, recommendations and all outreach activities, and provide a cost/number of personnel hours for each. 8 r Interested parties should send seven (7) copies of the following materials to: Whitney Haskell, Purchasing Agent, City of Salem, 120 Washington Street, 3rd Floor, Salem, MA 01970, on or before 10 a.m. November 5, 2012: 1. Cover Letter A letter signed by an officer of the firm, binding the firm to all comments made in the proposal. Include a primary contact person for the proposal. 2. Qualifications and Experience A description of the Consultant's history, experience and qualifications. Identify any other personnel to be assigned to the project; enclose a resume for each. 3. Approach A description of how the Consultant will approach the project. 4. Timeline/Work Hours A timeline for completion of the project by May 2013, including hours needed for completion of each task in the Scope of Consultant Services. The timeline should incorporate major milestones, including public meetings and submission of a draft plan and final master plan. Finalists will be selected from among qualified applicants to be interviewed. Please be prepared for an interview on short notice. If you require further information, please contact Danielle McKnight, Salem Department of Planning and Community Development, at (978) 619-5685. 9 Public Art Master Plan RFP # 0-18 Whitney Haskell, Purchasing Agent Purchasing Department 120 Washington Street, 3'd Floor Salem, MA 01970 Non-Price Proposal The non-price proposal must contain a detailed description of how the proposer would carry out the requirements set forth in the RFP, including a schedule highlighting milestones for completion of the Public Art Master Plan. The information submitted must include, but should not necessarily be limited to, the following items: 1 . Cover letter signed by an officer of the firm that binds the firm to all commitments made in the proposal and identifies a primary contact person. 2. Qualifications and Experience — a description of the history, experience, and qualifications of firm and any proposed subcontractors, including a. Names and addresses of all firms involved on the project. b. History, size and structure of firm(s) c. Names(s) of principals of firm(s) d. Identification of Principal in Charge and Project Manager. e. Experience with similar projects f. Contact information for references from similar projects g. Resumes of all personnel assigned to the project h. Listing of any actions taken by any regulatory agency or litigation involving the firm or its employees or agents with respect to any work performed i. Any applicable insurance 3. Approach to Project— Describe in detail how the proposer would carry out the scope of services; i.e., meetings with Working Group, public meeting(s), etc. 4. Scope of Services— Confirm the Scope of Services, clarify specific issues as warranted, and discuss any proposed recommendations to best achieve the City's goal based on the consultant's experience. Identify the firm who will be responsible for each task, if there are subcontractors on the project. 5. Timeframe — Include the tasks to be performed by the consultant, the number of personnel hours and other resources required to complete each task, and the expected time to complete each step. Include time schedules and milestones, personnel assignments, and other information as necessary to demonstrate the consultant's ability to complete the project on time. Consultant should be prepared to start the project immediately upon a Notice to Proceed. Price Proposal 10 r Detailed Description of Costs The total funding available for this contract is $30,000. The City seeks proposals that demonstrate maximum value, innovation, effectiveness, and total work to be performed within the funding available. Detailed Cost Breakdown For each task identified in the proposed Scope of Work, provide an itemized breakdown of estimated labor costs including manpower estimates, subcontractors' costs and direct expenses. All cost assumptions must be clearly documented in this portion of the submittal. Fixed fee or lump sum cost provisions are preferred. Any proposed services above and beyond the scope of services contained in this RFP and any contingency costs shall be separately identified from "base proposal" costs. SELECTION CRITERIA/PROCESS Minimum Evaluation Criteria In order to be reviewed, the proposal must be substantially complete containing all necessary forms-at a minimum. Comparative Evaluation Criteria The proposal will be reviewed by the City of Salem and evaluated upon the following criteria: 1. Plan of Services: Ratings will be based on the project approach and schedule. Particular attention will be given to the candidate's understanding of the project and all items in the Scope of Services. Highly Advantageous The proposal includes a detailed, logical, and highly efficient scheme for addressing all of the required issues and provides a strong understanding of the Scope of Services. Advantageous The proposal includes a credible scheme for addressing all of the required issues. Non-Advantageous The proposal is not sufficiently detailed to fully evaluate, or does not contain components necessary to address all the required issues. 2. General Qualifications of Firm: Particular attention will be paid to evidence of successful past performance. Highly Advantageous Candidate has extensive experience completing public art master plans for 11 multiple comparable municipalities. Candidate has a proven track record for completing projects within budget and on schedule. Advantageous Candidate has some experience with public art master planning for at least one municipality. Non-Advantageous Candidate has very limited or no experience with public art master planning. 3. Experience with Community Involvement: Rating will be based on experience providing professional services for similar communityinvolvement programs. P 9 Highly Advantageous The firm and project team has significant experience developing and facilitating community involvement activities. Advantageous The firm and project team has some experience developing and facilitating community involvement activities. Non-Advantageous The firm and project team has minimal experience developing and facilitating community involvement activities. 4. Consulting Fee: Evaluation will be based on overall cost for Scope of Work as outlined above. Proposals with the lowest fee total will be more favorable than those with higher fees. Interviews will be scheduled if determined necessary by the City. CONTRACT TERMS AND CONDITIONS Proposal Preparation The prospective consultant is to follow the instructions and requirements of the proposal submission requirements in preparing and submitting their response to the RFP. Cost Liability The City assumes no responsibility and no liability for costs incurred relevant to the RFP by prospective consultants prior to issuance of a contract. Revisions to the Request for Proposal In the event it becomes necessary to revise any part of the RFP, revisions will be provided to all proposers of record. The City shall bear no responsibility or liability due to copies of revisions lost in mailing or not delivered to a prospective consultant due to unforeseen circumstances. 12 r Selection of Proposals The City shall award a professional consulting contract to the responsible prospective consultant whose proposal conforms to the RFP, is most advantageous to the City, and meets the requirements as stated in the proposal submission requirements. After the proposed consulting fee and all other factors are considered, the City will select a consultant within the time frame indicated in the General Requirements. The selected consultant will be required to sign a contract with the City in which s/he accepts responsibility for the performance of services as stated in the submitted proposal and be prepared to commence work immediately upon execution of the signed contract and receipt of a Notice to Proceed. Acceptance of Proposal Content The contents of the proposal of the successful consultant, in its entirety, shall form the base of any contract that is awarded. Successful Consultant Responsibilities The successful consultant will be required to assume sole responsibility for the complete project as require by this RFP. The City will consider the successful consultant to be the sole point of contact with regard to contractual matters, whether or not subcontractors are used by the successful consultant for one or more parts of this project. Subcontracting Subcontracting will be allowed for tasks required by this RFP. Any intent to subcontract on the part of the prospective consultant must be specifically described in the proposal. The lack of identification of the subcontracted tasks in the proposed could disqualify the prospective consultant from further consideration. The City reserves the right to approve the use of all subcontractors. Assignment The successful consultant is prohibited from assigning, transferring, conveying, subletting, or otherwise disposing of this agreement or its rights, title or interest therein or its power to execute such agreement to any other person, company or corporation without prior written consent and approval by the City. Ownership of Material All rights, titles to and ownership of all data, material, and documentation resulting from this project and/or prepared for the City pursuant to this contract shall remain exclusively with the City. The prospective consultant shall be paid for all service as will be specified in the contract. Access to Records In addition to terms stated elsewhere in the RFP, the City or any of its duly authorized representatives, shall have access, upon demand, to any books, documents, papers, 13 and records of the successful Consultant which are directly pertinent to this contract, for the purposes of making an audit examinations, excerpts, and transcriptions. The successful Consultant shall insert identical rights of access for these parties into any subcontractor agreements the successful Consultant enters into under this contract. The City shall reserve this right for the term of the contract and for three (3) years from the date of final payment. Price Change All prices shall be firm and not subject to increase during the period of this contract. Workers Compensation Insurance The Consultant shall comply with State law, known as the Workmen's Compensation Act, and shall pay into the State Insurance Fund necessary premiums required by the Act to cover all employees working under the control of the Consultant and shall relieve the City from all costs due to accidents or other liabilities mentioned in said Act. Consultant shall also furnish at the time of delivery of the contract, and at such other times as may be requested, the official certificate of receipt showing that the payments hereinbefore referred to, have been made. Insurance At a minimum, the successful Consultant must meet the following insurance requirements: Comprehensive General Public Liability and Property Damage Liability Insurance —The successful consultant shall carry Comprehensive General Liability Insurance providing for a limit of not less than Five Hundred Thousand Dollars ($500,000.00) for all damages arising out of bodily injury to or death of one person, and subject to that limit for each person, a total limit of not less than One Million Dollars ($1,000,000.00) for all damages arising out of bodily injuries or death of two or more persons in any one accident; and Consultant's Comprehensive Property Damage Liability Insurance providing for a limit of not less than Five Hundred Thousand Dollars ($500,000.00) for all damages arising out of injury to or destruction of property in any one accident, and subject to that limit per accident, a total (or aggregate) limit or not less than One Million Dollars ($1 ,000,000.00) for all damages arising out of injury to or destruction of property during the policy period. Comprehensive Automotive and Property Damage Insurance — The successful consultant shall carry Automobile Insurance covering all owned vehicles, hired vehicles or non-owned vehicles under the control of Consultant while performing work under the Contract in the amount of not less than Five Hundred Thousand Dollars ($500,000.00) for all damages arising out of bodily injuries to or death of one person and subject to that limit for each person, a total of not less than One Million Dollars ($1,000,000.00) for all damages arising out of bodily injuries to or death of two or more persons in any one accident; and 14 Property yDama a coverage in the amount of not less than Five Hundred Thousand Dollars ($500,000.00) for all damages to or destruction of property. The successful consultant must carry Workman's Compensation Insurance in the amounts prescribed under Massachusetts State Law and meet all other City and State Laws and Regulations. All insurance coverage shall be at the sole expense of the Consultant and shall be placed with such company as may be acceptable to the City and shall constitute a material part of the contract documents. The Consultant shall defend, indemnify and hold harmless the City and its officers and agents from all claims, demands, payments, suits, actions, recoveries and judgments of every description, whether or not founded in law, brought or recovered against it, by reason of any act or omission of said Consultant, his agents or employees, in the execution of the contract or in consequence of insufficient protection, or for the use of any patented invention by said Consultant and a sum sufficient to cover aforesaid claims may be retained by the City from moneys due or to become due to the Consultant under the contract, until such claims shall have been discharged or satisfactorily secured. Additional Requirements During the term of the contract, the selected Consultant will attend all required meetings without additional compensation. 15 ATTACHMENT A CERTIFICATE OF NON-COLLUSION AND TAXATION ATTESTATION CLAUSE As required under Chapter 233 and 701 of the Mass. Acts and Resolves of 1983, all bidders must certify to the following, by signing this page in the space indicated below. 1 . The undersigned certifies under penalties of perjury that this bid or proposal has been made and submitted in good faith and without collusion of fraud with any other person. As used in this certification, the word "person" shall mean any natural person, business, partnership, corporation, union committee club, or other organization, unity or group or individuals. 2. `Pursuant to M.G.L. Ch 62C, sec. 49A, I certify under the penalties of perjury that I, to my best knowledge and belief, have filed all state tax returns and paid all state taxes required under law". Authorized Officer (Print) Signature of Authorized Officer Name of Business Social Security Number or Federal Identification Number 'Approval of a contract or other agreement will not be granted unless the applicant signs this certification clause. This does not constitute the legal signature required for the bid or proposal. 16 r ATTACHMENT Proposal Cover Sheet RFP #0-18 City of Salem, Massachusetts Purchasing Department The City of Salem reserves the right to reject any or all Proposals, to omit any item or items called for, or to accept the Proposal deemed in the best interest of the City. One (1) original and seven (7) copies of the proposal should be delivered no later than 10:00 am on Monday, November 5, 2012 to: Whitney Haskell, Purchasing Agent Purchasing Department Salem City Hall Annex 120 Washington Street Salem, Massachusetts 01970 Proposals must be submitted in a sealed envelope. The envelope containing the Proposal must be marked with Proposer's name, title of proposal, RFP number (0-18), and date of opening. The Proposer must sign all required signature pages in order for the proposal to be considered. The City of Salem reserves the right to reject any and all proposals, or to waive any informalities in the proposal process, if deemed in the City's best interest. The Proposer acknowledges receipt of the following ADDENDA # BUSINESS NAME BUSINESS ADDRESS CITY, STATE & ZIP CODE TELEPHONE & FAX NUMBER AUTHORIZED OFFICER SIGNATURE AUTHORIZED OFFICER NAME (print) DATE 17 ATTACHMENT CERTIFICATE OF NON-COLLUSION AND TAXATION ATTESTATION CLAUSE As required under Chapter 233 and 701 of the Massachusetts Acts and Resolves of 1983, all bidders must certify to the following, by signing this page in the space indicated below. 1. The undersigned certifies under penalties of perjury that this bid or proposal has been made and submitted in good faith and without collusion of fraud with any other person. As used in this certification, the word "person" shall mean any natural person, business, partnership, corporation, union committee, club, or other organization, unity or group or individuals. 2. "Pursuant to M.G.L. Ch 62C, sec. 49A, I certify under the penalties of perjury that I, to my best knowledge and belief, have filed all state tax returns and paid all state taxes required under law". NAME OF BUSINESS: SOCIAL SECURITY # OR FEDERAL ID #: AUTHORIZED OFFICER (PRINT): AUTHORIZED SIGNATURE: 18 ATTACHMENT C FEE PROPOSAL FORM The undersigned herby submits a price proposal to perform the services outlined in the Request for Proposals for the Public Art Master Plan. Consultant/Firm: Address: The CONSULTANT hereby pledges to deliver the complete scope of services required, for the rates and charges shown below: Cost to complete the project shall not exceed: Task 1: Task 2: Task 3: Task 4: TOTAL COST: Consultant signature Date 19 Page I of I Danielle McKnight From: Danielle McKnight Sent: Wednesday, December 05, 2012 11:37 AM To: Whitney Haskell Subject: RE: contract for public art master plan Thank you! Danielle McKnight Staff Planner Department of Planning and Community Development 120 Washington Street, Third Floor Salem, MA 01970 (978) 619-5685 dmcknightRsalem.com From: Whitney Haskell Sent: Wednesday, December 05, 2012 11:28 AM To: Danielle McKnight Subject: RE: contract for public art master plan Da rielle; l ..i peCt Li? `old you when ycu ,juS Ivcr}1'r., hl,t thr- ccntr aClt and NotCe of !rtei'it to A`hard Were mailed this morning as were the rejection letters to the other vendors. Whitmy From: Danielle McKnight Sent: Wednesday, December 05, 2012 10:35 AM To: Whitney Haskell Subject: contract for public art master plan Hi Whitney, What's the status of the contract for#0-18? Thanks, Danielle McKnight Staff Planner Department of Planning and Community Development 120 Washington Street, Third Floor Salem, MA 01970 (978) 619-5685 dmcknight salem.com 12/26/2012 Comparative Evaluation Criteria The Public Art Master Plan proposal will be reviewed by the City of Salem and evaluated upon the following criteria. a �ovvill, 'b'e!basiioko!"''an; rhttf", 6 r, JectApproar Highly Advantageous The proposal includes a detailed, logical, and highly efficient scheme for °A addressing all of the required issues and provides a strong understanding of the Scope of Services. Advantageous The proposal includes a credible scheme for addressing all of the required issues. Non-Advantageous The proposal is not sufficiently detailed to fully evaluate, or does not contain components necessary to address all the required issues. 2% "Aft "U64 1:4 d ta MIU1, "NO �H R i MP 111 10 RK E ,k NOW IN III I aYidence .V "C$(—t6C�e'$sfOl:PW " . g� _W 11 9, i Gainers orisil i,DfIrfJnO.rPArtIldul'", ,J lll:� I ,, 061 0�00 04;0_111111-- 10 --r! N Highly Advantageous YKLl,-(_9AA4 V "U&e� �� Candidate has extensive experience completing public art master plans for Qwrw- LV i_", M !;".tw multiple comparable municipalities. Candidate has a proven track record for q rE t:ik- completing projects within budget and on schedule. Advantageous Candidate has some experience with public art master planning for at least one CV.�( (O(V-Ju� municipality' Non-Advantageous Candidate has very limited or no experience with public art master planninq. I'll,---I ___W _1611111W,1-6....... ...... rici�!With�;Cdiomtinityl#i4,olVOrh'ont.�1,R,*tlnq';wllt k�wbased,,Ion, --------a IA V nO#p,rovldin§ I WWW"NOWN W- 149, -------------- Highly Advantageouslfa A-11 61 The firm and project team has significant experience developing and facilitating a (-I community involvement activities. Advantageous 146s, I:It-(y The firm and project team has some experience developing and facilitating community involvement activities. AA- )(iii,G4 Non-Advantageous The firm and project team has minimal experience developing and facilitating community involvement activities. ,44 Cdriau�11!t'i)7' ---d'o-tv-6-vie ralV'c9st'forSqojpVto _*0011 a Work M ON Z ... o&0 1 64d,`aW�i��i 0,to p6ii WW,litfi,Ill 4` 16W6aLt6QL total*11 1!,,b ore 12! Wff �- - I I ...... .... W 1,W, 'I I i 11 R -favorable than those i .Wt,� latees "Mom ki AMP C,A,,i- 6, wu C,..r LIV-i-V I DG HUNT&ASSOCIATES, LLC PUBLIC ART PROJECT MANAGEMENT DG Hunt&Associates, LLC 1590-D Rosecrans Ave.,#320 Manhattan Beach, CA90254 November 5, 2012 Whitney Haskell, Purchasing Agent Salem City Hall Annex 120 Washington Street Salem, MA 01970 RFP#0-18:Consulting Services for Public Art Master Plan Dear Ms. Haskell, It was with particular interest that I received the request for proposals from City of Salem to create a Public Art Master Plan. Having grown up in nearby Ipswich and attended high school in Beverly,the city of Salem is interwoven into my tapestry of childhood and adolescent memories. I find it incredibly exciting that the city leadership has taken this step towards tapping into the power of public art to define and interpret the character of this unique community. Asthe City of Salem approaches its quadricentennial it is poised to build upon an exciting period of renaissance and bolster its identity as a proud home town, a rich and vibrant tourist destination, and the cultural and economic nucleus of Massachusetts' North Shore. Salem has always been a city of diverse influences and multiple identities: A beloved community from which generations of residents travel the world and to which they eagerly return;an adopted home for people, artifacts, and ideas from across the globe; a destination for visitors seeking to experience an environment that is exotic and exciting,yet familiar and welcoming.A successful public art program has the power to distill the volume of information that defines this complex community down to a coherent and engaging story, a memorable brand, and a distinct sense of place. Our team is dedicated to establishing an art programthat residents connect with as a cornerstone of their city's identity, but thatis also continually evolving and refreshing,always offering visitors something new and a reason to come back. It is with great pleasure that DG Hunt&Associates and our collaborative partnerssubmit the attached proposal. Please consider this letter to bind DG Hunt&Associates to all commitments made therein. We are honored and excited by the opportunity to lead the City of Salem through the process of creating a master plan for apublic art program that is vibrant, dynamic, and interactive, and we wish you the best of luck with this exciting initiative. Thank you for your consideration. Sincerely, � � Dave Hunt, President DG Hunt&Associates, LLC l k: t � DG HUNT 8 ASSOCIATES, LLC PUBLIC ART PROJECT MANAGEMENT NON-PRICE PROPOSAL City of Salem, MA RFP#0-18:Consulting Services for Public Art Master Plan To be opened: Monday, November 5, 2012 at 10:00 am I I DG HUNT&ASSOCIATES, LLC PUBLIC ART PROJECT MANAGEMENT NON-PRICE PROPOSAL City of Salem, MA RFP#C-18: Consulting Services for Public Art Master Plan Qualifications and Experience Our team is led by Dave Hunt of DG Hunt&Associates, LLC, and also includes specialized consulting from Michelle Isenberg of Isenberg&Associates, and independent curator Veronica Roberts. Michelle Isenberg brings a depth of experience in a wide range of municipal and community public Arts programming and planning. Veronica Roberts bring a visionary curatorial perspective and experience in creating dynamic, engaging public art programs of the highest quality. Please find the attached detailed information regarding qualifications and experience for each consultant. DG HUNT&ASSOCIATES, LLC PUBLIC ART PROJECT MANAGEMENT NON-PRICE PROPOSAL City of Salem, MA RFP#0-18: Consulting Services for Public Art Master Plan Qualifications and Experience DG HUNT&ASSOCIATES. LLC Led by Dave Hunt, LEED AP,our firm provides project management and owner's representative services focused on special projects for museums and cultural institutions, and artwork related projects for corporate clients,the hospitality industry, and governmental organizations. We bring experience and perspective,creative problem solving, and strong centralized leadership to complex and unwieldy projects. Working hand-in-hand with artists& curators, architects &engineers,fabricators &contractors, and a global network of specialists,we deliver spectacular results on-time and on-budget. We specialize in unusual and unprecedented projects, making the seemingly impossible possible and helping to realize the dreams of ambitious institutions,visionary artists,and uniquely inspired communities around the world. Notable recent projects include 10OAcres: The Virginia B. Fairbanks Art&Nature Park, The Ruth Lilly Visitors Pavilion,winner of the 2012 AIA National Honor Award at the Indianapolis Museum of Art, The En United States Pavilion at the 2011 Venice Biennale, and the Alexander Hoteland CityWay mixed-use development in downtown Indianapolis. Also of particular note for this project, DG Hunt&Associates has a history of collaboration with Landworks Studio, part of the design team for the Essex Street Pedestrian Mall. Dave Hunt, LEED AP, President Hunt brings a wide range of unique experience in the design and management of special projects. Prior to founding DG Hunt&Associates, he served as Senior Project Director for the Indianapolis engineering and architecture firm of CMID, Inc., managing diverse teams of specialists and a wide variety ambitious exhibitions and construction projects for cultural, municipal, and corporate clients. A Massachusetts native, Hunt received his Bachelor's Degree in Industrial Design from the University of Notre Dame before completing the graduate program in Yacht Design and Naval Architecture at the Landing School in Kennebunkport, Maine. He spent the first chapter of his career with the Miami design firm of Luiz de Basto as Senior Designer, providing comprehensive design and construction management for luxury performance and mega yachts. Professional affiliations include: LEED AP BD+C,Association of Professional Art Advisors (APaA), American Association of Museums (AAM),and Industrial Designers Society of America (IDSA). r Select Clients and Project Partners include: Alfredo Jaar New York, NY Allora&Calzadilla San Juan, Puerto Rico Andrea Zittel Joshua Tree, CA Arch di Thiene Venice, Italy Atelier Van Le[shout Rotterdam, Holland BancaNazionale del Lavoro Rome, Italy Barbara Gladstone Gallery New York, NY Barnacle Bros. Fabricators Los Angeles, CA Buckingham Companies Indianapolis, IN Butler University Indianapolis, IN Delta Airlines Atlanta,GA Diebold Italy Milan, Italy Dolce Hotels& Resorts Rockleigh, NJ Ed Blake,The Landscape Studio Hattiesburg, MS Eli Lilly&Co. Indianapolis, IN Gallerie Chantal Crouse[ Paris, France Gensler Architects Houston,TX Grappa Studios Paris, France Guy Nordenson&Associates New York, NY Indianapolis Museum of Art Indianapolis, IN Indiana University/Purdue University Indianapolis, IN Jeppe Hein Berlin, Germany Jorge Pardo Los Angeles, CA Kendall Buster Richmond,VA LA Fabricators Los Angeles,CA Landworks Studio Salem &Boston, MA Larry Smallwood, ESAM Chicago, IL Lisson Gallery London, England Los Carpinteros Havana, Cuba Marlon Blackwell Architects Fayetteville,AR Mary Miss New York, NY Olsen Vranas Architecture&Design Chicago, IL Peggy Guggenheim Collection Venice, Italy Rafael Lozano-Hemmer Montreal, Quebec Resnicow Schroeder Associates New York, NY Robert Irwin San Diego, CA Rockey Structures Chicago, IL Tea Makipaa Helsinki, Finland Type A New York, NY USA Gymnastics Indianapolis, IN USA Track& Field Indianapolis, IN USGS Indianapolis, IN Vision Division Stockholm, Sweden Wheeler Kearns Architects Chicago, IL E MIN nil DG HUNT&ASSOCIATES, LLC PUBLIC ART PROJECT MANAGEMENT NON-PRICE PROPOSAL City of Salem, MA RFP#0-18: Consulting Services for Public Art Master Plan Qualifications and Experience ISENBERG&ASSOCIATES. INC. Michelle Isenberg has been a professional art advisor for twenty six years. Isenberg has distinguished herself in all aspects of public art. Equally important, she has demonstrated her ability to manage and motivate diverse project teams to provide high quality and integrative efforts for which she has become known. Isenberg is extensively versed in the public art process. Multidisciplinary qualifications afford contact with diverse groups of artists working in a wide variety of media and up-to-date new technologies. She does not represent artists and her public art advisory services are always project- specific with the goals of the client at the forefront. Isenberg is actively involved in public art of Los Angeles and New York. A graduate of California State University at Northridge (B.A. in Art History), she has taught Art History at the University of California, Los Angeles Extension for the last eighteen years. She is a founding member of the Museum of Contemporary Art(MOCA), Board President of the Association of Professional Art Advisors (APAA), New York,and member of the Getty L.A. Interchange, Los Angeles. She is also a Founding member of the Institute of Archeology, University of California in Los Angeles and trustee of the International Institute of Mesopotamian Area Studies (IIMAS), Los Angeles and Rome. She is on the Board of Directors for the Jonathan Art Foundation, Los Angeles. Working with Art in Public Places Programs and Percent for Art Programs, Isenberg has served as a consultant to many public agencies, developers, architects,the Community Redevelopment Agency(CRA), and the Department of Cultural Affairs, Los Angeles (DCA). She continues to lecture on public art New York University, Department of Art and Public Policy.Also is a member of the Hammer Museum, Los Angeles, LACMA, Los Angeles, and MOMA, New York. Selected Art in Public Places and Percent for Art Programs: Los Angeles World Airports(LAWA),LAX Beautification Project, Los Angeles,CA Los Angeles World Airports, LAWA commissioners, Department of Cultural Affairs Los Angeles Los Angeles Convention and Exhibition Center, Los Angeles, CA Los Angeles Convention Center Commissioners, Community Redevelopment Agency Los Angeles Pasadena Civic Center Implementation Plan, Pasadena,CA City of Pasadena,City Council, City of Pasadena Arts and Cultural Commission Culver City Downtown Streetscape Project, Culver City,CA City of Culver City Cultural Affairs Commission West Hollywood Gateway,West Hollywood, CA City of West Hollywood Arts and Culture Commission La Floresta Village,Brea Chevron Land Development, City of Brea Arts and Culture Commissions Central Park, Playa Vista,CA Department of Cultural Affairs Los Angeles Historic Wilshire Neon Corridor, Los Angeles, CA Department of Cultural Affairs Los Angeles Robert F. Kennedy Inspirational Park, Los Angeles,CA Los Angeles Unified School District, Cultural Affairs Department Los Angeles nil DG HUNT 8 ASSOCIATES, LLC PUBLIC ART PROJECT MANAGEMENT NON-PRICE PROPOSAL City of Salem, MA RFP#C-18: Consulting Services for Public Art Master Plan Qualifications and Experience VERONICA ROBERTS Veronica Roberts is a visionary independent contemporary curator based in New York City. Her work features the creation of engaging and dynamic programs for museums,galleries,and public spaces. Education University of California,Santa Barbara, Santa Barbara, California 2003-2005 M.A. in the History of Art and Architecture Williams College, Williamstown, Massachusetts 1994-1998 B.A. in Art History,cum laude,with honors Professional Experience Montclair Art Museum, Montclair, New Jersey Fall 2013 (forthcoming) Guest curator, "Eva Hesse and Sol LeWitt," The Indianapolis Museum of Art, Indianapolis, Indiana Jan 2011-present Adjunct Associate Curator, Contemporary Art Sol LeWitt Wall Drawing Catalogue Raisonne Sept 2010-present Director of Research GalerieLelong, New York Summer 2012 Guest curator, "Stretching Painting,"June 21-August 3, 2012 Morgan Lehman Gallery, New York Summer 2012 Guest curator, "Contemporary Watercolor,"July 12-August 17, 2012 Parsons The New School of Design, New York Spring 2012 Co-curator with Jane Panetta, (RE) PURPOSE 2012 Parsons Fine Arts MFA exhibition, May 11-19, 2012 Craig F. Starr Gallery, New York Spring 2011 Guest curator, "Eva Hesse and Sol LeWitt,"April 8-Ma 27 2011 P Y The Museum of Modern Art, New York Feb 2007-Aug 2010 Curatorial Assistant, Department of Painting and Sculpture Antenna Audio, New York and Sausalito, California 2001-2003 Senior Writer and Creative Manager Whitney Museum of American Art, New York 1998-2001 Special Projects Coordinator, "Sol LeWitt: A Retrospective", 2000-2001 Senior Curatorial Assistant, 1999-2001 Curatorial Assistant, 1998-1999 Research Assistant, Fall 1998 Select Publications "'Like a musical score':Variability and Multiplicity in Sol LeWitt's 1970s Wall Drawings." Master Drawings, vol. 50, no. 2, Summer 2012, p.193-210 (Scholarly essay) "(RE)PURPOSE," Parsons The New School of Design, New York, May 2012 (Catalogue essay co-author) "Frohawk Two Feathers and the Present Past." Morgan Lehman Gallery, New York, March 2012 (Catalogue essay) "Sam Messenger at Davidson Contemporary, New York." Art in America, March 2012 (Exhibition review) "Emilio Perez: Abstract Sublime." Paris: Galeriel-elong. October 2011 (Catalogue essay) "Converging Lines: Eva Hesse and Sol LeWitt (1960 to 1970)." Craig F. Starr Gallery, New York, Meridian Press,April 2011 (Catalogue essay) Legacy: The Emily Fisher Landau Collection. Edited by Dana Miller. New York: Whitney Museum of American Art and New Haven: Yale University Press, 2011 (Museum short essay) "An Exchange with Sol LeWitt" ...might be good, edited by Wendy Vogel. Austin,Texas,January 2011 Interview with OrlyGenger. Museo Magazine. Edited by David Shapiro, volume XIV, April 2010 ZilvinasKempinas: Tube. "Veronica Roberts interviews ZilvinasKempinas." Publication accompanying Lithuanian Pavilion, 53rd International Art Exhibition, Venice Biennial, 2009 "Mexican Modernism at MoMA." The Journal of The Latin American and Caribbean Fund. New York: The Museum of Modern Art, Spring 2009 Interview with ZilvinasKempinas, Museo Magazine. Edited by David Shapiro,volume X, 2008 MoMA: Highlights Since 1980. Edited by Rebecca Roberts. New York:The Museum of Modern Art, 2007 Encyclopedia of Sculpture. Edited by Antonia Bostrom.Routledge, 2003 American Visionaries:a es:Selections from the Whitney Museum of American Art. New York: Whitney Museum of American Art and Harry Abrams, 2001 Barbara Kruger, exhibition brochure, Whitney Museum of American Art, NY,2000 Select Lectures and Panels University of Texas,Austin, Winter,January 2013 (forthcoming) Lecture on Sol LeWitt DIA:Beacon, October 13, 2012 (forthcoming) Lecture on Sol LeWitt School of the Museum of Fine Arts Boston,September 19, 2012 Lecture on Sol LeWitt Williams College, Art History 102, May 7,2012 Guest lecture on Johns, Rauschenberg, Warhol, and others University of Nevada, Las Vegas, February 2012 Lecture on Sol LeWitt Montclair State University, Montclair, New Jersey, February 2012 Guest lecturer,Art forum lecture series Lower Manhattan Cultural Council,January 2012 Visiting curator, Workspace Salon series Pratt Institute, Brooklyn, September 2011 Guest lecturer, curatorial methods seminar Hollins University, Museum, Roanoke,Virginia,April 2011 Curatorial practice seminar and lecture Cabinet Magazine, Brooklyn, March 2011 Panelist on "An Exchange with Sol LeWitt" moderated by curator RegineBasha Storm King Art Center, Mountainville, New York Mark di Suvero,October 17, 2010 Andy Goldsworthy, September 13, 2009 Sol LeWitt: Structures,April 15, 2008 Museum of Modern Art Roundtable discussion of MoMA curators on Modern Women's Project, moderated by Kathy Halbreich, "Art Institutions and Feminist Politics Now" symposium, Museum of Modern Art,Titus 1 auditorium, May 21, 2010 Pratt Institute, New York, Fall 2009 Guest lecturer for"Artopia" course "Sol LeWitt: Every Wall is a Door," MoMA,Titus 1 auditorium,Jan. 27, 2009 "Calder's mobiles,' MoMA,Titus 1 auditorium,January 22, 2008 Teaching Thesis class, MFA students, Parsons/The New School, New York.January-May 2012 "A Close Look: Bontecou, Hesse, LeWitt, Mangold, and Ryman," MoMA, NY, Spring 2010 "Diego Rivera, Frida Kahlo,and Mexican Modernism",MoMA, NY, Winter/Spring 2010 and Fall 2009 "Modern and Contemporary Sculpture: from Brancusi's Birds to Christo and Jeanne-Claude's The Gates," MoMA, NY, Summer 2008 and Fall 2007 T.A. for numerous courses at UC Santa Barbara, including Ancient Art and Impressionism Awards Robert V. Storr Research and Travel Fund Award, Museum of Modern Art, NY, 2010 National Association for Interpretation (NAI)award for Richard Avedon audio tour (co-author), Metropolitan Museum of Art, 2003 UCSB award for mentoring undergraduate art history students, 2005 DG HUNT&ASSOCIATES, LLC PUBLIC ART PROJECT MANAGEMENT NON-PRICE PROPOSAL City of Salem, MA RFP#0-18: Consulting Services for Public Art Master Plan Approach to the Proiect Our team proposes the development of a Master Plan that will guide a dynamic, interactive,and engaging arts program for the City of Salem. Our approach will focus on threeprimary themes which will be considered and applied to each phase of the project and each subsection of the Master Plan:These themes are History,Audience, and Curatorial Philosophy. History: All aspects of the Master Plan must place a high value oninterpreting and displaying the rich history of Salem. Weaving together a complex story highlighted bycolonial history, maritime and trade, and manufacturing is a challenge that must be thoughtfully and deliberately met in every phase of the project. Audience: Likewise, it is essential to identify and define your audience, and ensure that every aspect of the Master Plan is tailored to serve them.As a starting point, we propose that three core audiences be considered throughout the project: 1) Salem residents.A successful public art program should strengthen the sense of pride and community identity, and work to further define the distinct culture of Salem, independent of its surrounding communities and Greater Boston as a whole. 2) Regional North Shore residents. The art program should work to reinforce Salem as the cultural and economic nucleus of the North Shore. It should help attract and retain regional visitors, leading them to view Salem as the go-to destination for day trips and evenings out, and should keep them coming back throughout the year to experience a dynamic atmosphere through changing seasons. The Public Art program should also help to define Salem as the region's cultural gateway to the world. It should embrace the tradition of global trade, already on display so successfully at the Peabody Essex Museum and Salem Waterfront,to position Salem as a place where the North Shore comes to experience the cultures of the world. 3) Tourists and visitors. Finally, the program should help to provide coherent and memorable experiences to out-of-town visitors,to create uniquely Salem experiences. It should leave them with the promise of a changing and evolving destination, where something new is always awaiting their return. At the same time, it should allow visitors to leave their own fingerprint and interact,to be the next to contribute to a city built onso many previous visitor contributions. Curatorial Philosophy: Finally, the development of the Master Plan must be driven by a coherent and forward thinking curatorial philosophy. If the final product is to be a city alive with successful public arts programming, it must embrace formal,visionary curating. We aim to establish a Master Plan which guides the city towards a continuous program of organized, coherent, high quality art by tapping into the experience and vision of inspired curators and arts administrators. As the cornerstone arts organization in the City, the Peabody Essex Museum provides an invaluable asset in this regard. P The curatorial philosophy for the project should also consider the role of national and international artists and their potential to strengthen Salem as a singular destination where diverse experiences can be found. The tradition of trade in Salemhas long made it a place to find the best the world had to offer. Public Art provides a unique opportunity to further that tradition. Organizational Approach The proposed organizational approach to the project is built around 4 distinct project phases, each spanning approximately one month,and anchored by meetings with the Public Art Working Group and the general public. PHASE 1:Assessment and Mission Statement development • Meet with Working Group and key stakeholders to gain a thorough understanding of primary goals and project history • Meet with Urban Planning team focused on Pedestrian Mall Redesign, to understand overall city planning direction • Develop overarching Public Art Master Plan mission statement and success metrics PHASE 2: Present Mission Statement and identify basic approach to 6 key areas of focus: • 'Art location and pedestrian mall integration o Considerations may include destination art, natural gathering places, transportation hubs,common journeys. Possible questions may include: How do most tourists arrive in Salem? How do most commuters arrive and depart? How can public art be used to make that experience memorable? How do key locations change throughout the year? How can public art be a catalyst for further neighborhood redevelopment? • Artist Selection o Develop systems for proactive artist selection and proposal refinement, creating a coherent"Curated City'. • Public Art Oversight Authority o Guide Salem towards a simple, functional, effective public art administrative structure. Develop a framework that dovetails seamlessly into the greater structure of local government. Design an organization that effectively represents the needs of the entire community,while tapping into the expertise of flagship institutions such as the Peabody Essex Museum and Salem State University. • Public Art Funding Mechanism(including public art gift mechanisms) o Develop specific recommendations for the structure and operation of a formal,ongoing, and stable Public Art funding mechanism. • Maintenance and Relocation/Removal procedures o Develop a system for cataloguing existing public art, maintaining and conserving current and future artwork,and addressing current and future relocation and removal needs. • Education o Develop a formal program to exploitthe vast educational opportunities associated with a successful public art program. Explore the potential of interwoven programming with Salem State University and craft recommendations for a variety of educational initiatives. Initial focus may include: • K-12 programs for Salem schools • K-12 programs for regional schools University level programs,Art and Design focus • University programs, Public Policy focus PHASE 3: Develop draft Master Plan and present for public feedback PHASE 4: Refine and finalize Master Plan and present to the public DG HUNT&ASSOCIATES, LLC PUBLIC ART PROJECT MANAGEMENT NON-PRICE PROPOSAL City of Salem, MA RFP#0-18: Consulting Services for Public Art Master Plan Scope of Services The benchmark for each project phase will beregular meetings and working sessions with community stakeholders to ensure that the development of the Master Plan meets the unique needs of this city at this time, and ensure seamless integration with other city initiatives and planning activities (both realized and anticipated). Our proposed scope of work is centered on the following core services: • On-site meetings, presentations, and working sessions: 0 4 monthly meetings with Working Group,as well as other key stakeholders and the general public when appropriate. o Consult Working Group to identify other stakeholders for specialized meetings,which may include individuals and organizations such as: • Peabody Essex Museum • Salem State University Urban Planning&Pedestrian Mall design team Chamber of Commerce&Visitors Bureau • K-12 school officials, parents, and teachers • local artists and art industry professionals • Department of Public Works and Parks Dept. • Local architects and urban planners • Research and utilize case study benchmarks to apply the successes and failures of other public art programs to the Salem Public Art Master Plan • Produce written and graphic Public Art Master Plan document in hard-copy and electronic form to indefinitely guide public art programing in Salem. Final document to include both overarching philosophy and mission oriented goals associated with each focus area, as well as specific recommendations and mechanisms to be implemented as a means to achieve those goals. • Provide ongoing consulting and guidance in the implementation of the Master Plan and the integration of Master Plan recommendations. DG HUNT 8 ASSOCIATES, LLC PUBLIC ART PROJECT MANAGEMENT NON-PRICE PROPOSAL City of Salem, MA RFP#0-18: Consulting Services for Public Art Master Plan Timeframe We propose an approximate 4 month project timeline from authorization to proceed through final delivery and presentation of the Master Plan. One month each for each Project Phase,anchored by in- person progress presentations and working sessions with stakeholders and general public. Timeline and meeting dates to be finalized upon contract execution, with the understanding that the final Master Plan is to be delivered no later than May, 2013. Suggested timeline based upon authorization to proceed on or before Jan 1. 2013: PHASE 1:Assessment and Mission Statement development Jan 1—Jan 31, 2013 PHASE 2: Present Mission Statement and identify basic approach to 6 key areas of focus Feb 1—Feb 28, 2013 PHASE 3: Develop draft Master Plan and present for public feedback March 1—March 31, 2013 PHASE 4: Refine and finalize Master Plan April 1—April 30, 2013 May, 2013—Final delivery and public presentation of Master Plan ATTACHMENT Proposal Cover Sheet RFP#0-18 City of Salem, Massachusetts Purchasing Department The City of Salem reserves the right to reject any or all Proposals, to omit any item or items called for, or to accept the Proposal deemed in the best interest of the City. One (1) original and seven (7) copies of the proposal should be delivered no later than 10:00 am on Monday, November 5, 2012 to: Whitney Haskell, Purchasing Agent Purchasing Department Salem City Hall Annex 120 Washington Street Salem, Massachusetts 01970 Proposals must be submitted in a sealed envelope. The envelope containing the Proposal must be marked with Proposer's name, title of proposal, RFP number (0-18), and date of opening. The Proposer must sign all required signature pages in order for the proposal to be considered. The City of Salem reserves the right to reject any and all proposals, or to waive any informalities in the proposal process, if deemed in the City's best interest. The Proposer acknowledges receipt of the following ADDENDA # BUSINESS NAME DG Hunt & Associates LLC BUSINESS ADDRESS 1590-D Rosecrans Ave., #320 CITY, STATE & ZIP CODE Manhattan Beach, CA, 90266 TELEPHONE & FAX NUMBER 786-514-8967 , \ AUTHORIZED OFFICER SIGNATURE AUTHORIZED OFFICER NAME (print) David Hunt, President DATE November 1, 2012 17 i IL _ ATTACHMENT 2 CERTIFICATE OF NON-COLLUSION AND TAXATION ATTESTATION CLAUSE As required under Chapter 233 and 701 of the Massachusetts Acts and Resolves of 1983, all bidders must certify to the following, by signing this page in the space indicated below. 1. The undersigned certifies under penalties of perjury that this bid or proposal has been made and submitted in good faith and without collusion of fraud with any other person. As used in this certification, the word "person" shall mean any natural person, business, partnership, corporation, union committee, club, or other organization, unity or group or individuals. 2. "Pursuant to M.G.L. Ch 62C, sec. 49A, I certify under the penalties of perjury that I, to my best knowledge and belief, have filed all state tax returns and paid all state taxes required under law". NAME OF BUSINESS: DG Hunt & Associates. LLC SOCIAL SECURITY# OR FEDERAL ID #: EIN# 45-2541510 AUTHORIZED OFFICER (PRINT): David Hunt, President AUTHORIZED SIGNATURE: 18 p ATTACHMENT A CERTIFICATE OF NON-COLLUSION AND TAXATION ATTESTATION CLAUSE As required under Chapter 233 and 701 of the Mass. Acts and Resolves of 1983, all bidders must certify to the following, by signing this page in the space indicated below. 1 . The undersigned certifies under penalties of perjury that this bid or proposal has been made and submitted in good faith and without collusion of fraud with any other person. As used in this certification, the word "person" shall mean any natural person, business, partnership, corporation, union committee, club, or other organization, unity or group or individuals. 2. "Pursuant to M.G.L. Ch 62C, sec. 49A, I certify under the penalties of perjury that I, to my best knowledge and belief, have filed all state tax returns and paid all state taxes required under law". David Hunt, President Authorized Officer (Print) Signature of Authorized Officer DG Hunt & Associates. LLC Name of Business EIN# 45-2541510 Social Security Number or Federal Identification Number 'Approval of a contract or other agreement will not be granted unless the applicant signs this certification clause. This does not constitute the legal signature required for the bid or proposal. 16 E3 0 L7 Todd W. Bressi Urban Design 13 Place Planning 0 Public Art 13 November 1,2012 Whitney Haskell,Purchasing Agent Purchasing Department Salem City Hall Annex 120 Washington Street Salem,Massachusetts 01970 Dear Whitney Haskell: We are pleased to submit our qualifications to work with you on the City of Salem's Public Art Master Plan,as well as a brief overview of how we would approach this project. Todd Bressi,principal of Urban Design.Place Planning•Public Art,will serve as the lead plan- ner,with support from his associate Katie Winkler.Bressi is an urban designer with extensive experience in public art planning and public realm planning,a strong track record in developing and managing public art projects,and an emerging practice in collaborating with artists on urban installations.Winkler,an artist,designer,program manager and specialist in tactical urbanism, will contribute her expertise in creative placemaking and graphic design to the project. General Qualifications Bressi is one of the natiods leading public art planners. Over the past eight years,has led or col- laborated on nearly 40 public art plans and commissions.He has helped to launch new public art programs,retool existing programs,and develop specialized art strategies for downtowns,private development projects,commercial corridors,sports arenas and special-purpose agencies.He has helped to develop and implement focused art strategies for situations as diverse as the main street of Philadelphia's historic Manayunk neighborhood,to the 2010 Vancouver Winter Olympics.He also works as the Interim Artistic Coordinator for the Philadelphia Mural Arts Program,which produces more than 50 new artworks every year. Winkler is a fresh creative voice,in the vanguard of young artists who are remaking Amerian cities through grassroots,artful,tactical initiatives.Her activities range from public art program manage- ment to industrial design to organizing designers and communities in grassroots urban improvement initiatives.She is currently a leader of several community-based art and design collaboratives(such as Philly Works and BetterBlocksPhilly),she consults with the Philadelphia Mural Arts Program on program design and development(Structure and Surface),and maintains a graphic design practice. Her own artwork focuses on painting and drawing. Plan of Services We have developed a unique plan of services that addresses the tasks propsoed in the RFP and our preliminary assessment of how we would organize the project.We are committed to providing all of the services requested in the RFP,and are confident that this project could be completed in a five-or six-month timeframe,barring circumstances beyond our control. Todd W. Bressi placedesign@verizon.net 13 P.O. Box 32, Narberth PA 19072 0 215-292-3642 Community Engagement Community engagement is a hallmark of our practice.In our work,we have relied on both tradi- tional types of outreach as well as non-conventional approaches,such as a public artist-led bike ride and an exhibition of temporary installations organized as part of the planning process. A good community engagement strategy begins with overall goals and an understanding of the role that community engagement plays in each phase of the project.Therefore,our first step would be to review with you the expectations and goals you have for engaging the communty in this proejct. That said,we have in mind a focused,engaged and energetic process-to the extent that time and resources allow-that results not only in a master plan but also a vibrant discussion about the role of art in public places.Our plan of services for Salem details an ongoing strategy of involvement throughout the course of the project-from our first visit to Salem,to the completion of the plan. Specifically,we propose to organize a workshop and an open house,conduct roundtables and interviews,and develop an appropriate web-based and social media strategy.With additional funding,we could organize an embedded art project. Why Our Team You undoubtedly will receive proposals from numerous qualified public art professionals.Here are the key reasons why our team is the right match for Salem. First,our breadth and depth of experience is incomparable.Our experience with urban design,art planning,program and project management,and design collaborations means that we can give you robust recommenations that take into account many points of view. Second,we come from a historic city,with layers of culture and history,and a dense built environment.That means we have an intuitive understanding of what it means to practice public art in a city like Salem. Third,we are more than public art professionals.Our array of perspectives and projects put us on the leading edge of thinking about how art,design and community action are coming together to remake American cities in ways that not too long ago nobody thought was possible. Finally,we are ready to go.We can mobilize as soon as we receive a notice to proceed,and currently have no major obligations that would prevent us from finishing this project within the time frame you propose. We are eager,and would be honored,to join you in shaping the next chapter of public art for the City of Salem.We appreciate your fullest consideration. 'ncerely, dd W.Bressi ban Design• Place Planning•Public Art ■ BOB 0 ■ E3 0 0 Todd W. Bressi Urban Design 13 Place Planning 13 Public Art 13 2. Qualifications and Experience 2a. Consultant Name and Contact Information Todd W. Bressi Urban Design. Place Planning. Public Art PO Box 32 Narberth,PA 19072 610-667-2177(o),215-292-3642 (c) www.artfulplaces.com 2b. Business History "Todd W. Bressi,Urban Design. Place Planning. Public Art"is a sole proprietorship that com- menced business in February,2008.Prior to that,the consultant operated under the business name"Brown and Keener Bressi;'which commenced business in 2005. Prior to that,the consul- tant operated under the business name,"Brown and Keener Urban Design;and independently under the name,"Todd W. Bressi.' 2c. Firm Principals Todd W.Bressi,Principal 2d. Principal in Charge and Project Manager Todd W.Bressi,Principal 2e. Experience with similar Projects Attached 2f. Contact information for References Attached 2g. Resumes of Personnel Attached 2h. Actions and Litigation None 2i. Applicable Insurance Attached Todd W. Bressi placedesign@vedzon.net 0 P.O. Box 32, Narberth PA 19072 0 215-292-3642 Todd W. Bressi ❑ Urban Design ❑ PJa� � r � �-,� � u ' i O PUBLIC ART • PUBLIC PLACES — ■ o Arlington, VA 2004 Arlington County's Public Art Master Plan is a blueprint for combining pub li d rivate resources to produce public art that makes places of civic distinction. Arlington residents,eager to strengthen their county's visual identity and cultivate its creative resources, have long supported public art. For many years,county planners have negotiated with private developers for art contributions, and the county has adopted a policy of committing a portion of its capital budget to art. Bressi led a team that created a five-year blueprint for commissioning art projects. The Master Plan recommends focusing public art resources in four areas—a major watercourse and three \ transit-oriented"urban village"corridors—that constitute the county's main civic places.The plan sets priorities for including public art in capital projects and guidelines for directing devel- oper contributions to public art,and suggests approaches for involving artists in ongoing county planning initiatives. The plan, approved in December,2004,has inspired several major initiatives: Cliff Garten has prepared a concept for a multi-block collection of street elements that will link two bridges and a major north-south street in Rosslyn; Doug Hollis is designing a kinetic artwork that will inte- grated into an arbor in North Tract Park;Mary Miss was commissioned to prepare an art master plan for the county's wastewater treatment system; and Vicki Scuri has been commissioned to collaborate on the design of a highway bridge. Public art proposals have been integrated into four planning studies and two large-scale development projects. Client: Arlington County,Va., Division of Cultural Affairs. Public Art Program Collaborators: Jennifer McGregor, LAB Architecture placedesign@verizon.net ❑ P.O. Box 32, Narberth PA 19072 ❑ 610-667-2177 Todd W. Bressi p Urban Design 0 Place Planning [I Public Art' O PORT OF SAN DIEGO PUBLIC ART MASTER PLAN San Diego, CA 2010 The Unified Port of San Diego is a unique agency with a specialized mission:Balance economic benefits,community services,environmental stewardship and public safety while protecting the San Diego Bay Tidelands as a resource in trust for the citizens of California. The Port started its public art initiative some fifteen years ago,primarily as means of supporting the Port's goals of community service and economic development,and the collection currently includes some 100 artworks and periodic exhibitions such as Urban Trees. But by fall,2009,the program faced a crossroads.There were strong concerns within Port leadership, the regional arts community,and the Port's constituent cities about the program's directions—partic- ularly the process by which projects were identified and funded,and the processes for selecting artists and artworks.The port retained Bressi,in collaboration with Meridith McKinley of Via Partnership, to help frame a new vision for the program and revamp policies and procedures as needed The plan established three Creative Directions—inspired by the Port's maritime,environmental and civic design activities—that will serve as the ongoing focus of the program.And it outlined a process for identifying projects through multi-year Curatorial Workplans that outline the types of projects the program will develop,the kinds of artists it wishes to recruit,specific areas where it wishes to develop projects,and partnerships it would like to cultivate.Finally,it outlined significant changes to the Port's commissioning process,tenant art program,and donations policies to place more decisions in the hands of the Port's professional arts staff. The plan was approved in May,2010,and public art staff will begin implementing this new approach over the next year. The plan included outlines of three Creative Directions that would -; underpin the program's curatorial work,and highlighted opportunities in each of the Port's member cities. s GREEN MAY WOR XING-0ORI. PURLICPORT' PORT?F AN DIE96[ PU9CIC ART MASTER PIAN^ `�•'-•..— .. ..•.. 1 placedesign@verizon.net 13 P.O. Box 32, Narberth PA 19072 610-667-2177 Todd W. Bressi ❑ Urban Design ❑ Place Planning ❑ Public Art O LANCASTER ARTS! City of Lancaster, PA 2004, 2008 The City of Lancaster is home to a rapidly emerging community of artists, arts organizations and cultural venues. The Lancaster Campaign, a business-sponsored civic organization,sought ideas for design strategies that could create a greater sense of synergy between these activities and a stronger sense of place downtown. Our plan focuses on enhancing the public realm—the streets,squares and gardens that give Lancaster its walkable,livable quality— as well as reinhabiting underused parking areas. The plan shows how to create iconic images; improve the pedestrian realm;make creative use of"city rooms"like squares,gardens and parking lots; and create pedestrian-scale "surprises"that make every visit something to anticipate. The LancasterARTS plan identified for the client a series of low-cost art projects that can have a significant impact on the street environment,as well as steps for marketing and promoting the arts as a whole. In the past eight years, downtown has seen a revival of street life and strategic investment of hotels, restaurants and galleries at key arts locations. Client: Cherie Riggs,The Lancaster Campaign Collaborators: Brown and Keener Urban Design Shari Hersh, Philadelphia Mural Arts Program arta.s.,., n oolnl 1 p In Analysis of the character and use Our analysis showed how The plan includes capsule of streets and spaces led to downtown could be understood workplans for small-scale, concepts for street-related artworks. as a group of urban rooms, incidental artworks that each of which is activated by would generate visual inter- the arts in a different way. est downtown. placedesign@verizon.net 13 P.O. Box 32, Narberth, PA 19072 ❑ 610-667-2177 Todd W. Bressi Q Urban Design n ing Public PUBLIC ART PUBLIC SPACES OBelgrade, Serbia 2003 The Belgrade Public Art Project was an experimental collaboration between artists,educators and urban planners.Its goal was to develop a language for pub- a■ao oma _ AIM y lic art that could infuse the public works and public places of Central Belgrade with a new layer of visual identity and meaning,and to establish creative links between the city's leading art, architecture and educational institutions. Our team — artist Jody Pinto,art consultant Charlotte Cohen, and urban designer Todd W.Bressi, guided and worked with students from the Univeristy of Belgrade's architecture school and fine arts school.Working for just one week,we lectured on current approaches to public art and urban plan- ning,surveyed the city and identified themes and opportunity sites for pilot projects, and helped collaborative members initiate discussions with city agencies, cultural organizations and academic institutions. Our proposal was that the schools should create a coordinated set of art projects that reached from the city's"high street"spine to the Saba River,exploring themes of"connection"and"convergence" by creating a flow of space and visual interventions that revealed important channels and platforms —places that were largely overlooked,but when strung together created a powerful sensory path.We recommended temporary projects,since resources for permanent work were scarce.Ultimately,the students and faculty developed a graphic system,lighting strategies,greening interventions and stages for live performances that animated a"found" route to the river. So,for one Saturday,the city center came alive with public art and performances,a procession from the central square to the river,and a party on the waterfront. Hundreds of residents,led by the city manager,celebrated this intersection of public art,public space,and civic identity. Collaborators: Charlotte Cohen Jody Pinto �r Ir! r Op 1 � t placedesign@verizon.net Q P.O. Box 32, Narberth�PA 19072 Q 610-667-2177 77 . . . W..Bressi rban qes.,jgn Place Planning Public 77 MANAYUNK MAIN STREET ART ^P. PROJECTS -Phil• . . • P • owl « i Manayunk is a historic waterfront neighborhood in Northwest Philadelphia. Its waterfront mills have long been converted into new uses, its historic canal and towpath have been repurposed for rowing and bicycling,and the Main Street now thrives as a design- and entertainment-oriented commercial corridor that attracts visitors from throughout the region. Manayunk's business leaders retained the Mural Arts Program to coordinate a multi-year art initia- tive to help bring new attention to the district. Bressi,as a consulting project manager,developed an overall strategy by scouring the neighborhood for opportunity sites and prioritizing them with the business district leadership. He then commissioned the first three projects- a"roving gallery"that features portraits of 30 Manayunk residents,a crosswalk painting program,and a temporary summer installation along the Canal.The initiative enabled one artist,Mat Tomaszko,to win his first public commission,and brought in visiting artists from Montreal and Austin to complete the other projects. Mural Arts and Manayunk are now planning a second round of projects,based on the original plan. •roc •, n 11 3 r Y° 4 Commissioning Organization: Philadelphia Mural Arts Program z ,e Client: Manayunk Development Corporation Projects planned and commissioned for ao ��'ao► Manayunk Main Street o � a Top: "Escaped Infrastructure;'Thoughtbarn Left: "Crosswalks;'Roadsworth;"Look Long and Look Good;'Mat Tomaszko. .o placedesign@verizon.net Q P.O. Box 32, Narberth PA 19072 0 610-667-2177 p p p Todd W. Bressi Urban Design Place Planning Public Art noun Meridith McKinley Via Partnership p r ; Left:Vanessa Kwan,Vancouver Vancouver Vancouver Right: Ken Lum, Monument for East Vancouver VANCOUVER PUBLIC ART PROGRAM REVIEW OLYMPIC AND PARALYMPIC PUBLIC ART PROGRAM Vancouver, B.C., 2006-10 Vancouver's public art program has been considered to be one of the most successful in North America. But with the 2010 Winter Olympics around the corner, and increased public interest in attracting significant artworks to the Vancouver's major parks and civic spaces,the city sought a top to bottom review of the public art program as well as a new"design framework" for commissioning new artworks throughout the city. Bressi and McKinley tackled the project in collaboration with artist Valerie Otani. The team worked extensively with numerous constituencies— city departments,artists and curators, and community leaders —to understand the successes, challenges and expectations for the program,and to learn about how the public spaces of this rapidly growing city would be likely to transform in the future. Key recommendations included creating opportunities for artist-initiated projects, as well as incorporating public art thinking into ongoing public realm planning processes, and forging stronger,forward-looking links between the public art pro- gram and the city's engineering and facilities departments. As a result of the Public Art Review,the City decided to kick-off an "artist-initiated"public art commissioning process as part of the City's Olympic and Paralympic Public Art Program for the 2010 Winter Games.Via was brought on to lead a team that included Bressi,curator Karen Henry and urban planner Joust Bakker. The team organized a call- "Mapping and Marking 2010" - which asked artists to respond to the broad concepts of mapping and marking as ways of encouraging exploration and involvement with the city,its inhabitants and the ecological,eco- nomic and social processes that are shaping Vancouver. Via and Henry and managed the commission of seven established and emerging Vancouver art- ists (selected from a pool of more than 120) who created both temporary and permanent works. The projects can be seen at: olympichostc ityvancouver.ca/c ityh ighl fights/thec reativecity/publicartprog ram/mapping-marlcing.htm Todd W. Bressi placedesign@verizon.net P.O. Box 32, Narberth, PA 19072 610-667-2177 Via Partnership art@viapartnership.com P.O. Box 23167,St. Louis MO 63156 314-664-5902 Todd W. Bressi ❑ Urban Design ❑ Place Planning ❑ Public Art O LIGHT DRIFT Philadelphia, PA 2010 For one weekend in October, during the city's Design Philadelphia celebration,artist Meejin Yoon staged a temporary interactive artwork on the banks of the Schuylkill River, at the foot of the Market Street bridge. Each night,hundreds of visitors made a pilgrimage to the waterfront to see the luminous globes floating in the water, and to sit on the shoreline globes that acti- vated an ever changing pageant of light on the river. The project was organized by the Philadelphia Mural Arts program. Bressi was project man- ager in the early stages of the project, from project conceptualization through fund raising and artist concept development. Bressi was able to secure the interest of architect—artist Meejin Yoon to create her first temporary installation anywhere in the U.S. ww. Tt ; . Philadelphia Program Contact*: lane Golden, 076 Artist: Meejin . . WAYSn. JRMHOFWNS ..CONVENTION '.•�g — CENTER PEEKS } Peeks! URBAN DESIGN ART PROPOSAL Bressi collaborated with Austin-based Thoughtbarn on this proposal for artistic streetscape elements in downtown Denver.The metal,mirrored panels would capture reflections of the everyday pagaent of life in the city,and offer glimpses of the distant landscape and mountainscape. IMAGES:TH000HTBARN COLLABORATOR:THOUGHTBARN ■ ■a■ Todd W.Bressi Urban Design•Place Planning•Public Art www.artfulplacesmm i r t .s --� r=. I Prairie Line Trail / Ghost Prairie URBAN DESIGN ART INSTALLATION Bressi collaborated with Austin-based Thoughtbarn on a master plan and demonstration projectfor a new rail-trail that connects several districts of downtown Tacoma. IMAGES:THOUGHIBARN COLLAOORAI'O. H000MrBARN i ■■■ Todd W. Bressi Urban Design•Place Planning•Public Art mvw.artfulplaces.com ■ Katie Winkler www.kwinksdesign.com kati emariew i n kler(a)gmai lmm 215.206.0842 Tactical Urbanism Salon: Philly The Tactical Urbanism Salon: Philly was a free event presenting international and local ideas of how short-term action can lead to long-term change in our cities.This interactive Salon featured conversation, presentations, and workshops on a range of urban f F. interventions that apply creativity, sustainability,technology, and �,ffy social good in Philadelphia and beyond.The salon was organized by The Street Plans Collaborative, Philly Works, and Next American 4 City.The event took place at the Next American City Storefront for Urban Innovation on Girard Avenue in Philadelphia r 7 s Katie Winkler coordinated this event on a local-level, pulling re- l •V sources, spreading awareness, gathering presenters and facilita- tors. The event hosted 15 speakers/urban interventionists, mostly regional and a few farther reaching. Presenters spoke to different i initiatives surrounding topics of tactical urbanism,temporary urban 1 design projects, and other ideas for the overall betterment of cities and the lives of their inhabitants These discussions framed a sub- ' Sequent workshop,where breakout groups were formed based on (7a topics and problem areas discussed, as well as new issues brought up by audience members. Together groups brainstormed solutions IIsi` i # and blue-sky ideas, and were able to present those ideas back to all in attendance at the end of the event. This event provided partici- pants and onlookers the rare opportunity to network and problem solve for a better city together. Philly Works �-� Philly Works aims to empower creative individuals and industries in Philadelphia.We do this through collaboration, creative part- fnerships, and fostering public dialogue. Beginning as a series of p exhibitions that explored design, craft,fabrication, and manufactur- ing being done in Philadelphia and the region, it has grown into a collective capable of sharing skill sets and resources to produce new t �' �., _ work. This year Philly Works addresses "Qualities of Life in Philadel- phia." The exhibition showcases collaborative ideas and solutions for our city in the hope that someday we may see these projects imple- mented and supported to improve overall Qualities of Life through- out the city and the region.Accompanying the exhibition, a book was published which showcased each project and several contrib- uted essays. + As co-organizer, Katie Winkler co-curated the exhibition and submissions for this year's themed exhibit. She helped coordinate panel discussions, workshops and other gatherings to explore this theme. In addition to aiding in publication of the Philly Works book, she aided in the production of a documentary on Philadelphia artisans and the spaces in which they work. Katie also assisted in the creation of an online public database of local designer/makers, t intended to become a tool for communication and streamlined col- ' ' laboration within the local community. Katie Winkler www.kwi n ksdesign.com kati e mariewi nkle r(dgm ai l.com 215. 206.0842 BetterBlocksPhilly BetterBlocksPhilly engaged designers and the community in setting up a living/functioning exhibit of temporary "Complete Street" and "Green Street" concepts along three city blocks in South Phila- delphia.Together, the South of South Neighborhood Association, -� --� along with design firms,WRT and Brown & Keener, used innovative traffic calming measures, streetscape installations, as well as pop-up shops and community events to help envision a safer, more pleasant a� . ,... environment for pedestrians, cyclists, and drivers alike. Better Blocks Philly was an unprecedented community-driven 9 design demonstration project that took place during DesignPhila- delphia 2011. Our goals were to educate citizens about healthy streetscape design, promote local businesses and the work of local artists and designers, create awareness of traffic calming measures, and pedestrian and bike safety-ultimately to help usher in imple- mentation projects that will evolve our city's neighborhood design ideology. BetterBlocks is a national movement to improve neighbor- _ L hoods. As Event Programmer&Sponsorship Coordinator Katie Winkler created a website and managed social media to initiate community involvement and gather volunteers. She helped coordinate meet- ings with Philadelphia City Planning Commission and the Philadel- phia Streets Department to gain proper permissions, street permits, insurances etc. She coordinated research and development of materials and structures for temporary traffic calming devices. She also reached out to local businesses, designers, and artists in order - to gain community support and sponsorship in the form of dona- tions of time and materials. Structure and Surface Structure and Surface is a public art project bridging the manufac- turing community of 20th century Philadelphia with the city's artists t and designers of today. Produced by the Mural Arts Program, with the support of a grant from The Pew Center for Arts& Heritage through the Heritage Philadelphia Program,the project will place a half dozen artists in residence with long established companies from the city's disappearing textile industry. The exchange of ideas and experiences will provide inspiration for a series of site-specific instal- lations, planned for unveiling in 2014. Katie Winkler is Project Coordinator for Surface and Structure. She helps facilitate the artist in residencies both directly and behind the scenes in other aspects of the project such as: coordinating advi- sory committee and team meetings, and preparing presentation materials and handouts, project correspondence, maintaining open communication between artists and manufacturers, maintaining web presence, posting meeting notes,writings and research, as well as providing additional photography and administrative support. Katie Winkler www.k,winksdesign.com katiemariewinkler lgmai.com 215.206.0842 Brown & Keener Urban Design – — – --- Brown & Keener is an Urban Planning Firm in Philadelphia,working with small and large cities and towns, organizations,businesses and neighborhood groups to initiate Creative Placemaking and Urban _ Design solutions. -- As Graphic Designer Katie assisted in many aspects of the busi- ness. She developed graphics and marketing materials, and main- . tained the website for the firm. She designed information graphics, town websites, and zoning code documents. She creatied maps and graphic overlays, coordinated press releases and email blasts, helped facilitate community events and visioning workshops, and managed social media efforts. t iljilmi m"j RIDGEAVENUE -_..m �� - RULESOOKaaa _ �� a � as � Todd W. Bressi p Urban Design p Place Planning © Public Art cl REFERENCES Angela Anderson Adams Public Art Administrator Arlington Economic Development 2100 Clarendon Blvd,Suite 414 Arlington VA 22201 703-228-3553 aadams@arlingtonva.us Jane Golden,Director City of Philadelphia Mural Arts Program 1729 Mt.Vernon Street Philadelphia,PA 19130 215-685-0760 jane.golden@phila.gov Amy McBride,Tacoma Arts Administrator Community & Economic Development Dept. City of Tacoma 747 Market#900 Tacoma,WA 98402 253-591-5192 atny.mcbride@cityoftacoma.org Crystal Birns City Arts Program Manager Economic Development& Redevelopment 337 Locust Street Santa Cruz,CA 95060 831-420-5157 cbims@cityofsantacruz.com placedesign@verizon.net El P.O. Box 32, Narberth PA 19072 610-667-2177 ■ 0 © ❑ Todd W. Bressi 13 Urban Design Q Place Planning E3 Public Art 13 ■ ■ 13 ■ RESUME 13 ■ Education University of California,Berkeley,Master of City Planning, 1989 Columbia University,New York,NY,B.A.Urban Studies, 1983 Employment Philadelphia Mural Arts Program,2011 - Interim Director,Strategic Initiatives and muraLAB;Interim Coordinator,Artistic Planning,2011- Todd W.Bressi.Urban Design•Place Planning.Public Art,Principal,2008- Brown and Keener Bressi,Principal,2004-2007 Project for Public Spaces,Senior Associate,2002-2003 City of Scottsdale,Arizona,Designer in Residence, 1998 Places,A Forum of Environmental Design,Executive Editor, 1989-2002 Selected Projects Public Art Plan nine Ft.McMurray Airport Public Art Plan and commissions,ongoing Distillery District Civic Design and Public Art Plan,Lexington,KY,ongoing McKinney,Texas,Public Art Master Plan,ongoing Denver International Airport Public Art Master Plan,ongoing Central Corridor Public Art Master Plan(St.Paul,Minneapolis),ongoing Prairie Line Trail Public Art Master Plan,Tacoma,Wash.,2012 Marion,Iowa,Public Art Master Plan,2011 Southlake,Texas,Public Art Master Plan,2011 Reston Association Public Art Workplan,Fairfax,Va.,2011 Manayunk Canal/Trail Public Art Workplan,Philadelphia,2011 Coral Gables Public Art Master Plan,2010 D.Phillips Performing Arts Center Public Art Master Plan,Orlando,2010 Legacy Trail Public Art Master Plan,Lexington,KY,2010 Unified Port of San Diego Public Art Master Plan,2010 DC Creates!,Washington,D.C.,Public Art Master Plan,2009 Metropolitan Park Public Art Concept Plan,Arlington,Va.,2009 Reston Public Art Master Plan,Fairfax,Va.,2008 New Pittsburgh Arena Public Art Master Plan,2008 Calgary Transportation Public Art Master Plan,2008 Vancouver Public Art Program Review,2008* Downtown San Jose Public Art Focus Plan,2008* 0 E3 ■ placedesign@verizon.net [3 P.O. Box 32, Narberth PA 19072 610-667-2177 Pinellas County Public Art Master Plan,2007* Clearwater Public Art Master Plan,2007* Public Art Next!City of San Jose public art master plan,2007* _ Public Art•Public Places,Arlington County,VA,Public Art Master plan,2004 Metopolitan Branch Trail Civic Design and Public Art Sketchbook,2004* Public Art Creative Direction,Project Management,Policy Development Metropolitan Park Public Art Commission,Arlington,VA,ongoing Denver International Airport,South Terminal Curatorial Program,ongoing Richardson,Tx,Heights Park artist selection,2012 Favela Painters Artist Residency,2011 Mat Tomazcko project management,Mural Arts Program,Philadelphia,2011 Roadsworth project management,Mural Arts Program,Philadelphia,2011 "White Paper:A Curatorial Residency Program for the Mural Arts Program,2010" Light Drift project planning,Philadelphia,2010 Curtain Call!art commission,Pittsburgh,2009 How Philly Moves!project planning,Philadelphia,2008-09 Rosslyn Corridor of Light,Arlington,2007* Public Art Collaborations Evacuspots,with Rebar and Civic Center,finalist,2012 Ghost Prairie,Prarie Line Trail Demonstration Art Project,with Thoughtbarn,2011 Peeks,Denver 14th Street Streetscape,with Thoughtbarn,finalist,2010 Calgary Watermarks,with Stacy Levy,finalist,2009 Pinellas County Beach Access Project,with Robin Brailsford,finalist,2008 Calgary Visual Language Project,with Jody Pinto,finalist,2007* City Design,Cultural Planning and Placemaking Historic Kennett,Pa,Cultural Program Analysis,ongoing Arlington,Va.,Public Art Creative Placemaking white paper,ongoing DC Creates!,Public Art in Private Development Policy,2010 Downtown Haddonfield Form Based Code,2008* Narberth Open Space Master Plan,2005* Center City Philadelphia/West Market Master Plan,2005* Logan Square Concept Plan,Design Management and"Year Zero"Implementation,2004-05* PEC Arts Plan and Artist Housing Concept Study,2004* Center City Philadelphia Transit Wayfinding Study,2004* _ LancasterARTS plan,2004,2008 Benjamin Franklin Parkway Urban Cultural Campus Master Plan,2004* Public Art,Public Spaces,Belgrade,2003 WALKArlington,Rosslyn-Ballston corridor pedestrian improvements study,2001 Scottsdale City Image Study, 1998 *Projects undertaken while a partner at Brown and Keener Bressi Books and Articles The Seaside Debates:A Critique of the New Urbanism,Rizzolli Understanding Ordinary Landscapes,Yale Planning and Zoning New York City, Rutgers Todd has written extensively on city design, with articles in publications such as Public Art Review,PlanPhilly,Places, Metropolis,Planning and chapters in books such as The New Urbanism, Towards an Architecture of Community. Teaching / Professional Development Public Art Planning Knowledge Exchange,2008 "So You Think You Want a Public Art Master Plan?"Americans for the Arts,2008 University of Pennsylvania,Historic Preservation Studio,2005,2007 University of Pennsylvania,Urban Design Studio,2004 University of Pennsylvania,Public Art and Cultural Planning,2000-2003 Pratt Institute,Urban Design Thesis, 1995-1998 Pratt Institute,Urban Design Field Research, 1997 Hunter College,Introduction to Urban Design, 1993-1995 Memberships and Affiliations Americans for the Arts,Public Art Network American Planning Association,Urban Design and Preservation Division International Sculpture Center Lower Merion Conservancy(board,vice chair) Places,a Forum of Environmental Design(board) Awards, Recognition, Grants Todd's projects have won awards from four professional associations—American Institute of Architects,American Planning Association,American Society of Landscape Architects,and Environmental Design Research Association.He was won awards from five APA state chapters. AIA New York City Chapter Communications APA Arizona Chapter Communications(Urban Design and Redevelopment Studio) APA Connecticut Chapter Communications (Stamford General Plan,with Regional Plan Association) APA New Jersey Chapter Smart Growth(Haddonfield Form-Based Code, with Brown and Keener Bressi) APA New York Metro Chapter Communications APA Northern California Section Communications(Bay Area Council) Environmental Design Research Association Professional Service APA Urban Design and Preservation Division Division Accomplishment ASLA Merit Award Communications/Places r Katie Winkler www.k-winksdesign.com katiemariewi nkler Qgm ai I.com 215. 206.0842 EDUCATION University of the Arts - Bachelors of Science, Industrial Design,2008 EXPERIENCE Philadelphia Mural Arts Program - Program Coordinator(April 201 1 - present) Structure and Surface is a project bridging the manufacturing community of 19'and 20'century with the city's artists and designers of today.The project will place artists in residence with long established companies to develop proposals for public art that showcase this once thriving industry and the importance of its role in Philadelphias heritage. Responsibilities: — Coordinating advisory committee and team meetings,and preparing presentation materials and handouts. — Project correspondence, maintaining contact lists,and open communication between artists and manufacturers — Maintain blog and web presence, post meeting notes,recent writings,and artists' research,stories and ideas Philly Works - Co-Organizer(October 2011 -present) Philly Works aims to empower creative individuals and industries in Philadelphia.We do this through collaboration,creative partnerships,and fostering public dialogue.Beginning as a series of exhibitions that explored design,craft,fabrication,and manufacturing being done in Philadelphia and the region,it has grown into a group of people willing to share skills and resources. Responsibilities: — Coordinating exhibition&submissions for this years themed exhibit,"Qualities of Life in Philadelphia' — Conducting a series of lectures,workshops and exhibits to explore this theme. — Help to create a film documentary series on artists/maker and the spaces in which they work — Work towards creation of an online public database of local designer/makers, intended to become atool for communication and streamlined collaboration within the local community. BetterBlocksPh illy - Event Programmer&Sponsorship Coordinator(October 2010-present) BetterBlocksPhilly engaged designers and the community in setting up a living/functioning exhibit of temporary Complete/Green Street concepts along three city blocks.The goal:to foster a safer,more pleasant environment for pedestrians,cyclists,and drivers alike, using innovative traffic calming measures—ultimately to help usher in implementation projects that will evolve our city's neighborhood design ideology. Responsibilities: - Maintaining the website/blog and facebook page, initiate community involvement and gather volunteers - Coordinate meetings with City Planning and Streets Deptrto gain proper street permits, insurances etc. - Research&Development of materials and structures for temporary traffic calming devices - Reaching out to local businesses for material donations,to co-promote the event and their businesses Brown & Keener Urban Design — Urban Design/Graphic Design (September 2009 - October 2011) Brown& Keener is an Urban Planning Finn in Philadelphia,working with small and large cities and towns, organizations, businesses and neighborhood groups to initiate Creative Placemaking and Urban Design solutions. Responsibilities: — Developing graphics and marketing materials,maintaining websites,creating maps&graphic overlays — Coordinating press releases and email blasts,community events,and managing social media efforts — Budgeting,scheduling and working as a liaison between our team and community organizations CERTIFICATE OF LIABILITY INSURANCE IS CEP.TWr-ATE 15 MUED AS A LUNTTrRGY$!r.,PMAT1ON ONILYMO CONFERS NO RICI'TS UPCN THE CERTIFICATE HOILDER.THIS QER.'Fr—''TE IX£&I'J':YT r. 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Lm TYPE OF INSURANCE NSRISErL �NpI POLICYNUMSER MMUD EFF MMIDDYW UNITS A GENERAL LMBILm' 39SBAVD7939 O8/07112 08107/13 EACH OCCURRENCE $ 1,000,000 X1 COMMERCIAL GENERAL LIABILITY $ DAMAGE TO RENTED 300,608 PREMISES(Ea opulence) CLAIMS-MAGE I JL(OCCUR MED.EXP(My one person) $ 10,000 PERSONAL S ADV INJURY $ 1,000,000 GENERAL AGGREGATE $ 2,000,000 GEN'L AGGREGATE LIMIT APPLIES PER: PRODUCTS-COMP/OP AGG $ 2,000,000 PRO, POLICY . 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E.L.DISEASE-POLICY LIMB $ DESCRIPTION OF OPERATIONS I LOCATIONS I VEHICLES(Attach ACORD 101,Additional Remarks Schedule,If more space Is required) RE:CONTRACT#CE91058-DIA ART AND CULTURE PROGRAM - CERTIFICATE HOLDER CANCELLATION VALERIE MCNAMARA,BUSINESS COORDINATOR SHOULD ANY OF THE ABOVE DESCRIBED POLICIES BE CANCELLED BEFORE ART AND CULTURE PROGRAM THE EXPIRATION DATE THEREOF, NOTICE WILL BE DELIVERED IN DENVER INTERNATIONAL AIRPORT ACCORDANCE WITH THE POLICY PROVISIONS. AIRPORT OFFICE BUILDING 1,7TH FLOOR I AUTHORUED RFPRES ATNF %1EN PENA BLVD I IFJA, y QJ Q/mj7�1�(X.(.(.(J- YER,CO 80249-6340 A entlon: Elaine A.Ciammetti ACORD 25(2010105) ©1988-2010 ACORD CORPORATION. All rights reserved. The ACORD name and logo are registered marks of ACORD ■ ❑ p ❑ Todd W. Bressi Urban Design 0 Place Planning 0 Public Art 1 3. Approach to Project our Philosophy A good planning process should be a time of reflection and exploration.A master plan offers a chance to step back,look at the big picture,understand accomplishments and challenges,imagine fresh starts and chart new directions. In our experience,this exploration focuses on three fundamental questions about placemaking,artmaking,and tools for success.The questions are basic,but the processes of getting at them are tailored specifically for each community: • How should public art relate to the spirit and the visual character of a place? How should public art relate to the way that people use or experience the city? • What are the most significant curatorial/creative opportunities,programmatic directions,or projects that could be pursued? • What support systems—financial,operational,administrative,oversight, partnerships,community participation—need to be in place for the program to move in these directions? These questions the three main tenets of our public art planning practice:placemak- ing,artmarking and effective management.Our work always begins with the place itself -landscape and cityscape;histories and futures;people,communities and traditions. We then look at how we can build on the interests and strengths of local artists and arts organizations,to create opportunities that are unique to the place and cultivate artistic ex- cellence.And we then look at the support systems(financial,operational,administrative, oversight,partnerships,community participation) necessary to support successful artistic outcomes. Because we come from outside Salem and outside the region,we come with few precon- ceived notions about the community,and can play the role of a catalyst.We can ask fresh Our public art plan process for and challenging questions,informed by our range of work in other cities and by our expe- Reston,Va.,included a community riences working with a wide spectrum of artists and curatorial organizations throughout forum on the topic of public art. the U.S. and abroad. We can also play the role of storytellers. In the end,we are charged with weaving a narra- tive from what we learn by exploring Salem,talking to the community,and learning about its plans for the future.In essence,we will be charged with weaving a narrative that city's staff,its public art advocates and the community at large can use to describe where the program is heading,what it is working on,and why its work is important.This narrative, coupled with thorough technical recommendations,will result in a plan that is visionary, pragmatic and resiliant,the foundation of public art projects that can serve Salem for the next ten years. Todd W. Bressi placedesign@verizon.net 13 P.O. Box 32,Narberth PA 19072 M 215-292-3642 Our Approach to This Project We would finalize our exact approach to Salem's public art master plan process in collabo- ration with the client team. Based on our review of your scope of work,this is our prelimi- nary assessment of how we would organize this six-month project. 'c We propose to organize this project into five phases,roughly conforming to the tasks out- lined in the RFP.They are Phase One Learning the Lay of the Land,Phase Two Outreach, Phase Three Synthesis and Draft Recommendations,Phase Four Draft Plan and Phase Five Final Plan.The consulting team would make one visit to Salem in each phase of work,and L " , would meet with the Working Group during each visit. We anticipate that the planning would occur over approximately a five-or six-month pro- A community workshop in cess(as d in the RF requested McKinney,Texas,included q Q),and that each phase would take approximately five weeks. kid-friendly activities Project Mobilization: Confirm Scope,Organization and Schedule (Upon Notice to Proceed) Assessment As soon as we receive confirmation that we are selected,we will organize a teleconference Participate in an initial kickoff with your project manager and the Working Group to confirm the goals,scope,organiza- meeting with city staff and working tion and schedule for the project.(We recommend a teleconference rather than a visit so group members that we can start as quickly as possible.) Specifically: Review existing materials and We will confirm your expectations,particularly the balance of effort between a citywide resources,including information plan and a plan that focuses on the Essex Street Pedestrian Mall(particularly coordina- and conceptual plans from Pedestrian Mall redesign effort,this tion with ongoing redesign plans) and in regard to the management and policy recom- may include discussion with the mendations that will be most useful to you. Pedestrian Mall urban design team. We will discuss the goals for community engagement,the range of stakeholders we will be working with,and outline the components of our outreach strategy that addresses your goals. • We will request necessary background documentation. • We will establish a process of ongoing communication between the planning team,the Working Group,and your project manager. • We will outline the process by which this plan will be reviewed and approved and where it will live in the city's hierarchy of planning documents. This work will lead to a revised work plan, timeline and set of deliverables, as well as a com- munity outreach strategy. Phase One,Learning the Lay of the Land (Weeks 1-5,Visit One) In the first phase of work,we will immerse ourselves into the context of the city.We will visit Salem to tour the city to understand its visual form and texture and basic patterns of public space and activity;study the Essex Street Pedestrian Mall;meet key stakehold- ers;and get to know the arts community. In our offices,we will analyze necessary plans, designs and budgets so that understand how Salem and the Essex Street Mall are being envisioned and what the priorities for public resources are.We will undertake telephone interviews to support our research. 0 This work will lead to a preliminary memo of values, opportunities and constraints. o ® 13 Phase Two,Outreach (Weeks 6 to 10,Visit Two) Although we call this a distinct phase,community and stakeholder outreach activities would occur throughout the planning process.We believe it is important to employ a variety of approaches,so people can participate in ways that are comfortable to them,and so we can address outreach needs that occur at different stages of the project.It will also be important to us to learn the rhythm and cycles of community activity and civic life,and to craft strategies that respond to them. We will develop our community outreach strategy in more detail during the project mobi- lization stage.However,our approach will likely include: During our early visits to Salem(fust and second visits),we will schedule interviews :i Fj . and roundtables.We would interview leaders of city agencies and civic organizations. We would organize roundtables for groups like Essex Street businesses,artists and arts/ cultural organizations in the city,the tourism industry,public agency project managers, preservation advocates,and so on.This allows us to have substantive and open-ended discussions that focus on the particular expertise of each group. Open house at the Quebec Terrace In the Outreach phase(our second visit),we will focus on larger events.An open house neighborhood in Maryland. would allow for presentations and informal discussions about the topic of public art.An ideation workshop that will allow the broader public to share their knowledge of and vi- sion for Salem,explore ideas with us,and have informal discussions about public art.We would develop the exact workshop format with you but we are firm believers that these activities should have hands-on activity of some sort.In this way the workshop can help tY Y P P to inspire conversation,provoke thought and enhance people's understanding of what public art can contribute to the city. • We are committed to incorporating embedded art projects in our planning processes, - when it makes sense for the project,and when time and funding allow.These projects can be another format for community engagement,and can test or demonstrate the emerging principles and priorities of the plan.In Salem,such a project might focus on the Essex Our process for the Reston Public Street Pedestrian Mall or some other priority location in the city,particularly on the third Art Plan included tours of the art or fourth trip when the weather is warmer. program in neighboring Arington. • Depending on the project's needs,we are able to launch acommunity-wide online sur- vey and establish a web site or social media site that supports the project. This work will be summarized in a record of public input, and will contribute to the find- ings memo described below. The record of public input will summarize each activity,such as roundtables, the online survey and any public meetings, with individual supporting memos. Phase Three: Synthesis and Draft Creative Recommendations (Weeks 11-15,Visit Three) Assessment About three months into the project,we will begin the process of synthesizing the in- Establish a set of values to guide formation we have gathered.In this phase we will present the following compenents of the city's public art program; our work: (a) our findings about Salem's place character and public identity,and(b) our discuss what the public hopes preliminary creative recommendations,including a vision and goals for a public art initia- to achieve through the introduction tive,and immediate,mid-term and long-term opportunities for public art commissions of public art throughout the city. ■ We would like,if time allows,to approach this iteratively.We believe that big picture con- 0 an sideration,such as vision and mission,set the stage for the identification and prioritization D Synthesis,Draft Recommendations of locations for public art,which in turn set the stage for administrative recommendations, Articulate initial interpretation of such as funding and selection processes.We have found our greatest success when these values to guide the city's public art are developed sequentially,because it allows client agencies to absorb and think through program each group of recommendations. Identify opportunities Given the compressed time frame of this project,we would propose to present our find- for incorporation ings and creative recommendations during our third visit to Salem.During this time,we would set up review sessions with the Working Group and other necessary internal and external stakeholders.This would also be an opportune time to set up and open house format for the general public to discuss the direction of the plan. This work will result in memos outlining`findings,""vision, mission and goals,"and opporunities and priorities."These memos will constitute the preliminary working draft of the public art master plan. Phase Four: Draft Plan and Administrative Recommendations (Weeks 16-20,Visit Four) Synthesis,Draft Recommendations During this phase,we will present a draft plan,including administrative recommendations. Provide draft policy These would cover project management(establishing project workplans,artist selection recommendations for the city's procedures),program management(conservation and maintenance,community engage- public art program(including art ment and communication),and resource recommendations(funding and staffing). and artist selection,and ongoing management and maintenance) At this stage we will also begin the internal reviews and public presentations necessary to Draft Master Plan review the draft plan.This would include briefings with the Working Group and other key stakeholders who support for plan approval or involvement in plan implementation will Prepare summary memorandum of be essential. work to date and recommendations Initial plan and recommendations to This work will result in a draft master plan. be presented at a public meeting , Phase Five: Final Plan and Administrative Recommendations (Weeks 21-25,Visit Five) Final Master Plan Based on feedback in Phase Four,we will make revisions to the master plan and format Final plan and recommendations it as a final report.We will return to Salem to present the plan for final approval to the to be presented at a public meeting Working Group and the approving entity. Work Products This work will result in the final approved plan and the final deliverables requested Twenty-five(25)color copies of the in the RFQ. final report and one(1)unbound and reproducible master hard copy including maps and graphics One(1)copy of the final report in digital format(Word or PDF) A reproducible copy of all maps, graphics,slide presentations, surveys,and photographs to the City.Presentation materials,such as display boards,slides,videos, etc.,shall be submitted to the City. ■ noa a ■ ® Todd W. Bressi Urban Design [3 Place Planning 0 Public Art E 4. Scope of Services Confirm Scope of Services We confirm that we propose to provide the full scope of services as requested by the city,for the fees outlined in our price proposal. Clarify Specific Issues The key issue to clarify is the relative effort devoted to a city-scale plan and to a plan for the Essex Sreet Pedestrian Mall.This will be clarified in the initial project discussions. Recommendations to Best Achieve City's Goals In our experience,a successful master planning process requires clear and consistent leadership on the client's behalf.Management of a plan like this easily requires a fifth of the work time of the project manager.If the plan is not resourced properly on the client's end,the process can run into unexpected delays and produce inferior results. Responsibilities for Each Task Bressi will be responsible for overall project management,covering all tasks outlined in the RFP and the proposed scope of work.He will have lead responsibility for developing recommendations regard- ing values,mission and goals;creative recommendations;and implementation recommendations.He will have lead responsibility on drafting the plan. Winkler will collaborate with Bressi on design and implementation of community engagement tools, and on developing the creative recommendations in the plan.Winkler will also be responsible for presentatation graphics and design of final plan document. Todd W. Bressi placedesign@verizon.net ® P.O. Box 32, Narberth PA 19072 i] 215-292-3642 ■ E Q Todd W. Bressi 0 S. Timeframe SALEM MASSACHUSETTS PUBLIC ART MASTER PLAN MONTH DEC JAN FEB MAR APR MAY Hours Hours WEEK 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 Bressl Winkler Trip [Trip 1] [Trip 2] [Trip 3] [Trip 4] [Trip 51 Task 1a Mobilization 0 4 2 initial kickoff meeting with city staff and Working Group Deliver revised workplan and community outreach plan Task Sb Learning the Lay of the Land 44 24 Review existing materials and resources Tour the city,especially the Essex Street Pedestrian Mall Meet key stakeholders,get to know the arts community Conduct interviews and roundtables as necessary Meet with Working Group Deliver preliminary memo of values,opportunities,constraints. Task 1c Outreach 56 40 Conduct interviews and roundtables as necessary [Ail Ideation workshop Meet with Working Group Deliver report on public outreach Task 2 Synthesis and Creative Recommendations Develop/deliver memo about place character and Identity Develop/deliver memo about vision/values, mission,goals _- 68 Develop/deliver memo about opportunities and priorities Meet with Working Group Task 3 Draft Plan and Technical Recommendations 34 8 Develop/deliver memo about project mgmt,program mgmt, resourcing Compile draft master plan Public presentation Meet with Working Group Task 4 Final Plan 28 32 Revise master plan and develop final pan ( j Public presentation C!Meet with Working Group 234 106 SALEM, MASSACHUSETTS RESPONSE TO REQUEST FOR PROPOSALS RFP#0-18 CONSULTING,SERVICES FOR PUBLIC ART MASTER PLAN 4 { y i >g e November 2,2012 5` x . � + �}' ,q Via'zrneah;p,LL °.O Bon�31617' StlLc, sU063156 'e1:3141bb4_902 email'arJ-1viacart nushlp.col Danielle McKnight City of Salem Office of the City Purchasing Agent 120 Washington Street, 3rd floor Salem,MA 01970 I November 3, 2012 Dear Ms. McKnight: We are pleased to submit our qualifications to develop a public art master plan for the City of Salem,Massachusetts.With offices in St. Louis and the New York area,we are ideally positioned to help you with your project. Since 1999,Via Partnership has worked with communities to develop and implement public art strategies.We have helped cities launch public art programs,and we have also assisted communities that have established public art programs that are in need of a fresh vision and administrative re-tooling.Sometimes our planning focuses on an entire city or county,other times we are asked to look at a specific geographic area(downtowns,trails)or work with a special purpose agency(transportation, utilities and environmental protection). Part of what sets us apart is that we have practical experience managing public art programs and commissions,giving us knowledge about how to create plans that are effective tools for the staff,committees and elected officials that are responsible for implementing them.The public art projects we have helped to commission range from small-scale temporary projects, including several projects for the City of Vancouver Olympic and Paralympic Public Art Program,to large-scale, iconic works for cities, stadiums and private developers. We understand your goals for the master planning process. We have will study your previous visioning processes as well as continue stakeholder engagement to identify locations for public art,we will produce a relevant curatorial vision for the public art program,provide criteria for art and artist selection,outline policies for ongoing maintenance, and provide guidance for incorporating art into projects throughout the city,with a specific focus on the redesign of the Pedestrian Mall. Because of our past planning experiences,we think we can help you develop a plan that is visionary,yet focused and implementable.We believe that public art and cultural programs can be a powerful tool in the social,cultural and economic development of communities,and are an essential ingredient in creating a vibrant public realm. We look forward to discussing our qualifications with you in more detail. Sincerely. Emily Blumenfeld Meridith McKinley New York St. Louis QUALIFICATIONS AND EXPERIENCE a. Names and Addresses of Firms Involved on the Project Via Partnership PO Box 23167 St. Louis, MO 63156 314-664-5902 314-721-8141(fax) and Y M•'J 199 Mamaroneck Road Scarsdale, NY 10583 314-603-8671 (2 76�-5-1 OZ art@viapartnership.com www.viagartnershio.com Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership P ' b. History,Size and Structure of Firm Via Partnership is a public art consulting practice which generates innovative master plans, provides strong project management and creative programming.Our approach emphasizes collaboration and imaginative community engagement, and is always grounded in strong policies and procedures. Emily Blumenfeld and Meridith McKinley started Via Partnership, LLP in 1999 and are the two sole principals in the firm.Together,they bring more than thirty years of experience working in the evolving field of public art and design. Via Partnership has developed public art plans for cities,large and small, across the U.S. and Canada.Via manages projects with a broad range of budgets from project inception through dedication. Our team is always focused our client's objectives,and we strive to maximize engagement from key stakeholders and creativity from artists.Via does not represent particular artists, allowing us to continuously seek the best talent for each particular project. During the course of our work,we have established strong relationships with leading artists and dealers, and have a strong sense of the ever-changing field of talent. In our experience,artists bring a valuable added dimension to the built environment when collaboratively engaged in the design process. In our most successful projects our clients have welcomed artists into the conversation as early as possible, broadening opportunities for compelling results and producing integrated solutions that impact the project well beyond the entry plaza. Our Services Since its founding,Via Partnership has been retained to design and implement a wide variety of public art-related projects utilizing their skills and capabilities that include: Master Planning • Develop mission,vision and aesthetic criteria • Involve community in the"imagining"process • Establish operating policies and procedures • Create an inventory of art opportunities • Outline staffing needs • Research and evaluate funding options Project Management • Research and guide artist selection processes • Develop and manage budgets and timelines • Assist with additional funding opportunities • Liaison between artist,client and community • Guide legal and financial contracts Program Support • Organize exhibitions • Arrange seminars and symposia and artist development workshops • Coordinate project documentation • Organize public meetings • Assist with media relations • Write and manage the production of collateral materials • Facilitate development of public art curricula Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership Selected Clients Master Planning • City of Clayton, MO • City of Frisco,TX • City of Allen,TX • City of Calgary,AB • City of San Jose,CA • City of Clearwater, FL • Pinellas County, FL • City of Vancouver, BC • Downtown San Jose,CA • Lambert-St. Louis International Airport, St. Louis, MO • Reston,VA • Kettler Properties,Arlington, VA • District of Columbia • City of Coral Gables, FL • City of Chesterfield, MO • Port of San Diego, CA • City of Southlake,TX • City of St. Louis, MO • Grand Center, Inc. Project Management • City of Clayton, MO • City of St. Louis, MO • City of Frisco,TX • Trailnet Inc.,St. Louis, MO • General Growth Properties, St. Louis, MO • Kansas City Municipal Arts Commission, Kansas City, MO • City of Calgary,AB • City of Vancouver, BC • Arlington County,Virginia • Monday Properties,Arlington,VA • EnCana Corporation,Calgary,AB • Brookfield Properties,Calgary,AB • District of Columbia • Regional Arts Commission,St. Louis, MO • Dominion Virginia Power,Arlington,VA • Grand Center, Inc.,St. Louis, MO Program Support • Pulitzer Foundation for the Arts • St. Louis Public Art Consortium • Trailnet Inc.,St. Louis, MO • Americans for the Arts,Washington, DC Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership c. Names of Principals of Firm Emily Blumenfeld Meridith McKinley d. Identification of Principal in Charge and Project Manager Emily Blumenfeld Via Partnership, LLP 199 Mamaroneck Road Scarsdale, NY 10583 314-603-8671 blumenfeld0via oartnership.com Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership e. Experience with Similar Projects f. Contact Information for References from Similar Projects Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership VIa FaGnz srlp,LLP ?.i-1.5 o 316i _uis.dAC n3'. .6 rel: 14-664 ;.Ct em ail:ar,12viacatnzrerip.Ccm BANKERS COURT DEVELOPMENT Brookfield Properties and GWL Bankers Court is a distinctively designed addition to the Bankers Hall complex.It offers premium office space in the heart of downtown Calgary.The base of the 15-storey building includes a palette of black pebbled granite,travertine and frameless,2-storey clear glazing. The tower is a simple expression of clear anodized aluminum framing,aluminum louvers and high performance clear glazing and glass spandrels. The roofline creates a unique signature on Calgary's skyline,defined by the required sun angles to Stephen's Avenue Mall. The exterior public space is defined by a strong interior/exterior relationship between the lobby and 9`h Avenue and by a major public art installation. Via worked with the project team of Brookfield, GWL and Cohos Evamy Architects to develop a public art project plan, organize and facilitate a selection jury and invite artists to submit qualifications for review.The artists included internationally-known sculptors and locally represented painters to exhibit a broad range of talent and style. Beverly Pepper has created a new iron piece,Nuovo Twist for the front entry and Bryan Ryley of Vernon, BC has created two 40' x 10'canvases for the entry arcade.Together,these works speak to the developer's commitment to the arts and support of Calgary's cultural goals. Reference: Ian Parker Senior Vice President, Asset Manager Brookfield Properties 335—8`"Avenue SW,Suite 1700 - { Calgary,AB T21)SC9 +1403 770-7072 iparl<erc@brockfieldprocerties.com a {a aa.,..ea��sm Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership TT '/G Partnership,LLP P 0,2o' _ioi y;, anis W-)5315o :.el:314-SF'. n9 emad:„rt�i impar.-ersFip.ccm e D.C.CREATESI PUBLIC ART MASTER PLAN D.C.Commission on the Arts and Humanities(DCCAH) The D.C.Creates! Public Art Master Plan,developed by Via,in collaboration with urban planner and designer Todd.W, Bressi,describes how artworks can be related to the ways in which the District envisions its future:weaving a new fabric of neighborhood anchors, building a green and sustainable city,and stimulating the Creative Capital. The plan outlines opportunities for projects that can achieve these goals,sets out criteria for prioritizing projects, and outlines strategies for the ongoing partnerships and operational changes that will catalyze this new generation of artworks. During the planning process,Via and Bressi worked extensively with the staff of DC Creates and a steering committee made up of representatives from the commission on the arts. In addition,the team hosted multiple planning sessions with specific constituent groups to get a better understanding of the types of projects and locations that will have the biggest impact—increasing,when possible,project budgets and scopes. The 5X5 Project, a new temporary public art initiative,among many other permanent artworks are projects resulting from the planning process conducted by Via and Bressi. Reference: Lionel Thomas Executive Director '" DC Commission on the Arts and Humanities 200 1(Eye)Street SE,Suite 1400 Washington, DC 20003 Phone:+1 202 724-5613 ' Fax:+1202 727-4135 4 { Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership i _ Via Partnership,LLP P.O.3o _3167 St.Lcuis M0 0350 -nail'.ar:@'[apartnership.ccm THE BOW PUBLIC ART PROJECTS EnCana Corporation The Bow,designed by the internationally recognized architectural firm Foster+Partners,will be the new headquarters for the EnCana Corporation and the first significant mixed-use development east of Centre Street in downtown Calgary. The two-building, 1.7 million square foot development is owned by H&R REIT and is set to regenerate this area of downtown Calgary.Construction on The Bow is scheduled for completion and occupancy in early 2013. Via was hired to work with The Bow project team to assist with artist selection and project management of two significant public art opportunities,with budgets totaling more than$1.6 million.The goal for the public artwork is to ensure that the public spaces of the Bow are exciting gathering places during the business day and bolster the cultural revival of the area after dark. Via designed an invitational selection process with a jury made up of project design team members,project stakeholders,local artists and internationally respected arts professionals.Via worked with the selected artist,Jaume Plensa to assist with project coordination,design development and review,and fabrication. Reference: Mary Ann Blackman, fi nJ 4 Ili " Lead, Project Relations;THE BOW _ +'. c Encana Corporation Ph: +1403645-4700 Fax: +1403 716-2071 `J - � marvann blackmanCEDencana.com i! J � W4 Rendering by Jaume Plensa of Wonderland, 30 meter bent wire sculpture. Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership V,a Partnership,LLP P.0 3o. B..iG; SrLouis,MOa"56 [eD"?,e. ' a,��eG2 email:ar�'r„artne�. .ipcam r e RESTON COMMUNITY PUBLIC ART MASTER PLAN Reston,VA 2008 In early 2008,the Initiative for Public Art Reston (IPAR)hired Via Partnership working with Todd W. Bressi to create a Public Art Master Plan for Reston,a community in Fairfax County,Va.The plan and planning process follow on a long tradition of internationally recognized planning excellence first initiated by Reston's founder Robert E.Simon. Reston's public art initiative is unique because it is sponsored by a coalition of civic organizations.Since Reston is not a municipality, and since no one civic entity in Reston has the resources to facilitate a community-wide public art initiative on its own,the community will depend on a set of partnerships to advance the vision of the Master Plan. The Master Plan,approved by IPAR in October,2008,and the boards of the six partner organizations,outlines important locations and artistic opportunities that should be priorities for the community's shared resources for public art.They are described generically as"working zones,”which allow partner organizations to identify specific projects that fit their own organizational needs.The recommendations were based on many community discussions about the kinds of artworks that are most appropriate for Reston,as well as an assessment of what locations and strategies would have the most visual impact. The plan also outlines clear roles for IPAR as the leader in developing resources and supporting art projects,roles for individual civic organizations in implementing public art projects,as well as the mechanisms that will foster collaboration among Reston's civic organizations.The Master Plan also creates mechanisms for private developers to partner with IPAR to realize Reston's public art vision —mechanisms that have since been implemented throughout Fairfax County. Reference: Joseph L Ritchey Chair Initiative for Public Art Reston � +1703 904 0700 ioe2prosoectiveinc com Y' r it ., �'• �f1 During the planning process,Bressi and McKinley held numerous roundtable discussions and facilitated a community charrette,pictured above. Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership 1/1a?artnarsnlp,LLP P.C.Si.,X5167 S:_LOuis 11053:50 .e'314h6d-5;02 =nod:ar'PTnapartnershiprcm �^us .S.nl tia X...u. ..a4$.'. VANCOUVER PUBLIC ART PROGRAM REVIEW,1010 MAPPING AND MARKING 2010,VANCOUVER OLYMPIC&PARALYMPIC PUBLIC ART PROGRAM City of Vancouver,British Columbia,Canada Vancouver's public art program has been considered to be one of the most successful in North America. But with the 2010 Winter Olympics around the corner,and increased public interest in attracting significant artworks to the Vancouver's major parks and civic spaces,the city sought a top to bottom review of the public art program as well as a new"design framework"for commissioning new artworks throughout the city. For this project,Via tackled the project in collaboration Todd W. Bressi and artist Valerie Otani. The team worked extensively with numerous constituencies—city departments,artists and curators,and community leaders—to understand the successes,challenges and expectations for the program, and to learn about how the public spaces of this rapidly growing city would be likely to transform in the future. Key recommendations included creating opportunities for artist-initiated projects,as well as incorporating public art thinking into ongoing public realm planning processes,and forging stronger,forward-looking links between the public art program and the city's engineering and facilities departments. As a result of the Public Art Review,the City decided to kick-off an artist-initiated public art commissioning process as part of the City's Olympic and Paralympic Public Art Program for the 2010 Winter Games. In 2008,the City hired Via to lead a team that included Vancouver-based curator Karen Henry and urban planner Joost Bakker of Hotson, Bakker, Boniface Hayden to develop and manage the program. Because of the event's global attention,artists were asked to respond to the broad concepts of mapping and marking,particularly as ways of encouraging exploration and involvement with the city,its inhabitants and the ecological,economic,and social processes that shape Vancouver. McKinley and Henry managed the commissioning of eight established and emerging Vancouver artists and artist teams (selected from a pool of over 120)who created both temporary and permanent works for Mapping and Marking 2010. Reference: Bryan Newson Public Art Program Manager City of Vancouver 453 W. 12th Avenue Vancouver B.C.VSY 1V4 +1604 8716002 bryan.newson @vancouver.ca a xt + ' .^+. 2 tiY r ••'d Pictured,from left to right:Kingsway Luminaires,David Mac William;Vancouver Vancouver Vancouver,Vanessa Kwan;S,Paul Wong; Monument/or East Vancouver,Ken Lum. Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership , Via Partmx,sh, ,_LF P CBrn 23161 St__Dais,aAO 6 1 5' cel 40- ;:C2' zmal: ;o,a.......hip.�om x F.{ U s. 4_ CITY OF CALGARY Utilities and Environmental Protection Department Via Partnership worked with the City of Calgary Public Art Program to develop a public art plan for their Utilities and Environmental Protection Department(UEP). Working in partnership with artist Cliff Garten and urban planner Mark Crisp from CH2MHill Canada Ltd.,the Via team proposed to focus the UEP public art dollars to develop a world-class collection of public art throughout the metropolitan area that highlights the unique relationship between Calgary and the Bow River watershed. This public art plan,completed in January 2007,is the first of its kind to focus on an ecological system as the nexus for commissioning public art and will potentially become a model for partnering with utilities departments in the commissioning of artwork that forwards the mission of bath the utilities department and the public art program. Projects resulting from the plan include Beverly Pepper's Sentinels at Ralph Klein Legacy Park,Lorna Jordan's Harvie Passage project,Brian Tolle's Landscape of Memory,and Sans Facon's projects in Laycock Park and Watershed+. In addition,the City's public art program hosted the first biennial summer temporary public art festival,Celebration of the Bow River 1010:Six Artists. One River. The UEP Public Art Plan was awarded a 2008 Consulting Engineer's of Alberta award. Reference: Heather Aitken Project Coordinator,Public Art Program Box 2100,Station M,Location#63 + Calgary,Alberta T2P 2M5 ! +1403 268-5270 Heather AitkenOCALGARYCA = x t YY I rr 1 I AM. ltt The Via team hosted an Imagine Art Here workshop for key civic and institutional members to discuss goals for artwork within the Bow River Watershed. Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership �E''e y s 3 'aaa 3y sad r y ry ar U3 sy � n d 1y41 t 1 $ vt 'Y.� 3i Cb a ss .T133 Y 33 S OjS a n NO' 360e1 4r � SYSi x .92 a e 233 : y a sExrFa' y3 :3s e ♦3 vt s- i � s 3 $ aa g ; 3 - '�.�� ° �.jH a i' `sL x+ t �' � H.�1] a � f .f 61 1-19 C 4� t n� S'S � La ao w as 3 � Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership h. Resumes for All Personnel Assigned to the Project Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership Via Partnership,LLP P.O.Boa 23167 SL Louis,iN10 63156 tel:311-663-5902 email:art.wiamrtnership.mm Lr rr dt MERIDITH MCKINLEY EXPERIENCE Via Partnership,LLP, St. Louis,Missouri [1999-present] Partner. Founder of Via Partnership, LLP,a leading consulting group in the United States that facilitates public art projects. Working with public agencies,developers,cultural organizations and community groups,Via plans,curates and produces public art throughout the United States and Canada. Featured projects: Clayton,Missouri[2001 •1007,2011 •present]Crafted an invitational process to select an artist for a large-scale commission to commemorate Clayton's centennial in 2013. Facilitated selection panel and organized artist site visits and concept presentations.Ongoing coordination with artist, landscape architect,City of Clayton and Clayton Century Foundation stakeholders and private funders. Facilitated the selection of an internationally recognized artist for a site-specific installation at the Center of Clayton and managed the project through completion. Arlington County, Virginia[2007•present]Developed scope for and facilitated selection of artists for three Arlington County public art projects through an invitational process. Drafted artist contracts and organized artist site visits and concept reviews.Currently working with two private developers to commission artworks through the County's private development policy and guiding an initiative with Dominion Virginia Power, in collaboration with Arlington County,to commission artist-designed enclosure for a power substation in pedestrian-oriented Clarendon. Lambert International Airport St. Louis,Missouri[2006 •present]Defined scope of art-glass screen public art project and facilitated the AAAC's selection of nine St. Louis-based artists to create two-dimensional, works of art that were translated into permanent,architectural art-glass. Researched and advised the selection of a glass fabricator for the project and negotiated their scope of work, including a method for the nine selected artists to effectively interface and collaborate with the fabricator in the interpretation of their work. Grand Center,Inc.,St. Louis, Missouri(2011 •1011]Developed a plan for temporary public art in Grand Center,St.Louis'arts and entertainment district. Led an invitational artist selection process with the abovementioned committee for a pilot temporary public art project installed in the spring of 2012. Vancouver, British Columbia/2006.2010]Worked with the City of Vancouver to commission eight artist- initiated, permanent and temporary public artworks, unveiled during the 2010 Olympic Games. Arts in Transit,St. Louis, Missouri [1997• 1999] Project Manager. Provided ongoing support for public art and transit-oriented development efforts at the Wellston, Delmar,and Forest Park MetroLink stations;including grant writing,coordinating artist involvement in community planning efforts, and developing outreach materials and reports. PRESENTATIONS The Power of PublicArt:Artists and the Environment, presentation with Todd W. Bressi for the Chez Nous Salon, Reston,Virginia,June 23,2010 Public Art Master Planning: Developing o Plan for Your Community,organized and presented with Todd W. Bressi,Americans for the Arts Knowledge Exchange,Arlington and Reston,Virginia,December 4-6, 2008 So You Think You Need o Public Art Master Plan,Americans for the Arts Annual Convention,organized and presented with Todd W. Bressi,Philadelphia, Pennsylvania,June 17,2008 Public Art on Trails,presentation with Emily Blumenfeld for the Missouri Trails Summit, Powder Valley Conservation Area,St.Louis, Missouri,October 26,2007 Public Art and the Environment,Lunch and Learn presentation with Emily Blumenfeld at the Contemporary Art Museum,St. Louis, Missouri,October 17, 2007 PUBLICATIONS Who Are We?Where Do We Sit?Reflections on Public Art on the NewAmericon Frontier,by Todd W. Bressi and Meridith McKinley, Public Art Review fall/winter 2008 Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership Via Partnership,LLP P.O.Eos 23167 St.Louis,Pd0 63156 tel:311-664-5902 email:art'aviapartnership.com EMILY A.BLUMENFELD Experience Via Partnership,LLP, New York,October[1999-present] Partner.Joint responsibility for the operation of Via Partnership, LLP,a consulting group which works with public agencies,developers and community groups to realize the potential for integrating the work of artists into a project.Via Partnership contributes to innovative public art master plans,develops project opportunities,works with community groups to identify the best qualified artists for each project, coordinates the work of artists from conception through completion and guides organizations in developing exciting public art programs that have a positive impact within communities. Blumenfeld will move back to the States in August,2012. Arts in Transit,St. Louis, Missouri, November[1993.1999] Community Art Manager. Commissioned temporary,site-specific installations establishing links within and to communities served by the Bi-State Development Agency.Wrote and administrated grants, organized symposia and artist selections. Presented MetroLines,a public poetry program on MetroLink and in buses.Wrote press and media releases for all Arts in Transit activities and presented public lectures and alignment tours. The Brooklyn Museum,Brooklyn, New York, [1989.1990] Researcher. Taught in the Egyptian and Native American collections to primary and secondary school children. Researched and prepared curriculum geared for different age levels and abilities along with gallery and studio activities.Studied hieroglyphics with museum epigrapher. Education Washington University,St. Louis, Missouri,Graduate School of Arts&Sciences. Masters of Arts in Art History and Archaeology:[May 19921 Masters thesis:"Botticelli's Birth of Venus and the Courtly Love Tradition in the Circle of Lorenzo de' Medici." Trinity College, Hartford,Connecticut Bachelor of Arts-Art History Major. [May 1989] Internship with the Connecticut Commission on the Arts. Affiliations Mildred Lane Kemper Art Museum,St. Louis, MO,Advisory Council[2004-2010] Center of Creative Arts,St. Louis, MO,Visual Arts Committee[2008-2010] Southbank International School,London, England,School Board [2011-2012] Presentations Transportation Research Board,Public Transportation as Community Art:MetroLink,St.Louis, Washington, DC, 1996 Art in Transit,led panel discussion at the Americans for the Arts Public Art Network conference, Santa Monica,2000 Can Public Art Save the Watershed?,co-presentation of the UEP Public Art Plan with co-author,Cliff Garten at the Americans for the Arts Conference,2007. Public Art and The Environment,Lunch and Learn presentation with Meridith McKinley at the Contemporary Museum,St.Louis,Missouri,October 17,2007 Public Art on Trails,presentation with Meridith McKinley for the Missouri Trails Summit, Powder Valley Conservation Area,October 26, 2007 Public Art and the Media, presentation with Judie Gilmore of the Mural Arts Program in Philadelphia for the Americans for the Arts Conference, Philadelphia, PA,June 17,2008 Public Art and Water Infrastructure:Design+Logic,panel member,ACSA/NCAA Joint Administrators Conference,St. Louis, MO, November 5,2009 Public Art Indoors,guest lecturer,St.John's, Newfoundland,October 20, 2012 Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership h. Listing of Any Actions Taken by Any Regulatory Agency or Litigation Involving the Firm or Its Employees or Agents with Respect to Any Work Performed. Not applicable i. Any applicable insurance Via currently holds a general liability policy from Zurich. Our coverage is as follows. General Aggregate $4,000,000 Each Occurrence $2,000,000 Products Complete $4,000,000 Medical Expense $10,000 Damages to Rented Premises $1,000,000 Auto Liability,Hired &Non-owned $1,000,000 Via will provide a certificate of general liability insurance if selected for the project. Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership APPROACH TO PROJECT AND PROPOSED SCOPE OF SERVICES Throughout world history, arts and culture has always been a key ingredient in developing the identity of any community.Today, it is clear that public art is an important aspect of creating a unique and vibrant public realm. Arts and cultural programming can also be a powerful tool for binding a community together,socially,culturally and in terms of creating a shared history and identity.And the creative sector is an increasingly important aspect of the economic development of a community, from promoting tourism to building a grassroots economy. The goals,objectives and scope of services outlined in the RFP document indicate a focused result:a Public Art Master Plan that focuses specifically on a set of values to guide the public art program, recommendations for specific public art opportunities on the Pedestrian Mall as well as throughout the City,and sound policies and procedures such as an artist selection process that includes criteria for selecting artists and artwork, and policies that will guide the stewardship of the public art collection. We look forward to working with you in the following way to achieve this project. Getting Started:Confirming the Scope,Schedule,Deliverables,Approvals,Communications We will confer with staff to confirm the parameters of the project — the key players and constituencies,the goals and objectives of the plan, the details of our approach,the deliverables and the schedule. We would commence this work by telephone upon notice to proceed, and,if necessary,make it the focus of our first visit. The initial Project management tasks would include: Finalize the scope of work and deliverables for the plan.To do this we will confirm the City's goals and desired outcomes for the plan, as well as key issues that the planning process should address.We will refine our research approaches, community engagement strategies and schedule of deliverables. Clarify lines of communication for project management and establish ongoing reporting requirements. In our experience,weekly or bi-weekly conference calls between our team and staff leadership allow for us to work out important issues or plan logistics for site visits. Clarify what the process will be for reviewing deliverables,and for reviewing and approving the final draft of the plan. Discuss the establishment of a small advisory committee,which will provide access to internal and external stakeholders and resources, and serve as sounding board for our findings and recommendations.An advisory committee can serve as a resource in several ways—a leadership team whose members provide entree into important constituencies,a sounding board that helps us "test the waters" for our findings and recommendations,and an advocacy group whose members promote the plan once it is completed. We will discuss with staff early on what approach to having an advisory committee would be best. Information Gathering: Establishing a Context for Salem's Public Art Program The proposed scope of work outlines several research tasks that will help set the context for Salem's public art program. We consider research to be a means to an end. Our research will be attentive to addressing key policy questions,and to the need to provide usable, relevant findings that will inform decisions about Salem's public art program. Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership We will ask the following questions in an effort to build our research. What have previous planning initiatives suggested in regards to public art in Salem? • How can the public art program support the Salem's urban design goals and other city planning initiatives? • What capital projects are being planned by the city that would provide potential opportunities for the incorporation of public art? Information Gathering:Community and Stakeholder Input Public participation is a core emphasis of our approach. It helps us understand the community's vision and to set priorities.We would work with the City of Salem to craft a community engagement Master Plan that is tailored to the situation at hand. Some techniques we use include: Stakeholder Meetings and Roundtables:Conversations with key stakeholders are always an important form of outreach.This includes the Salem Cultural Council, City Boards and Commissions,City staff and City residents. These meetings can be one-on-one, or they can be small "roundtables"that foster discussion on special topics with special constituencies—helping us gather information,and helping inform the public. Imagine Art Here: A public art visioning workshop attended by key stakeholders and community members from the groups listed about will inform the planning process by connecting with various constituencies in an impactful and interactive brainstorm. Participants will be asked to help identify sites for public art,creative goals for sites, and potential partnerships.Workshop attendees consider how art can support a vibrant community. Maps, drawing materials and images will be provided for participants to put together a visual presentation of their findings which they will share at the end of the workshop.The results of the workshop will inform recommendations for short, intermediate and long-term project recommendations. Development of Public Art Master Plan This is the most critical phase of the planning process —the point at which our consulting team synthesizes its findings, prepares recommendations and discusses them with City leadership and key stakeholders. Our team will review all of our research findings and community input to develop a recommended scenario for public art programming for Salem. Our report will include two sections—programmatic and administrative recommendations.These findings will serve as the basis for the final Public Art Master Plan. Draft Programmatic Recommendations During this phase our team synthesizes its findings, prepares programmatic recommendations and discusses them with City leadership,the advisory committee and key stakeholders. The draft program recommendations may include an outline of the following: A clearly articulated vision,goals and objectives for public art in Salem. Criteria for the evaluation of public art opportunities. • Criteria for site selection. Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership Recommendations for prioritized art commissions,including the identification of priority locations or types of places,goals for art at those locations,types or approaches to commissioning artwork for those locations, timeframe, and recommended budget. The appropriate level of funding to support the programmatic recommendations. Draft Administrative Recommendations In order to fully realize the programmatic recommendations the City will require a strong Public Art Policy. We will work with the City to develop, as requested in the scope of work, administrative recommendations. Deliverable: The administrative recommendations could include, but not be limited to: • Recommendations regarding current roles and responsibilities for City Council,and City staff related to the commissioning,acquisition and long-term stewardship and maintenance of public art. The project development process. • Funding options(public, private and developer). • How public art planning interfaces with City planning and capital project management. Full Draft and Final Master Plan A master plan is not only a product of research,analysis,synthesis and professional guidance, but also a tool for communication.As we finalize the outline and the content of the master plan, we will work with the project leadership to finalize the format of the materials that best suits the program's needs.The final plan will include,at a minimum,the following information embedded within the following chapters: I. Executive Summary II. Context for Public Art in Salem a. History b. Analysis of existing public art c. Population and demographics III. A Curatorial Vision for Public Art in Salem a. Vision b. Goals c. Objectives IV. Programmatic Recommendations a. Criteria for evaluation of public art opportunities and site selection b. Inventory of recommended public art opportunities(including description,goals and budget) c. Location maps d. Project prioritization e. Action plan for implementation V. Administrative Recommendations a. Artist Selection policy b. Project management c. Insurance and liability considerations VI. Appendices a. Imagine Art Here report(community preference) b. Definitions Salem,Massachusetts Public Art Master Plan Qualifications for Via Partnership Work Products • Twenty-five(25)color copies of the final report and one(1) unbound and reproducible master hard copy including maps and graphics • One(1) copy of the final report in digital format(Word or PDF). Salem,Massachusetts Public Art Master Plan Qualifications for via Partnership TIMEFRAME ESTIMATED 6 6 -6 E t O c c T w = w c c a t x v E a a E m m Phase Title > > w 1 Getting Started 30 5 15 2 Information Gathering: Establishing a Context for Salem's Public Art Program 20 5 25 3 Information Gathering:Community and Stakeholder Input 35 20 55 4 Development of Public Art Master Plan 45 20 65 5 Full Draft and Final Master Plan 25 10 35 70TAL.,u . ' „� 60 ESTIMATED TIMEFRAME Trips Week 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 1 Getting Started 1 2 3 4 5 Research/context 1 2 3 4 5 2 3 4 CommunityEngagement - 5 3 4 5 Programmatic Recommendations 1 2 4 5 Administrative Recommendations 1 2 ` Full Draft 1 3 � w.° 5 Final Plan 1 2 3 4 5 2 Weeks for trips are tentative based upon availability of consultant,client and meeting participants. Timeline is based upon timely review of interim deliverables. More time may be necessary,especially in the review of the full draft. ATTACHMENT CERTIFICATE OF NON-COLLUSION AND TAXATION ATTESTATION CLAUSE As required under Chapter 233 and 701 of the Massachusetts Acts and Resolves of 1983, all bidders must certify to the following, by signing this page in the space indicated below. 1. The undersigned certifies under penalties of perjury that this bid or proposal has been made and submitted in good faith and without collusion of fraud with any other person. As used in this certification, the word "person" shall mean any natural person, business, partnership, corporation, union committee, club, or other organization, unity or group or individuals. 2. "Pursuant to M.G.L. Ch 62C, sec. 49A, I certify under the penalties of perjury that 1, to my best knowledge and belief, have filed all state tax returns and paid all state taxes required under law". NAME OF BUSINESS: SOCIAL SECURITY # OR FEDERAL ID #: AUTHORIZED OFFICER (PRINT): ,AUTHORIZED SIGNATURE: 18 Draft Interview Questions � . Discuss your philosophy about community consultation, and how you will structure community participation during the study. What specific tools or techniques will you use to engage the public and elicit their input? w /n 2. Community input was discussed by all three candidates. They spoke of shareholders, imaging process, workshops, interviews — how would they handle a public meeting of say 100 + people. Can they describe a community public meeting that they have run? /DC7 3. Salem wants to establish a successful public art program, and the master plan is an important piece of this. However, the program will be more than just a plan. Please give us your thoughts on the linkages between planning and programming. 4\")4. We're interested in learning about a project that is comparable to the proposed Salem plan that you and members of your team worked on. Discuss challenges with that project and how you overcame them. a. What challenges do you anticipate in the Salem project, and how would you overcome them? b. What challenges do you anticipate the City will have in implementing the plan recommendations? . oil 5. What is your track record for completing comparable scopes of work on time and on budget? 6. Discuss the relationship between what you see happening in the art world today and U the needs and issues you have encountered in the community participation process. Are there challenges in bringing these two arenas together? 7. What is the key strength that your team brings to this study and how does it �L differentiate you from other firms? 8. Is there anything else we should know as we proceed with our selection process? For Todd Bressi: Noted you have done projects with Via, what was your role in these projects? For Via: Do you have any concerns about our timeline? You noted that more time may be necessary in your proposal. Noted you have done projects with Todd Bressi, what was your role in these projects? or Dave Hunt: -Request contact info for references Looking for more detail about community participation activities; though this should be covered in the above questions. t , ' a v-LCs� �Jr,e,vv-=Y 1 `tib i'"J-L"C TWO 1-061,,.,. V� - a` Sulo ,� t' �� IV, C. ok, +- w KK– 4� -x °' " ,,.,r� uw 6) S w4-fL tM �e L..�s�L w� r•.- -�'-O--�I-rur w/ f4-- o.rt y'rh) coma+. tS iw(-� R�'(1-KKa-n_-<-L. . M nu,l--�.�'^,II� C°`"^, GL°^"J ' ' c-P' R�Qc�I-�.c— s�'✓�� a �-c.vwi� ��"`"Jl .w g�v�-p— II y at SSS aQF F- ay . 1 cvrrz s �v ( m rxy N�+"ti ( est c H� 1� P'wa`w'"M.c---3 C& sOµ--+— 9oa es ukf Z) U- / r, 0 V""". I Y Y� 'Y`� ,,,� N'"�Y— ° C&A J,"t.'aW ��) 1-3 t> �4WK)s,n - colt 1- ter+ 1 5LL13 'fir �s y -C�-k & w+. 00.1 1--Nun vka SA's ka's S.�,l,,,, o s p l,a,�, 's S9'-+.W RJ.'.� l.P4l r^ r ~` Based on primary goals as outlined in RFP and the outcome = a master plan, how much experience have you had with such projects? Could we have a couple of examples? (other two candidates, their experience is spelled out, not so here). �y„�-fat C c o,.k-) - „d- Iti•�v- (.c,..,� la,.-l- �u-�-IL c2 e,a� I� cid--�-a-=3 I��+,.,r t - ('ln-�- P�- !-° - t,e o�r.^'J. � L k�� aLL o-•FS t—L�--�L,: p.Q,(I o�1-w.-' s GI J , ra•+� C e"9 r w.� [lt-o t-u .L�l^ G�f-S'S I-t ot-o 1�fn.un j,t �v�' C,'-�J> C� � Cr4 �) � a...l-� C�w Z s v� /` �IIl!�(� �l.,,r�,_— w�-Y� �I,i a.�-i,._.-ate� a-rF-�• c wr�.J�t.,�,,�,1 �I S C* c� �� ( ( - Ila f _ ^'"�.• � 1-.>el I, U 1-r9 , �-L•a-�-I^. 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P� w - I"w- �r `J caQ:ax1 (�r✓3 Qa- )n. w-�- I Ina �„ t�-�-•-1-i'".e 4�or rS �-�1�-. r•�,,tr. c� o-o-,� PIG.--n.nny l�a.,le--yro,,..-�. lel. Sd-ifs-rte- n`^- pocess, / -or- W/,Y\ CIW,,,-,.-rte� j -j(N Gm�., a+!- lim . P.v-�- t�-�3�-i,�`w� ,(�(�,r� � �o l� c,� . /�� ,IG✓wv.1�-e `�-�- � ��^'� �)ra a., l / -I- �s - I • S P°L LL. �� dots Mares 1" OS s��ew�D',, w� .s�c(rCC�-.�•7 0 - ! F { con/Es uf= ft2icc PIWOPALS Folz DA�v�f��F ATTACHMENT C FEE PROPOSAL FORM The undersigned herby submits a price proposal to perform the services outlined in the Request for Proposals for the Public Art Master Plan. Consultant/Firm: —(l-e— 7owv1 S L1-t. Address: ,gni}- The CONSULTANT hereby pledges to deliver the complete scope of services required, for the rates and charges shown below: Cost to complete the project shall not exceed: Task 1: — , 02,0 I Task 2: S'I X Z,o Task 3: 0 Task 4: S� y " TOTAL COST: ,3U� 6o a Consultant signature Date 19 ATTACHMENT C FEE PROPOSAL FORM The undersigned herby submits a price proposal to perform the services outlined in the Request for Proposals for the Public Art Master Plan. Consultant/Firm: �it"v&n4,74.A/n/ J�(� Address: /$ /Ol �Pdr�s'7>l gra d P Tam✓ �� Z?�j �I The CONSULTANT hereby pledges to deliver the complete scope of services required, for the rates and charges shown below: Cost to complete the project shall not exceed: Task 1: _0 U / Task 2: � ,� � Task 3: ��fl j Task 4: d PI TOTAL COST: _ U.3__ya r . r r' Consultant signature `7��•��-(�. Zr ;�Z ,, �--_nate t 19 i I UrbanRock Design RFP #018: Public Art Master Plan, Salem, MA p ;, }, . Salem Publ�Ie;Art Mamas �`�. `' r"a-. ' .x. Wor .P an F o Cart= y- *• ! >P k I 4@7M7onth fNq t.1 gid`` Month 3 .. ' £ Month 4 "'. $ MonthY5 Gatt e g ate a< i " �. ResewFieldwork,histonolresearch;map research ete cw, iir .�a't'; .: Ey�•` ny j S '` C6mdy; Intern 5z'yandy Si$ont " }.. Assessment Synthesis+Drah Rec JDrah.MasterPln Fnal Master Plan Pn _ .�,,.....�._......„.* .. ...,....»....... * . _...a......., . * .�.• ......_..t�,..*DTA Project Review Points ,,.,, x Z ,BUDGET_: Saleln.�POU Art MasterPlan a ITEM UNIT AMOUNT SUB=TOTAL Professional Fees Gathering Material $750/day 4 days $3,000 Research $750/day 10 days $7,500 Community Outreach 6 interviews $750/day 2 days $1,500 3 Focus Sessions $750/day 3 days $2,250 Art Plan Production 1 $750/day 15 days $11,250 .Travel $1200/trip $3,600• Community Meetings . ' $500 3 meetings $500 Printing + Binding , $16/ Copyl25 co I TOTAL N%` y'#-3. r, ;,.Fri uY_ ,. .A... ;#�,.aax ,� r:3• f SgO OOOr PROPOSED FEES The budget and payment schedule are based on the following professional fees: Principal Rate: $150/hr Drafting Rate: $75/hr Day Rate(as per budget and payment schedule Include: 2 hours of Principal time: $300 6 hours of Drafting time: $450 TOTAL DAY RATE: $750 27 ATTACHMENT C FEE PROPOSAL FORM The undersigned herby submits a price proposal to`perform the services outlined in the Request for Proposals for the Public Art Master Plan. Consultant/Firm: IGS �� , C C VD c� � Address: �O i�pX 2 �� coi S AA 0 The CONSULTANT hereby pledges to deliver the complete scope of services required, for the rates and charges shown below: Cost to complete the project shall not exceed: Task 1: , Task 2: Task 3: Task 4: TOTAL COST: Consultant signature Date 19 1 ATTACHMENT C FEE PROPOSAL FORM The undersigned herby submits a price proposal to perform the services outlined in the Request for Proposals for the Public Art Master Plan. Consultant/Firm: Address: �T �G', i , PL+ The CONSULTANT hereby pledges to deliver the complete scope of services required, for the rates and charges shown below: Cost to complete the project shall not exceed: Task 1: I 10D Task 2: Task 3: Ljy Task 4: S /00 TOTAL COST: L Consultant signature Date 19 xl DG HUNT 8 ASSOCIATES, LLC PUBLIC ART PROJECT MANAGEMENT PRICE PROPOSAL City of Salem, MA RFP#0-18:Consulting Services for Public Art Master Plan To be opened: Monday, November 5,2012 at 10:00 am Ii DG HUNT&ASSOCIATES, LLC PUBLIC ART PROJECT MANAGEMENT PRICE PROPOSAL City of Salem, MA RFP#C-18: Consulting Services for Public Art Master Plan Description of Costs The following is the overall proposed breakdown of costs associated with the project including consulting fees as lump sum amounts, and estimated miscellaneous expenses. For more information see the following section, "Detailed Cost Breakdown". Total Proposed Cost=$29,475 • Total Consulting Fees=$24,425 o DG Hunt&Associates Fees= $18,300 o Veronica Roberts Fees=$5,250 o Isenberg&Associates Fees=$875 • Total Travel Expenses=$4,750 • Total Printing and Reproduction Costs=$300 Not-To-Exceed Costs by Project Phase: Phase 1=$9,950 $8,200= Fees $1,750=Travel Phase 2=$8,750 $7,750= Fees $1,000=Travel Phase 3 =$5,300 $4,300= Fees $1,000=Travel Phase 4=$5,475 $4,175 = Fees $1,000=Travel $300= Printing and Reproduction DG HUNT& ASSOCIATES, LLC PUBLIC ART PROJECT MANAGEMENT PRICE PROPOSAL City of Salem, MA RFP#C-18: Consulting Services for Public Art Master Plan Detailed Cost Breakdown The following page contains an itemized breakdown of estimated costs. DG Hunt&Associates considers the proposed fees associated with each project phase to be a lump sum. However, man-hour estimates and typical on-call billable rates have been provided as supplemental information. Total cost for the project is not to exceed$29,475. Description v Hours 'p Rate -`-Cost: Totals FEES-Phase 1:Develop Outline,Goals,Core Concepts DG Mmt&Assoc.-Project Administration 36.00 $ 150.00 $ 5,400.00 D3 Hunt&Assoc.- Drafting and Revision 4.00 $ 75.00 $ 300.00 Isenberg&Assoc. 2.00 $ 125.00 $ 250.00 Veronica Roberts 15.00 $ 150.00 $ 2,250.00 Total $ 8,200.00 FEES-Phase 2:Initial Recommendations and Stakeholder Review DG Runt&Assoc.-Project Administration 36.00 $ 150.00 $ 5,400.00 DG Hunt&Assoc.- Drafting and Revision 4.00 $ 75.00 $ 300.00 Isenberg&Assoc. 2.00 $ 125.00 $ 250.00 Veronica Roberts 12.00 $ 150.00 $ 1,800.00 Total $ 7,750.00 FEES-Phase 3:Oran Master Plan and Stakeholder Review OG Hunt&Assoc.-Project Administration 8.00 $ 150.00 $ 1,200.00 OG Filum&Assoc.- Drafting and Revision 30.00 $ 75.00 $ 2,250.00 Isenberg&Assoc. 2.00 $ 125.00 $ 250.00 Veronica Roberts 4.00 $ 150.00 $ 600.00 Total $ 4,300.00 Fff5-Phase 4:Final Master Plan Revision and Presentation DG Runt&Assoc.-Project Administration 8.00 $ 150.00 $ 1,200.00 DG Hunt&Assoc.- Drafting and Revision 30.00 $ 75.00 $ 2,250.00 Isenberg&Assoc. 1.00 $ 125.00 $ 125.00 Veronica Roberts 4.00 $ 150.00 $ 600.00 Total $ 4,175.00 TRAVEL Hunt:4 trips LA to Salem®$1,000(1 trip per project phase) $ 4,000.00 Roberts:1 trip NYC to Salem @$750(Project phase 1) $ 750.00 Total - $ . 4,750.00 OTHER EXPENSES Pining,Reproduction,and Shipping $ 300.00 Total $ 300.00 Total Proposal Cost Total DG Hunt&Assoc.Be: 18,300.00 Total Isenberg&Assoc.Fees:.$ 875.00 Total Veronica Roberts Fees:.$ 5,250.00 ATTACHMENT C FEE PROPOSAL FORM The undersigned herby submits a price proposal to perform the services outlined in the Request for Proposals for the Public Art Master Plan. Consultant/Firm: DG Hunt & Associates, LLC Address: 1590-D Rosecrans Ave., #320, Manhattan Beach, CA, 90266 The CONSULTANT hereby pledges to deliver the complete scope of services required, for the rates and charges shown below: Cost to complete the project shall not exceed: Task 1 : $9,950 Task 2: $8,750 Task 3: $5,300 Task 4: $5.475 TOTAL COST: $29,475 November 1, 2012 Consultant signature Date 19 ATTACHMENT C FEE PROPOSAL FORM The undersigned herby submits a price proposal to perform the services outlined in the Request for Proposals for the Public Art Master Plan. Consultant/Firm: i14�o�.� , n� f?y \g4 Address: W\ The CONSULTANT hereby pledges to deliver the complete scope of services required, for the rates and charges shown below: Cost to complete the project shall not exceed: Task 1: a.>, r Task 2: Task 3: T7KAf4 nmsq� r> Task 4: fiaa,` TOTAL COST: ads �o Consultant signature Date 19 Salem Public Art Master Plan Salem,Massachusetts Mikyoung Kim,5 November 2012 Schematic Project Schedule Project Extent 7 Months PROJECT INTRODUCTION PROJECT SYNTHESIS DRAFT MASTER PLAN FINAL ART MASTER PLAN November(2012) February(2013) March(20131 April(2013) Project Interview Coordinate with Salem Art Collection Apply Guidelines to Ciys Public Art Program Prepare Summary of Work to Date Pre-Contract.Agreement,Terms and Schedule Coordinate with Pedestrian Mall Redesign Establish Typologies Refine Conceptual Approach Coordinate Schedule for Art Imlpementation December(2012) February(2013) March(2013) Coordinate Budget Strategy Meeting#1(Vick-oft) Meeting#3(Staff and Team Wofthop) Meeting#4(Project Development Update) Coordinate Artist Selection Criteria Meeting with City Staff&Working Group Members Present Infrastructure Opportunities Submit Draft Master Plan Recommendations (Discuss Opportunities with Local Constituents Present Public Space Opportunities April(20131 Compare and Analyze Precedent March(2013) Meeting#6(Review Master Plan) Meeting#5(Public Presentation) Review FINAL Master Plan January(2013) Present Draft Master Plan Recommendations Research and Collect Site Data May 2013 Study Site Opportunities and Constraints Meeting#7(Public Presentation) Develop Conceptual Guidelines and Approach Present FINAL Master Plan January(2013) May f20131 meeting#2(Community Workshop) Submit FINAL Master Plan Booklet Present Conceptual Guidelines and Approach TASK Project Introduction Synthesis Draft Art Master Plan Final Art Master Plan TIMELINE December 2012 January 2013 February 2013 March 2013 March 2013 April 2013 May 2013 May 2013 Meeting#1: Meeting#2: Meeting#3: Meeting#4: Meeting#5: Meeting#6: Meeting#7: Submit: MEETINGS Kick-off with Staff Introductory Public Art Opportunity DRAFT MP with DRAFT MP with MP Review with Final MP with Authorized MP and Team Community with Staff and Team Staff and Team Community Staff and Team Community Documentation STAFF TOTAL mikyoung 8 16 35 40 16 24 8 16 163 kim senior 4 8 30 24 24 24 8 24 146 associates associates 8 24 24 40 40 24 8 40 208 HOURSm a m m m M if--M 517 FEE $6,500 $7,000 $10,000 $6,500 1 a=D ►�il�!'[�1�1�[ClFA V 191 y[tl�l 119 Braintree Street Suite 103 Boston, Massachusetts 02134 p:617 782.9130 f:617 782.6504 myk@mikyoungkim.com www.mikyoungkim.com Michael L. Lash Michael L. Lash, LLC 28 Balcomb St. Salem, MA 01970 Mikesmuseumagmail.com Price Proposal A finalized Public Art Master Plan and recommendations for the City of Salem including maps, and photos diagramming the Plan, with emphasis on the Downtown area including Essex Street as well as the rest of the City in terms of beautification, City layout, tourism, consistency of respected artists and good examples of their artwork, and proposed increased art placement including urban gateways and visual corridors. Cost to the City of Salem- $28000.00 USD Expected expenses: Area advertising $1,000.00 Office supplies, paper, inks, designated laptop $1,500.00 Facility rental, various locations $2,000.00 Meeting preparation and refreshments $700.00 Printing and copying costs $1,000.00 Jessica @ $14.00hr x 25hrs week x 23 weeks $8,050.00 Mike Lash @$18hr x 30hrs week x 25 weeks* $13,550.00 Misc. expenses $200.00 Total $28,000.00 Mike's Museum, LLC would like to be paid in the following increments for this project: $8,000.00 Upon signing of the contract. $5,000.00 At the end of Phase Two as outlined in the non-priced proposal. $5,000.00 At the approval to present the draft of the plan to the public. $10,000.00 Upon completion of the final public Meeting. *My usual hourly rate is waived and a Not-for profit rate has been quoated. Daniel Sexton From: Meridith McKinley<mckinley@viapartnership.com> Sent: Friday, June 14, 2013 9:22 AM To: Daniel Sexton Cc: 'Emily Blumenfeld' Subject: executive summary Hi Dan. If you have time this morning, here is the executive summary draft. It isn't perfect yet, but getting close. Any comments would be appreciated. I took you advice and put the next steps here. We'd like to get the full draft to you by early afternoon, so any comments you send this morning can get incorporated. Please send them to Emily as she will be pulling the final together. Meridith EXECUTIVE SUMMARY In recognition of the value that public art can bring to the cultural,aesthetic and economic vitality of the community, tlyle ' City of Salem,working in partnership with the Salem Partnership and the Peabody Essex Museum successfully sought a grant from the National Endowment for the Arts to support the development of a Public Art Master Plan. Via Partnership was contracted to develop this master plan in collaboration with City staff and a Public Art Master Plan Working Group comprised of citizens of Salem.The resulting plan outlines recommendations for a basic administrative structure for Salem's Public Art Initiative and potential public art opportunities. A VISION FOR PUBLIC ART Public art in Salem should contribute to the community's identity as the cultural hub of the North Shore and a center for creativity;foster community pride, ownership and a sense of belonging, and contribute to the quality of Salem's built environment. PUBLIC ART THAT IS INFORMED BY AND ACCOUNTABLE TO THE COMMUNITY The Administrative Guidelines section of the Public Art Master Plan recommends a structure for the Public Art Initiative. The basic elements of this structure, summarized below and explained in detail in the plan, ensure that the Public Art Initiative is responsive to the greater Salem community, is respectful to artists, and results in the selection of artists and artwork that support the vision for the program. Elements of this structure include: • Creation of the Salem Public Art Initiative.The City of Salem should formally establish the Salem Public Art Initiative by ordinance.This ordinance should establish the Public Art Commission and outline the basic charge of the program. • Roles and Responsibilities.The Salem Public Art Initiative will be expending City funds on City property and thus should be established as a responsibility of the City. Final decisions regarding the Public Art Initiative should be approved by the Mayor and, when the art is located in the Urban Renewal Area, by the Salem Redevelopment Authority.To advise the Mayor and the SRA, a citizen Public Art Commission should be appointed. In addition, City staff resources should be deployed to ensure that the Public Art Initiative is implemented in a professional and fiscally responsible manner. • Sources and Uses of Funds.The City of Salem should enable the Public Art Initiative through a combination of funding sources. A Public Art Fund should be established to track all funds allocated and expended for public art. 1 • Planning Processes for Public Art.The Department of Planning and Community Development should work closely with other City departments and the Public Art Commission to set program goals for the coming year in the Public Art Work Plan. Each new public art project should be outlined in an Individual Project Plan. • Art Selection and Project Management Processes. When commissioning or purchasing artwork, a competitive artist selection process should be utilized.The Public Art Commission should be involved in reviewing and making recommendations regarding the selection of artists or artwork. For Partnership Projects, the Public Art Commission will review and approve the artist and artwork selections. Projects will be managed by the Department of Planning and Community Development, unless outsourced to a project partner. Public Art in Private Development.The City of Salem should work with developers to contribute to the Public Art Fund or incorporate artwork in their development project that supports the City's vision for public art. • Review Process for Gifts and Loans. From time to time, private individuals, foundations, corporations or other organizations may wish to give or loan the City of Salem a work of art for public display. While these gifts and loans can be a great way to enrich public spaces, it is important to consider carefully whether the gift or loan meets the City's vision for public art and ensure that the related costs and risks of the gift or loan are understood. • Collection Management.The City of Salem should adopt documentation practices and policies for the conservation and maintenance of artworks, and the process for de-accessioning or relocating artworks in the City's collection.The City will ensure that the Public Art Collection is properly maintained and preserved,that a periodic assessment of conservation needs is made, and that proper records regarding the works in the collection are kept.The Public Art Commission will review and make recommendations to City Council regarding the de-accession or relocation of works in the City's Collection, using a strict set of criteria. • Communication and Outreach.The City of Salem and the Salem Public Art Commission should work together to inform the community about its public art initiative, its new projects and to build audiences for public art through programming and ongoing communications. New public artworks are exciting and can open new discussions in a community.The message conveyed from the program can help to shape this dialogue and build support for more projects. PROJECTS AND PRIORITIES The Public Art Opportunities section of the Public Art Master Plan outlines a wealth of exciting, innovative and community-building public art projects. Some of these opportunities are related to proposed construction projects in the upcoming Capital Improvement Plan (CIP). Many others address existing places. A primary area of focus for public art should be the Essex Street Pedestrian Mall.Through the Essex Street Mall planning process, conducted in 2011-12, public art was identified as a key amenity to help activate and beautify the Mall's public spaces. Public art opportunities include involving an artist in the re-design of East India Square, considering the space a work of art in itself; commissioning a work to mark the entrance to the Mall at Washington Street and encourage people to travel down the Mall; and an annual series of curated, site-specific,temporary installations by local, regional or national artists. Beyond the Essex Street Pedestrian Mall, there are several opportunities for public art throughout downtown. Public art can bring vibrancy to key civic places throughout including gateways, squares and historic walks which help to tie different areas together. Public art can help anchor important public spaces such as Derby Square; welcome people to Salem at important gateways such as the MBTA station,the Blaney Street Pier and Terminal, and the Old Salem Jail Green; enhance the experience of walking along the Heritage Trail and Harbor Walk, including along the National Grid Substation Fence, and create immersive art experiences in Artist's Row. Public art can also play an anchoring and a community building role Citywide. Artists can work intensively in Salem's neighborhoods through Community Engaged Projects, creating works that reflect community aspirations; public art at 2 facilities such as the Community Life center can express community identity; art projects in Salem's Waterfront Parks can engage people with the shoreline; and artists can help strengthen the identity of Salem's growing Bike Trail system. PRIORITIZATION Due to the fact that there are so many opportunities, a set of criteria will assist the Department of Planning and Community Development, Public Art Commission and community partners in prioritizing project. • Support the vision. Priority should be given to projects that support one or more of the three areas of emphasis in the City's public art vision: culture, community and design. • Visual impact. Priority should be given to projects in highly visible locations that reach a broad and diverse audience. • Timing. Consideration should be given to projects that can be done in conjunction with a major capital building or infrastructure project so that an artist can integrate their work into the design process. • Funding and Staffing.There is an identified source of funding to support the project and adequate staffing resources to administer it. NEXT STEPS With the Public Art Master Plan complete,the real work of building the Public Art Initiative begins. To get started,the City should begin with these important tasks: 1. Adopt an Ordinance establishing the PublicArt Initiative and PublicArt Commission. The ordinance should be crafted in a manner consistent with the recommendations in this Master Plan. 2. Appoint the PublicArt Commission. Once the Ordinance has been adopted, the Mayor will appoint the Public Art Commission. The recommended composition, roles and responsibilities of the Commission can be found on page x. 3. Identify the lead staff. The Public Art Program will be most effective if there is a single City staff person who is responsible for managing and overseeing it. Responsibilities for this staff person can be found on page x. 4. Identify funding. The Master Plan outlines several funding strategies on page x.The City should pursue multiple avenues, including identifying an ongoing source of funds. Funding should be sought to support projects,as well as to ensure the proper maintenance and conservation of the collection and to support communications,outreach and project management. 5. Assess the existing collection. A first order of business should be to do a full assessment of the existing collection, including researching the history of all the art works, developing a thorough database and files on each work in the collection, and conducting a conservation assessment.The research, database and record keeping system could be a project for an intern. 6. Develop o first year PublicArt Work Plan. Once the Public Art Commission is in place, City staff and the PAC will develop the first Public Art Work Plan, outlined on page x, to determine which public art project(s)they would like to tackle first. 7. Initiate a first commission. Based on the Public Art Work Plan, begin the process to commission a permanent or temporary work of art to continue building momentum for the program. 8. Monitor project opportunities. The City staff responsible for public art should monitor upcoming capital projects and private development proposals that have been identified as possible candidates for public art projects to ensure that consideration of public art is being made during the planning and design of these facilities. Communication and outreach. The City should develop a website where people can learn about the Public Art Initiative, the Public Art Commission, works in the City's collection, and new and upcoming projects. 3 . ............................................. Meridith McKinley Via Partnership, LLP PO Box 23167 St. Louis, Missouri 63156 314-664-5902 314-324-3278 (cell) mckinley@viapartnership.com www.viapartnership.com I 4 s • Daniel Sexton From: Meridith McKinley<mckinley@viapartnership.com> Sent: Friday, June 14, 2013 9:23 AM To: Daniel Sexton Cc: 'Emily Blumenfeld' Subject: percent One more thing to look at, if you have time.Are these the options you were looking for. I'm worried that the content is getting squeezed in an effort to be concise. 1. Percent forArG Percent for art is a public art funding mechanism in which a set percent(generally.5 to 2 %) of capital project funds are set aside for the commissioning of public art. Of the 400+ public art programs in the US,a majority are funded through percent.These funding mechanisms are usually established by Ordinance, though percent can also be a tool that is adopted through practice. There are several options for how to adopt Percent for Art that the City should consider: A. Percent of the total capital budget.The City could consider including a line item in its capital budget for public art equivalent to one percent of the total capital budget.This would ensure that there is funding available for projects each year,and would provide the flexibility for the City to allocate public art funds to the places and projects that would,make the greatest impact in the City. B. Percent of capital building and infrastructure projects only.The City could consider requiring that a percent for art be set aside for all capital building and infrastructure projects.The public art funds would generally then be used for the capital project that generated the funding. In this structure,the percent would not be applied to items in the capital budget such as omit real estate acquisition,vehicles, departmental equipment(FFE), professional fees and underground infrastructure. It could also be structured to only apply to projects of a certain scale,such as projects with a total budget of greater than $500,000. C. Percent on case by case basis. For capital projects where the City is interested in incorporating public art, one percent of the project's construction cost could be set aside in the project budget as a line item for public art.This funding would be built in during the budgeting process for the capital project,so that it is an anticipated cost as the project moves through development.This strategy will ensure that public art is planned for and budgeted at the onset of the capital project,but would allow the City flexibility to identify which capital projects would include public art funding in their budget on a case by case basis. ............................................... 1 Mericlith McKinley Via Partnership, LLP PO Box 23167 St. Louis, Missouri 63156 314-664-5902 314-324-3278(cell) mckinley@viapartnership.com www.viapartnership.com r z CITY OF SALEM PUBLIC ART MASTER PLAN DRAFT RECOMMENDATIONS OVERVIEW AND DISCUSSION POINTS Programmatic Recommendations Vision Public art in Salem contributes to the community's identity as the cultural hub of the North Shore and a center for creativity; fosters community pride,ownership and a sense of belonging,and contributes to the quality of Salem's built environment. Guiding Principles • When the City,on its own or through a partnership,builds or make a significant renovation or addition to a community facility or park,public art should be a part of the project. • Public art should grow out of the richness of the Salem community, and,in most cases,be commissioned. • Public art projects should be commissioned through a transparent,competitive process that values both artistic expertise and community input. • Public art in Salem should be of high artistic quality and integrity. • Public art should be for everyone. Project Opportunities The Plan will include a description,goals, recommended artist selection approach and budget for the following projects: Essex Street Pedestrian Mall East India Square Essex Street Temporary Entrance to Mall at Washington Downtown Derby Square Artist's Row Harbor Walk Heritage Trail Salem Wharf MBTA Garage Old Salem Jail Site Citywide Waterfront Parks Community Engaged Projects Community Life Center Canal Street Fence/Bike Trails National Grid Substation Enclosure Near Term Projects Of the projects outlined above,the following would be of the highest priority: • East India Square—Partner with the PEM to select and hire a team to develop a conceptual design for the Square. • Essex Street Temporary—Initiate an RFP process to organizations to manage the first temporary exhibition series. • MBTA—Initiate a call to local artists to commission"temporary"artwork for the station/garage. • Salem Wharf—Initiate a national call to artists to commission a permanent artwork for the wharf. Project Implementation — Roles and Responsibilities Public Art Commission Comprised of seven members including a representative from the DRB, at least one visual artist,and at least three with a background in an,architecture, landscape architecture, urban planning,an or architectural history,or design. Roles: • Develops Annual Public An Work Plan. • Develops and approves Individual Project Plans and forwards to Mayor and SRA for approval. • Appoints ad-hoc Art Selection Panels. • Reviews and approves recommendations of Art Selection Panels and forwards to SRA for approval and Mayor for contract execution. • For proposed gifts and loans of artworks,conducts aesthetic review and recommends whether the City should accept or not accept the donation. • Reviews and makes recommendations regarding the de-accession or relocation of artwork from the City's public an collection. • Makes recommendations regarding proposed revisions to public art policies and procedures. • Serves as an advocate for public art in Salem. Art Selection Panels An ad hoc panel of the Public Art Commission that reviews artists'qualifications and artist concept proposals and makes recommendations to the regarding artist selection and design approval. Each project would have a unique Selection Panel.The majority of members should have a professional background in the visual arts(artist,arts administrator,curator, art historian).Other members can include stakeholders that have a close connection to the site(neighbors, users)or design professionals working on the project(if part of a larger capital project). Roles: • Reviews artist qualifications and selects finalists. • Reviews artist concepts/interviews artists and recommends final selection. • Reviews and recommends approval of artist concept. I Project Implementation — Step by Step for Commissioning New Public Art f Step Outcome Responsibilities 1. Individual Project A document outlining the • City staff drafts, in consultation with Public Art Plan location, budget, specific Commission(PAC). project goals,timeframe,and . Approved by the Mayor, and if applicable,the Salem artist selection method. Redevelopment Authority(SRA). 2. Artist Selection An artist is selected for the . City staff drafts and issue Request for Qualifications project. (open call or invitational). • Art Selection Panel reviews artist qualifications and recommend finalists. • City staff draft and issues Request for Proposals to finalists or sets up artist interviews. • An Selection Panel reviews artist concept proposals and recommends selection. • PAC and SRA review and approve recommendation. 3. Execute Artist Agreement between the • Prepared by City staff. Agreement artist(s)and the City outlining . Signed by Mayor. scope,fee,schedule and relevant terms and conditions. 4. Concept Design Approved concept design(if . City staff coordinates kickoff meeting and not already prepared through stakeholder input. proposal process). . Artist develops design. • An Selection Panel reviews and recommends approval. • PAC and SRA review and approve recommendation. 5. Final Design and Approved final design and . Artist prepares,or oversees the preparation of the Engineering engineering drawings. necessary drawings and documents. • City staff coordinates review by appropriate departments. • Significant changes from the approved concept design must be reviewed by the PAC and the City and approved in writing. 6. Fabrication of Complete fabrication of the • Artist fabricates or oversees fabrication of the Artwork artwork. artwork. • City staff receives periodic updates and milestone reviews,processes invoices. 7. Installation of Complete installation of the . Artist oversees installation of artwork. Artwork artwork. . Artist works with City to schedule and coordinate: 8. Dedication, Community celebration of . PAC and staff plan dedication, installs plaque. Documentation, artwork, documentation on file, . City staff receives documentation from artist. Closeout and all payments made. . City staff facilitates final acceptance of artwork. 0 Final payment made to artist. f Project Implementation— Step by Step for Requests for Proposals for Partnership Initiatives J Step Outcome Responsibilities 1. Individual Project A document outlining the . City staff drafts, in consultation with Public Art Plan location, budget,specific Commission(PAC). project goals,timeframe,and . Approved by the Mayor, and if applicable,the Salem artist selection method. Redevelopment Authority(SRA). 2. Partner Selection Partner(s)identified that will . City staff drafts and issues a Request for Proposals work with the City to curate, to organizations. produce, install and de-install . The Public Art Commission reviews proposals and the artwork. recommends selection of a partner. 3. Execute Partner Agreement between the lead . Prepared by City staff. Agreement partner and the City outlining . Signed by mayor. scope,fee,schedule and relevant terms and conditions. 4. Curate Exhibition Artist(s)selected and . Partner selects artists and has artists develop concept(s)developed and concept designs. approved. • Artists and concepts presented to Public Art Commission for approval. 5. Final Design and Approved final design and . Artist prepares,or oversees the preparation of the Engineering engineering drawings(if necessary drawings and documents. necessary). . City staff coordinates review by appropriate departments. • Significant changes from the approved concept design must be reviewed by the PAC and the City and approved in writing. 6. Fabricate and Install Complete artwork fabricated . Partner works with artist(s)to fabricate and install the Work and installed. work. • Partner works with the City to coordinate during fabrication. 7. Dedication, Community celebration of . Partner works with City to develop dedication and Documentation artwork and documentation on other community programs. file. • Partner documents work and publishes documentation to make the work publically accessible after de-installation (it temporary). 8. De-installation, Return of site to original . Partner ensures work is de-installed and site is Project Closeout condition(if temporary).All restored. payments made 0 City makes final payment to Partner. Funding Funding Goals • Fund the public an program at a level that allows for progress to be made on implementing the recommendations in the master plan and demonstrates the City's commitment. • Identify sources or methods of funding public an that does not impact the funds that City Departments were counting on to realize projects in the capital plan. • Look for sources that can be used flexibly,so that public an can be commissioned in the places where it will have the most impact. • Look for sources that can be used for both temporary and permanent work. • Look for sources that will support administration,education and collection management(including conservation and repair), in addition to new work. Funding Options 1. Percent for Art. Percent for art is a public art funding mechanism in which a set percent(generally.5 to 2%)of capital project funds are set aside for the commissioning of public art.Of the 400+public art programs in the US, a majority are funded through percent.These funding mechanisms are usually established by Ordinance. Salem's General Fund Capital Plan (FY 2012-Actual; FY2013 Dept Request) has$50,537,470 in capital project expenditures. Many of projects in the Capital Plan fall into the category of vehicles,departmental equipment,and planning and architectural services.A number of projects are building repair and restoration.There are two significant new construction projects in the Capital Plan:The Community Life Center and the Blaney Street Pier and Terminal. The benefits of percent for art are that they provide a guaranteed source of funds for public an and ensure that art is part of new City capital projects. Depending on how the policy is structured,cons could include: • The small number of projects that would be eligible for percent. • The possible lack of flexibility of funds. • Some larger-scale capital projects are incremental or multi-phased, making it difficult to plan for commission art until the end of the project,and limiting the ability to integrate the art. • Certain funding sources might now allow for funds to be used for an. • Funds may not be flexible for pooling or for use on temporary projects,and thus may only fund a piece of the plan. • Additional funding sources would still need to be sought for temporary projects,conservation and maintenance, and any related programming. 2. Annual Allocation. Some public agencies have avoided or moved away from percent for art in order to have a more flexible and stable source of funding for public an.The most simple way to do this is an annual allocation. An amount deemed appropriate to help forward the objectives of the plan would be identified and would be a part of the City's operating or capital budget. 3. Grants.The City can continue to seek grants to support its public art initiative.There are limited opportunities, and these grants are highly competitive. However,there may be one or two projects that lend themselves well to a major grant. 4. Local Fundraising. Salem has a strong culture of giving.The City may have success in raising funds through asks to individuals and businesses in Salem.To give the fundraising some focus,there could be an annual signature event that brings in sponsors as well as individual donations.The City could also look into creating a legacy funds that is specifically directed to support public art such as the Brown Fund and Henderson Fund in Boston. 5. Developer Contributions. Some communities have had success in supporting public art through new private development. Public art in private development programs can work in different ways. • All developers(generally in a specific part of the city,of a certain type of zoning,of a certain size,etc.)are required to provide public an in their development or make a contribution to a public art fund. • Developers can provide public art or contribute to a public art fund as part of a negotiated re-zoning or in exchange for a benefit they are receiving from the City(density,parking exemptions, etc.). • Developers who are responding to a City-issued RFP are requested to include public an as part of their development proposal. • Developers who are building an asset that will become City property(i.e.: a park or trail),are required to incorporate public art. The amount of funding could be based on a percentage of construction costs or a dollar per square foot.The total amount could be capped.The amount could be less if they contribute to a public an fund. 6. Leveraging Funding through Partnerships. Partnerships are an important part of the civic culture in Salem, and an essential tool for getting big projects done. Public art programs can effectively partner with cultural organizations, educational institutions and community organizations to bring needed resources and expertise to projects.These partnerships often form organically. However,some public art programs have had success in developing these partnerships through RFPs to enlist partners to help manage, host,and even help fund projects.This might be an effective strategy for temporary projects. :.�Qi Via Partnership,CLP P.O.Box 23-'C,.7 St.lAui,,N10 MK Rei:"">19 6 ;_�2 ett�a'i. ,rii:t§d�Ja209i'S�tip.cfln' §r e ,y aR Mi{ 'Me To: Dan Sexton, City of Salem From: Meridith McKinley and Emily Blumenfeld Re: Public Art Funding in Salem Date: April 25, 2013 The following outlines issues related to public art funding to assist in our discussion of the appropriate method to fund Salem's public art initiative. Funding Goals In considering the appropriate method to fund Salem's public art program, we recommend consideration of the following goals. • Fund the public art program at a level that allows for progress to be made on implementing the recommendations in the master plan and demonstrates the City's commitment. • Identify sources or methods of funding public art that does not impact the funds that City Departments were counting on to realize projects in the capital plan. • Look for sources that can be used flexibly, so that public art can be commissioned in the places where it will have the most impact. • Look for sources that can be used for both temporary and permanent work. • Look for sources that will support administration, education and collection management(including conservation and repair), in addition to new work. We will be providing,to assist with this analysis, an estimated budget for the projects recommended in the master plan.A draft of which will be available for discussion next week. Funding Options 1. Percent for art. Percent for art is a public art funding mechanism in which a set percent (generally .5 to 2 %) of capital project funds are set aside for the commissioning of public art.Of the 400+public art programs in the US, a majority are funded through percent.These funding mechanisms are usually established by Ordinance. In addition to the amount of the percent,there are different models for how public agencies have established their percent for art policies. Most places omit real estate acquisition, vehicles, departmental equipment (FFE), and professional fees from the percent calculation. Some omit underground infrastructure and/or roads and sidewalks. Some omit capital projects under a certain dollar amount. Due to restrictions generally placed by the sources of capital project funding (though sometime this is also done my Ordinance), most places that have percent for art must spend public art dollars on the capital project that generates the funding. Some can pool funds within a department. Others can pool the funds entirely and spend them on priority projects. Some omit road and utilities. There are generally limitations in place on whether or how much percent funding can be spent on administration. Percent funds generally cannot be used for routine maintenance, but in some cases can be used for conservation. Salem's General Fund Capital Plan (FY 2012-Actual; FY2013 Dept Request) has$50,537,470 in capital project expenditures. Many of projects in the Capital Plan fall into the category of either vehicles, departmental equipment and planning and architectural services. A number of projects are building repair and restoration.There are two significant new construction projects in the Capital Plan:The Community Life Center and the Blaney Street Pier and Terminal. The benefits of percent for art are that they provide a guaranteed source of funds for public art and ensure that art is part of new City capital projects. Depending on how the policy is structured, cons could include: • The small number of projects that would be eligible for percent. • The possible lack of flexibility of funds. • Some larger-scale capital projects are incremental or multi-phased, making it difficult to plan for commission art until the end of the project, and limiting the ability to integrate the art. • Certain funding sources might now allow for funds to be used for art. • Funds may not be flexible for pooling or for use on temporary projects, and thus may only fund a piece of the plan. • Additional funding sources would still need to be sought for temporary projects, conservation and maintenance, and any related programming. The attached spreadsheet shows an analysis of Salem's CIP,with rough categories that point out the amount of the CIP allocated to real estate acquisition, vehicles, equipment, professional fees and construction, and what one percent of the construction projects would yield. 2. Annual Allocation Some public agencies have avoided or moved away from percent for art in order to have a more flexible and reliably stable source of funding for public art.The most simple is an annual allocation. An amount deemed appropriate to help forward the objectives of the plan would be identified and 2 would be a part of the City's operating or capital budget. This is currently how Salem has budgeted for public art initiatives such as the electrical box painting and the temporary sculpture installations. Sometimes, creative, reliable (and previously un-tapped) sources have been found, such as using the rent off of cell tower leases. 3. Grants The City can continue to seek grants to support its public art initiative.There are limited national opportunities, and these grants are highly competitive. However,there may be one or two projects that lend themselves well to a major grant. Grant opportunities include: National Endowment for the Arts (NEA).The NEA accepts applications from nonprofit,tax-exempt 501(c)(3), U.S. organizations as well as units of state or local government. • NEA—Art Works.The goal of Art Works is to support the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and the strengthening of communities through the arts.Within these areas, innovative projects are strongly encouraged. Grants generally range from $10,000 to $100,000.There are generally two deadlines annually(the next deadline is August 8, 2013). In a review of recent Art Works recipients, public art projects generally have a strong statement of community impact and already have artists selected and a sense of the artistic approach for the project.The Salem Public Art Master Plan is funded through an Art Works grant. • NEA-Challenge America Fast Track.The goal of Challenge America is to support projects that extend the reach of the arts to underserved populations. There is one deadline per year (next deadline is May 23, 2013).These grants are for$10,000. Challenge America supports professionally directed public art projects. Projects must be visual arts only (such as murals, sculptures, or environmental art) that are developed through community engagement. Evidence of community involvement in the planning, design, or fabrication of the work must be apparent. • NEA-Our.Town. Our Town funds creative placemaking projects that contribute to the livability of communities and place the arts at their core. Grant amounts range from $25,000 to $200,000. There is one deadline a year.The FY13 deadline has passed. Art Place. ArtPlace is a collaboration of top national foundations, the National Endowment for the Arts and various federal agencies to accelerate creative placemaking across the U.S. Participating foundations include Bloomberg Philanthropies,The Ford Foundation,The James Irvine Foundation, 3 The John S. and James L. Knight Foundation,The Kresge Foundation, The McKnight Foundation,The Andrew W. Mellon Foundation, The Rockefeller Foundation, Rasmuson Foundation, The Robina Foundation and an anonymous donor.ArtPlace periodically awards grants to organizations doing groundbreaking work in creative placemaking. Other Foundations. While there are no other major national foundations making grants at this time that have public art as one of their primary focus areas, there are several that have art and culture, placemaking and/or community development as a focus, of which public art can be a subset. Many of these foundations also have a geographic focus area. We recommend a more focused look at private and corporate foundations that have these interest areas and that have the Salem area in their geographic focus. (Kresge Foundation, Ford Foundation) 4. Local Fundraising Salem has a strong culture of giving.The City may have success in raising funds through asks to individuals and businesses in Salem.To give the fundraising some focus,there could be the opportunity to raise funds through an annual signature event that brings in sponsors as well as individual donations. In addition, in Boston,the City has established legacy funds that are specifically directed to support public art (Brown Fund and Henderson Fund). 5. Developer Contributions Some communities have had success in supporting public art through new private development. Public art in private development programs can work in different ways. • All developers(generally in a specific part of the city, of a certain type of zoning, of a certain size, etc.) are required to provide public art in their development or make a contribution to a public art fund. • Developers can provide public art or contribute to a public art fund as part of a negotiated re- zoning or in exchange for a benefit they are receiving from the City (density, parking exemptions, etc.). • Developers who are responding to a City-issued RFP are requested to include public art as part of their development proposal. • Developers who are building an asset that will become City property (i.e.: a park or trail), are required to incorporate public art. The amount of funding could be based on a percentage of construction costs or a dollar per square foot.The total amount could be capped.The amount could be less if they contribute to a public art fund. 4 Out of concern for providing additional obstacles or costs to developers, many communities that have public art initiatives have not imposed requirements on developers. Some of these actively encourage developers and have produced tools to assist them in the process.These tools range from comprehensive brochures, in-kind consulting from City arts-staff, and rosters of artists that can be used to assist in the selection of artists. 6. Leveraging Funding through Partnerships Partnerships seem to be an important part of the civic culture in Salem, and an essential tool for getting big projects done. Public art programs can effectively partner with cultural organizations; educational institutions and community organizations to bring needed resources and expertise to projects.These partnerships often form organically. However, some public art programs have had success in developing these partnerships through RFPs to enlist partners to help manage, host, and even help fund projects.This might be an effective strategy for temporary or other projects. s FY 2012 Actual FY 2013 Request FY 14-16 Est Data Processing/Information Tech Vehicles and Equipment 125,000 180,000 120,000 Public Property Professional Fees (audit) 54,217 Vehicles and Equipment - - - Maintenance/Repair/Renovations 2,210,000 30,000 103,000 Environmental Remediation - 1,850,000 - Parking Department Professional Fees 225,000 - Vehicles and Equipment - - 100,000 Maintenance/Repair/Renovations 40,000 50,000 960,000 Police Vehicles and Equipment 220,000 429,000 480,000 Maintenance/Repair/Renovations - - 200,000 Fire Vehicles and Equipment 50,000 1,100,000 730,000 Maintenance/Repair/Renovations - - 75,000 Harbormaster Vehicles and Equipment 45,000 270,000 - Electrical Vehicles and Equipment 50,000 100,000 35,000 Maintenance/Repair/Renovations - 25,000 100,000 Public Services Vehicles and Equipment 65,000 80,000 885,000 Engineering- Roads, Sidewalks& Crosswalks Construction* 2,091,920 874,160 3,315,000 Vehicles and Equipment - 30,000 - Engineering-Seawalls Constuction - - 200,000 Maintenance/Repair/Renovations 125,000 - Parks, Recreation & Community Service Vehicles and Equipment 35,000 - 30,000 Maintenance/Repair/Renovations 712,797 340,000 500,000 Council on Aging Construction 4,994,136 Vehicles and Equipment - 550,000 Planning Real Estate 1,700,000 - - Construction 4,500,000 1,000,000 15,000,000 Schools Vehicles and Equipment 38,111,036 443,500 553,250 Maintenance/Repair/Renovations 177,500 - 1,482,000 TOTAL 50,537,470 6,801,660 30,412,386 Total Construction 6,591,920 1,874,160 23,509,136 1%of Construction 65,919 18,742 235,091 CITY OF SALEM PUBLIC ART MASTER PLAN WORKING GROUP MEETING TUESDAY, APRIL 30, 2013 at 10 AM Meeting Agenda I. Summary of Workshop and Interviews II. Review Analysis and Opportunities III. Discussion of Potential Priorities and Goals IV. Discussion of Possible Administrative and Implementation Processes V. Project Extension SALEM PUBLIC ART MASTER PLAN OUTLINE—DRAFT 4/25/13 I. Executive Summary II. A Vision for Salem's Public Art Program a. Vision b. Principles III. Programmatic Recommendations a. Public Art Opportunities i. Criteria for Evaluating Opportunities ii. Near-Term Projects iii. Mid-Term Projects iv. Long-Term Projects b. Communications and Outreach IV. Administrative Guidelines a. Sources and Uses of Funds i. Public Art Fund ii. Funding Sources iii. Uses of Funds b. Roles and Responsibilities I. Public Art Commission ii. Art Selection Panels iii. Mayor iv. SRA/DRB v. City Staff vi. Artist c. Planning Processes for Public Art i. Annual Plan and Budget ii. Individual Project Plan iii. Coordinating with other City Planning Processes d. Project Development Process for Public Art i. Commissioning Process ii. Acquisition Process iii. Partnership Projects(Collaborator RFP Process) iv. Artist Initiated Projects e. Review Process for Gifts and Loans i. Proposal Requirements ii. Review Process f. Review Criteria i. Aesthetic Review Criteria ii. Technical Review Criteria g. Collection Management i. Documentation of the Collection ii. Conservation and Maintenance of the Collection iii. De-accession and Relocation of Artwork in the Collection Appendices A. Planning Process and Acknowledgements B. Table of Projects C. Map D. Definitions E. Imagine Art Here documentation Imagine Art Here! Salem Workshop Documentation Background On Tuesday March 12, the City of Salem, in conjunction with project partners the Salem Partnership and the Peabody Essex Museum, hosted a public art workshop titled Imagine Art Here!The workshop was facilitated by Via Partnership, the public art consulting group that is leading the development of the public art master plan. This community engagement workshop was designed to: • Provide information about the public art master planning process. • Provide participants with a better understanding of the breadth and depth of public art, a familiarity with different types of public art, and exposure to projects commissioned in other communities. • Generate discussion on public art values, vision and goals. • Generate discussion and ideas regarding potential public art approaches, sites, objectives, project types, partnerships and additional insights. More than 50 participants took part in the two hour workshop and shared their views on how public art can have an impact in Salem. Workshop Format The workshop began with an overview of the planning process by Mayor Driscoll and a slideshow presented by consultants Meridith McKinley and Emily Blumenfeld of Via Partnership. The slideshow presented different types of public art and how artists are working in Salem and in other communities. The framework for the presentation of images was a proposed vision, or big-picture view of what Salem's public art can contribute to the community. Examples of artworks in other communities demonstrated how these places had commissioned or acquired artwork that supported a similar vision or goals. Workshop participants were asked to provide feedback on this vision. As the slideshow concluded, participants were asked to work at the tables where they were seated to discuss potential sites for public art and why these projects would be important. Each table was led by a facilitator who was asked to guide the discussion. The tables were supplied with a downtown map and a city-wide map, public art cards, and markers to draw, describe and notate thoughts. Participants were asked to think broadly and not concern themselves with limits regarding cost. Group Discussions An important aspect of the workshop format was to give each participant an opportunity to share their thoughts and ideas.The break-out discussions were designed to elicit individual thoughts as to develop some consensus around the types of projects the City might prioritize. The analysis of these discussions can help to shape the creation of projects with an understanding of community need. fAN:NMI Share words that you would like to use to describe Salem five years from now. Each participant was asked to share a word to describe how they would like to be able to describe Salem five years from now. These are the responses: • Humor . Spirituality • Integrated (2) • Cohesiveness •. Arrived • Lighting • Quality •. Vibrant(3) • Color • Waterfronts • Integrity • Challenge • Sophisticated • Astonishing • Push • Dynamic (3) • Sparkling • Be unafraid • Inclusive • Magical • Progressive • Reflective • Magnet • Intelligent • Responsive . Amazing • Port of Culture • Trail blazing • Attractive • Returnable • Eclectic • Edgy • Original • Risky • Memorable • Creative • Accessible • Inspired What are the top 3 projects or sites to plan for over the next three to five years and why? The projects listed in this section are those that came up in discussion in each group. Group discussions were animated and fruitful. Each group elected one or two participants to share the highlights of their brainstorming with the workshop participants at-large. Projects to pursue now • Artist's Row o Bring color to Artists' Row with a creative lighting project that runs across it. o Artists' Row—gateway, annual art event, light, creative pathways o Artists' Row can be the arts hub. Respect local artists and community past and present o Artists' row is a bridge to LOLA and Derby Street • MBTAGarage o things that move, colorful lighting o kinetic, illuminated, infrastructure o Transform overpass to train station o MBTAgarage—illuminatinglightbox, kinetic o Inside of MBTA tunnel (light installation) • Essex Street Pedestrian Mall o illuminate, discover o East India Square—lighting projects and a place for performance o Garage enhancement (disguise the garage) o Essex Street- Map with water feature (spray) = map reflects idea of history as a world mecca = water reflects maritime history o Creatively light pedestrian mall o Gathering space; consumer—places that have multi-purpose art exhibitions— draw people but also "work" o Fountains on Essex o Place museum quality light boxes on garage o Enhance gathering spaces on Essex Street Pedestrian Mall Projects to pursue in five years • Wharf o Salem welcome o eastern influences, maritime history o Extend Harborwalk towards Friendship o Harborwalk: water, light, change • Harborwalk o• creative benches to encourage staying, lighting in canals, fire water,Tide Flowers o light; tide change; projection o illumination and discovery Other sites, themes and issues discussed The ideas listed below were noted by individual groups. • Sites mentioned many times (more description below) o MBTA Station o Artists' Row o Essex Street Pedestrian Mall o Wharf o Harborwalk • Highlight existing sites as strengths/improvement areas o Lafayette, Canal Street—fence along MBTA track o Bridge Street Connector • Historic Salem o Perpetuate Salem being home of National Guard—mural or sculpture o Old Derby—Illuminate pathway area o Triangle in front of old jail should be home to a Monopoly monument o Enhance existing art—focus on street as a historical corridor. —Choate, Robert Conant, 16th Regiment Rock (lighting) o Film on buildings = city's heritage o Historic Sculpture Pathway—CongersStreet o Historic Area Selected o Blaney Street/Artist House • Salem Today o Lafayette Park and St. Joseph's—hub; lynch pin—how to clarify and create a new "vision" of an area. o Freestanding lamp posts—build on periods o Improve views to Old Town Hall o Salem Common—think about vistas and viewsheds to art, beautify o Labyrinth in Salem Common o Continue Lady of Salem project o Improve and beautify infrastructure o Highlight hidden gems o Senior Center—benches and sculpture o Replace arch on Salem Common that is falling apart o Harborwalk—projects in water, along pathways, incorporate light, include benches o Power Plant is an opportunity for something o Derby Square—performance space o "(public art should)tell us who we are and tell us who we are becoming." o "Salem was the original cultural hub of the United States. New work should be as original now as it was then." • Navigation o Gateways to City—entries and exits o Highlight vistas with lighting o All over City—Monopoly pieces o One project with multiple site that links sites to places to each other o Sidewalk navigation o Red line (or a different color for different areas) needs to go to more places o Walkway Illuminating; magical, transportative, LED trips—cheap—smaller budget • Artist Selection and Art Production o What do we want the art "to do" relative to where we want it to be. o Bring artists in, but also hear local artists o Involve schools and students o Public art from the community and outside Exit Questionnaire In an effort to be certain that everyone had the opportunity to participate as well as share additional thoughts, participants were invited to fill out a questionnaire at the end of the workshop. This form asked four questions: 1. What are you looking forward to most about public art in Salem? 2. What was the most exciting idea you heard this evening? 3. What image of a public art project from tonight's presentation will stay with you? 4. Please share any questions, suggestions or concerns you might have about public art in Salem that weren't addressed at tonight's workshop. The direct responses to these questions are in Appendix A. Through discussion and from response to the questionnaire, it seems as though participants are very interested in the community engagement potential of public art in Salem.The theme of community building came up consistently as well as discussions around issues of design, especially relating to Artists' Row and the new MBTA station. A strong interest in revealing Salem's "long forgotten past" as well as creating opportunities for artists to comment on contemporary Salem revealed that the Cultural aspect of the vision statement is strong. Questions 2 elicited many responses about the excitement around the creativity that public art can bring to Salem. Many participants commented on the ability to transform Artists' Row through public art and many commented about creative lighting drawing people to new areas in the City. Question 3 revealed that there is a strong interest in projects that bring light to Salem both in populated places and into places that typically go unnoticed. On the questionnaire,the project of lampshades strung across the alley was mentioned multiple times along with the Tide Flowers by Stacy Levy. Not mentioned in the questionnaire, but revealed on the preference board is the interest in strong threshold markers such as the project by Jorge Pardo. Water and light seemed to dominate in regards to project interest. s x w Beforelight,Syn oikia Pittaki Jorge Pardo, Penelope Stacy Levy, Tide Flowers i x tj t. u �:§ a t ,- " i Yy f•+ A � t � ru ,t h i a t �{ r c Mot', i yyt k Ef~ 2 i y 4 a' & x e t'. Question 4 brought up many concerns about local v. national, historic v. contemporary and process.This question also revealed that there is a significant group interested in reviving Artist Row. Also, some temporary public art projects are already underway, i.e. light boxes and Lady of Salem, and there is concern about how and whether these programs will be able to continue once the program is in place. Prepared by Via Partnerhsip, LLP Appendix A:Exit Questionnaire Responses 1. What are you looking forward to most about public art in Salem? • Great art to complement our great history and architecture • Beautifying and revealing places that might otherwise be missed. Creating welcoming entryways. Building community and bringing diverse groups together through creative opportunities. • Big, bold, complementary, memorable to other art • A way to transform the City • A connected correlation between the vibrant, growing artist community in Salem and it's representation through art accessible to all. • Very strongly looking forward to recognition of the militia "where it all began" National Guard of the USA • Participating in the process • Evoking curiosity—putting Salem on map as an art destination • Excitement through color and illumination of large areas • Creating whimsy, inspiration and friendlier places that make people think. • Something to share with visitors • Connecting neighborhoods • Creating memorable sense of place • Making Salem look better • Harbor Walk in Salem • That I get to be part of it • Change=toward including community voice in decisions • Expanded arts opportunities • Just the excitement and engagement it will create with populations that are perhaps not engaged or working/interacting together currently. • I walk a lot and I choose my route based on scenery—the idea that many more routes may be opened. • Linking the community together • Bringing people in via water • Connecting community, bringing people out and to different pieces. • Shared experiences • Vibrancy • Experiencing it • Improve open space • Incorporating LOCAL artists and provide appropriate monies. • I would like to see Salem make more of an effort to connect with and celebrate parts of its largely forgotten history, particularly its central role in the abolitionist movement, from the 1830s to the Civil War.There is not one memorial to any of Salem's groundbreaking women such as Charlotte Forten (first black graduate of Salem University, and first black teacher of white students in Salem (and probably MA), Sarah Parker Remond, Caroline Plummer, Caroline Emerton). • To embrace our history—SEAPORT, industry, mills, diversity. We are fortunate to be coastal. Let's use it! • Art that will beautify, interact, and enhance the community as a whole. • A well-needed boost of enthusiasm—city looking a bit run down. • Historical references, involving the community, utilizing our resources and geography • Enjoyment • Beautification, thought provoking, innovations • Seeing the prospects for it to continually grow • To share with tourists what Salem is about. • Bring artists together to create synergy • It creates a cultural hub—like the first great day in spring—it draws people out to engage • A collaborative and transparent effort between community, artists and supporting organizations. 2. What was the most exciting idea you heard this evening? • People talking about art • Thematic connections about locations,types of projects and community building that are really consistent around priority and opportunity • Lights. Moving Artists' Row to a designated art center • Connectivity: connecting visitors to the city and different neighborhoods to each other. • Artists' Row coming to life • The enthusiasm of each group to improve Artists' Row • Gathering spaces/lighting dark areas • Gateways and illumination • Illuminating the new MBTA depot • Illuminating Salem • Harbor Walk—illuminate the tide • Artworks that make evident wind, light, tidal patterns • Artist Row and light • Revitalize Artists' Row • Being included through the process • Transforming Artists' Row • September film fest on the Common and more use of local artists • The idea of a living wall along Canal Street, in the fence • The idea of activating and beautifying with interactive art. Especially Harborwalk. • Harbor Walk, water art • Canal Street living wall • Harbor Walk • Canal Street and Harbor Walk • Artists' Row • Developing the Harbor Walk with water and light. Doing some public interactive art on the Canal Street Fence. • Enhance presence of fountains. Idea of Fire Water at Harbor Walk—Lafayette Park— immigration sculpture • An immediate action =Artists' Row gets an urgent facelift. • Lighting boxes with framed art. Lighting lanterns over alley way. • The possibility of having public art with the city environment • Real expertise, real interest in our ideas. • Reforming Artists' Row and having it involve the community. • Fix what we already have • Rather than deciding on a location and format for artists to fill the void, please create a line of communication to draw the artists that might have their own ideas that are completely different than those discussed and so it should be more collaborative. • One person suggested to have a meeting with just artists so that they can express their ideas. • Integrating history and contemporary times and culture • Investing in Artists' Row to help it expand • Environmental installations...solar driven...water driven...using light/shadow to create tension and dynamism. Sound/wave installations were not included in the presentation, but could be considered. 3. What image of a public art project from tonight's presentation will stay with you? • Awesome art of MBTA • Big red ball and any that has light, draw me to the art place, etc. • User interface sculptures • Mural—National Guard, or statue • Solar lighting-Ross Lovegrove Solar Trees • The High Tide/Low Tide Flowers.The Illuminated sculptures and text on the sidewalk • Illumination on waterway • Lamps strung across alleys.. Lighted tin cutouts • Lampshade corridor • Patrick Dougherty • Lampshade corridor • Lights • 1 really liked how you framed it • New ideas for Artists' Row • The colorful blooming flowers in the water with the tide—what a great gathering picnic to watch them bloom each day= community. Also, the three hearts (jim Dine) = iconic and an image that people will want to photograph and post for others to see and encourage visits. And finally, the images that used light to create meaning and texture. • Progressive art, simple, trying to avoid kitsch memorials like Bewitched. • Tree in Water • Lighting installations and fountains • Interactive water fountain • Lighting • 1 liked the solar energy sculpture • Commuter Station—interesting ride experience. • Lighting=use of pedestrian walkway well lighted and colorful • Murals on "ugly" buildings • Art that brings people to different neighborhoods and highlights, enhances the community. • MBTA art and graphics • That at the entrance of Salem, wharf and MBTA,there will be art to let people know they've arrived. • Works that incorporate light and water • Something that will make people say "Wow" • Text that reaches across the street in banners • New image:A future in Salem where there is actual investment in art/culture in keeping with Salem as original source of culture • Person sitting on a rock in a rivulet floor map. 4. Please share any questions, suggestions or concerns you might have about public art in Salem that weren't addressed at tonight's workshop. • I think the best approach will be to hold competitions to pick art pieces—not assignments. • When do we start? • Art should speak for itself—people should have an opinion one way or another, but it should also enhance a sense of place, community, culture—art should have something to say. • I was wondering how the Steering Committee was formed. Also I am hoping to participate in more forums like this. • I'm already involved in the Lady of Salem Project. Would love to see more support in the form of sponsors and committee members. • Give it thought. Create something that makes sense in this location. • What is the process of engagement with artists?What is the decision making process • Where is the Performance Art Center? • Ole Boy network) • Less paper work and an openness to risky work • It is important to really bring together the various communities with the city.To find connections and commonalities. • Use competitions in some cases to raise the level of quality and sophistication. Not so much interested in murals—would like to see 3D work. I teach at an art school and would love to put a project back to students. • It was limited, directed by thinking of sites already, rather than concepts. • We have a great literary history and present—incorporate words too. • How will Salem become an artist destination?At a recent CEANS meeting in Gloucester they promoted Gloucester as the only artist destination north of Boston. • Avoid just our BIG CORPORATE IMAGE. Lots of variety/cross culture, etc. • Community art by and for and from the community. Interactive art that brings the community together. • Any priority to local artists? • Making public spaces easily accessible for local artists. Less difficult to get permission to execute an idea. • Public safety:The arts should be diverse and inclusive to represent the diversity in Salem. • What happens to small volunteer run projects like the Lady of Salem that have been growing organically in town? • My concern is that our community and artists will not be included in a dialog regarding the future of public art in Salem. Appendix B, Workshop Participants A broad range of people attended and participated in the Imagine Art Here workshop on March 12, 2013 at the Salem Five Community Room.The dots on the map below indicate where participants live. yrt Y� 4 t- Participants: Martha Almuy Ellen Hardy Patti Roka Sara Ashodian Sandy Heaphy Julie Rose Bradley Backer Susannah Horwitz Nancy Santana Dinah Cardin Shelby Hypes J.D. Scrimageour Matthew Caruso Deborah Kako Daniel Sexton Jason Cruz Paulette Langone Helen Sides Brian Donnelly Mike Lash Trevor Smith Lynn Duncan Lisa Lyons Larry Spang Amanda Dunham Dann Maurno Sarah Thomas Sara Fiore Frank Mayo Flora Ton That Scott Froeschl Gavin McAuliffe Whitney Van Dyke Karen Gahegan Bob Mitnick Chip Van Dyke David Allan George Mandy Mitnick Caitlyn Williams Carol Gorevitz Jeanne Pare Joy Winkler Robert Goss-Kennedy David Pelletier Patricia Zaido Sue Grillo Laura Potter Mary Ellen Halliwell Ken Reker CITY OF SALEM PUBLIC ART MASTER PLAN WORKING GROUP MEETING TUESDAY,June 18, 2013 at 9:30 AM Meeting Agenda I. Summary of Public Art Envisioned Public Meeting II. Review and Discuss the Draft Plan III. Next Steps COMMISSIONING PROCESS In most cases,the Salem Public Art Initiative will commission works of art for permanent or temporary installation.When commissioning,the City is hiring an artist to create a unique, new work of art.The selected artist is given a project brief that usually includes a site (or ideas around siting),a set of goals,a budget and a timeline.The artist develops a concept design that is responsive to the brief.Once approved,the artist is responsible for the final design, fabrication and installation of the artwork. 1. INDIVIDUAL PROJECT PLAN 4}nA The first step for a public art project is to define the general parameters of the project in an Individual Project Plan,as described in the section"Planning Processes for Public Art: Individual Project Plan". �yx t� 2. ARTIST SELECTION " { Each artist selection process should be uniquely designed to match the conditions of the project. However, the process should follow the basic procedures shown below. Review Artist Qualifications Staff collects artist qualifications through an Open Competition or Limited Competition RFQ(see Appendix X for methods of soliciting artists). ' Staff presents artist qualifications to the Public Art Commission or their designafed Art Selection Panel. Panel chooses one of the following: g3 a. Selection of 3-5 finalists to submit a proposal 44" i b. Selection of 3-5 finalists to interview C. Selection of a single artist'based upoo,their qualifications ' d. Revise and re-issue theRRFQ to get different artists -".",, 4 � Review of Artist Proposals or litteiviews Ms Finalists are invited to prepare a proposal or to interview with the Public Art Commission or their designated Art Selection Panel " Panel recommends one of the following to the City,and if applicable,to the SRA: a. Selection'oto ne of the finalist proposal's b. Selection of bneof the artists based on the interview c. Asking one or more of the artists to revise and re-submit their proposals d. Not selecting one of the artists or proposals and going back to review qualifications Preparation of Contract and Presentation to Mayor Once the final artist is approved by the Public Art Commission,staff will prepare a contract. The contract should be presented to the Mayor for approval. a. If the artist is selected based upon a proposal,the contract should be for the final design,engineering, fabrication and installation of the artwork. b. If the artist is selected based upon an interview,the first phase of the contract should be for the concept design and the second phase should be for the above-listed tasks. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 20 COMMISSIONING PROCESS—STEP BY STEP Step Outcome Responsibilities 1. Individual Project A document outlining the • City staff drafts,in consultation with Public Art Planlocation,budget,specific Commission(PAC). project goals,timeframe, • Approved by the Mayor,and if applicable,the and artist selection Salem Redevelopment Authority(SRA). method. 2. Artist Selection An artist is selected for the • City staff drafts and issue Request for project Qualifications(open call or invitational). • PAC reviews artist qualifications and recommend finalists. • City staffdraft and issues Request for Proposals to finalists or sets up artist Interviews. • PAC reviews artist concept proposals and A" recommends selection to -, If applicable,SRA reviews"and approves qt w' , "=recommendation. 3. Execute Artist Agreement between the • "Prepared by City staff. Agreement artist(s)and the City. • Signed by Mayor. outlining scope,fee,;, ' schedule and relev'ant'' terms and conditions,: 4. Concept Design Approved concept design ,City staff coordinates kickoff meeting and (if not already prepared`n, stakeholder input. through"p'roposal process). Artistdevelops design. M,a • PAC reviews and recommends approval. a a, .If applicable,SRA reviews and approves recommendation. S. Final Design and Approved final design and,-,,,'. Artist prepares,or oversees the preparation of Engineering engineering drawings the necessary drawings and documents. •'. f.. City staff coordinates review by appropriate departments. • Significant changes from the approved concept I' design must be reviewed by the PAC and the w� City and approved in writing. 6. Fabrication of Complete fabrication of the • Artist fabricates or oversees fabrication of the Artwork artwork. artwork. • City staff receives periodic updates and milestone reviews,processes invoices. 7. Installation of Complete installation of the oversees installation of artwork. Artwork artwork • Artist works with City to schedule and coordinate. 8. Dedication, Community celebration of • PAC and staff plan dedication,installs plaque. Documentation, artwork,documentation on City staff receives documentation from artist. Closeout file,and all payments made. City staff facilitates final acceptance of artwork. • Final pavment made to artist. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 23 .1 ACQUISITION PROCESS—STEP BY STEP Step Outcome Responsibilities 1. Individual Project A document outlining the • City staff drafts,in consultation with Public Art Plan location,budget,specific Commission(PAC). project goals,timeframe, . Approved by the Mayor,and if applicable,the and artist selection Salem Redevelopment Authority(SRA). method. 2. Artwork Selection An artist is selected for the a City staff contacts artists and/or galleries for project. submissions • PAC revlews'submis'sions and recommends selection 3. Agreement of Sale Agreement between the • Prepared by City staff. seller and the City. . Signed bMa or:„'; 4. Installation of Complete installation of the . Artist oversees installation of artwork. Artwork artwork. * £ Artls'tworks with City to schedule and coordinate. 5. Dedication, Community celebration of PAC and-staff plan dedication,Installs plaque. Documentation artwork,documentation on . tk Documentation of acquisition on file with City. file,and all payments made. ”""V r 4 b.' f S SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 25 PARTNERSHIP PROCESS—STEP BY STEP Ste Outcome Responsibilities 1. Individual Project A document outlining the • City staff drafts,in consultation with Public Art Plan location,budget,specific Commission(PAC). project goals,timeframe, • Approved by the Mayor,and if applicable,the and artist selection Salem Redevelopment Authority(SRA). method. 2. Partner Selection Partners identified that O City staff drafts and issues a Request for will work with the City to Proposals to organizations. curate,produce,install and • The Public,Arf Commission reviews proposals de-install the artwork and recommends selection of a partner. 3. Execute Partner Agreement between the • Prepared by CI staff. Agreement lead partner and the City • Signed by mayor: outlining scope,fee, schedule and relevant terms and conditions. K;. 4. Curate Exhibition Artist(s) selected and Partner selects artists and h@s`artists develop concept(s)developed and ,concept designs. "' approved. °Artists and concepts presented to Public Art Commission forapproval. 5. Final Design and Approved final design and • Artist prepares,or oversees the preparation of Engineering engineering drawings(if the necessary drawings and documents. necessary). .;rCity staff coordinates review by appropriate & ,departments. • Significant changes from the approved concept F : design must be reviewed by the PAC and the Ci and a roved in writin . 6. Fabricate and Cplet ome artwork ". ,f Partner works with artist(s)to fabricate and Install Work fabricated and installed install the work. :mac �• '`'t '-• Partner works with the City to coordinate fabrication. 7. Dedication err Community celebration of Partner works with City to develop dedication Documentation artwork and and other community programs. documentation on file. Partner documents work and publishes documentation to make the work publically accessible after de-installation it tem orar . 8. De-installation , , Return of site to original Partner ensures work is de-installed and site is Project Closeout ` ' ,condition(if temporary). restored. All,payments made Ciy makes final payment to Partner. r SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 28 4 NVy,fx& CITY OF SALEM PUBLIC ART MtiASTER PLAN 3 DRAFT w,rih3P6W°� X Presented by Via Partnership, LLP Xvrmv June 14, 2013 h ti, j "OU l yF �;G Ss� x�f �d Q s ai �� al lr,. Iv•ly• 1. ART WORKS Peabody Essex Museum iArAKTrL4ZF an gw sell making history TABLE OF CONTENTS 1. Executive Summary 2. Introduction 3. Administrative Guidelines a. Creation of the Salem Public Art Initiative b. Roles and Responsibilities c. Sources and Uses of Funds , d. Planning Processes for Public Art * r ° e. Art Selection and Project Management Processes` f. Public Art in Private Development g. Review Process for Gifts and Loans _ h. Collection Management 3 i. Communications and Outreach z , 4. Public Art Opportunities Nn' a. Essex Street Pedestrian Mall WE "€, b. Downtowns c. Citywide Appendices iv t& N, 1 A. Planning Pro e s and Acknowledgements a B. Definitions4. V C. Grant Opportunities " 4 D. Solicitation'Methbdsfor Artist Selection E (7,Criteria for Selects nand ReviewSIV n s r, „ # F. Salem's Public Art Collection G. [mag,ime Art Here Documentation * , NON., 40 SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 1 EXECUTIVE SUMMARY In recognition of the value that public art can bring to the cultural,aesthetic and economic vitality of the community,the City of Salem,working in partnership with the Salem Partnership and the Peabody Essex Museum successfully sought a grant from the National Endowment for the Arts to support the development of a Public Art Master Plan. Via Partnership was contracted to develop this master plan in collaborat n,with City staff and a Public Art Master Plan Working Group comprised of citizens of Salem./The r §ulting plan outlines recommendations for a basic administrative structure for Salem s Publ.ic Art Initiative and potential .._ public art opportunities. A VISION FOR PUBLIC ART Public art in Salem should contribute to the communiWIdentity as the cultural hub;of the North Shore and a center for creativity, foster community,pride,ownership and a sense ofbeldnging,and contribute to the quality of Salem's built environment. I i A PUBLIC ART INITIATIVE THAT IS INFORMED BY AND ACCOUNTABLE TO THE COMMUNITY The Administrative Guidelines section of the Public Art Master Planrecommends a structure for the Public Art Initiative.The basic elements of his structure,summarized,below and explained in detail in the plan,ensure that the Public Art Initiative.is responnsi:to,the greater Salem community,is respectful to artists,and results h;the selection of artists and artwork that support the vision for the program.Elements of this structure include ?k • Creation of the Salem,Public AftInitiative The City of Salem should formally establish the Salem Public Art Initiative by ordtn na ce This ordinance should establish the Public Art Commission and outline thebasic charge of the program. • Roles and Resp onslbihties.The Salem Public Art Initiative will be expending City funds on City property and thus should be established as a responsibility of the City.Final decisions regarding the Public Art Initiative should be approved by the Mayor and,when the art is located in the Urban Renewal Areaby the Salem Redevelopment Authority.To advise the Mayor and - b11 the SRA,a citizen!;Public Art Commission should be appointed.In addition,City staff resources ;"11\ r should be deployed to ensure that the Public Art Initiative is implemented in a professional and Ie « fiscally responsible manner. • Sources and Uses of Funds.The City of Salem should enable the Public Art Initiative through a combination of funding sources.A Public Art Fund should be established to track all funds allocated and expended for public art. • Planning Processes for Public Art The Department of Planning and Community Development should work closely with other City departments and the Public Art Commission to set program SALEM PUBLIC ART MASTER PLAN DRAFT—FOR REVIEW ONLY 2 goals for the coming year in the Public Art Work Plan. Each new public art project should be outlined in an Individual Project Plan. • Art Selection and Project Management Processes. When commissioning or purchasing artwork,a competitive artist selection process should be utilized.The Public Art Commission should be involved in reviewing and making recommendations regarding the selection of artists or artwork. For Partnership Projects,the Public Art Commission will review and approve the artist and artwork selections.Projects will be managed by the Department of Planning and Community Development,unless outsourced to a project partner. • Public Art in Private Development The City of Salem shouldv6A with developers to contribute to the Public Art Fund or incorporate artwork inaheir development project that supports the City's vision for public art. �x • Review Process for Gifts and Loans. From time to time,private individuals,foundations, ol corporations or other organizations may wish to give or loan the City of Salem?a work of art for ce i public display.While these gifts and loans can be'a,gseat way t&enrich public spaces, tis important to consider carefully whether the gift or loan meets the'City's vision for public art and ensure that the related costs and risks of the gift or to are understood. • Collection Management The City of Salem should adopt documentation practices and policies r 'mom for the conservation and maintenance o=f��, nd artworks athe procc esss for de-accessioning or relocating artworks in the City's collection The City will ensure that the Public Art Collection is properly maintained and preserved,that a peri t c assessor t of conservation needs is made, and that proper records regarding the or in the collection are kept.The Public Art Commission wilt"review and makesrecommendations to Ci ry Council regarding the de-accession a is i, N or relocation of works m the City'sCollection,using a strict set of criteria. • Communicahoif and Outreach.The Citybf Salem and the Salem Public Art Commission should _AV,�„, work together to inform the ommunity about its public art initiative,its new projects and to bmld audiences for public art thro gl 'programming and ongoing communications.New public artworks are exciting an 'can open;new discussions in a community.The message conveyed from the{progr,am canhelp to shape this dialogue and build support for more projects. PROJECTS AND PRIORITIES The Public Art Opportunities section of the Public Art Master Plan outlines a wealth of exciting, innovative and community-building public art projects.Some of these opportunities are related to proposed construction projects in the upcoming Capital Improvement Plan (CIP).Many others address existing places. A primary area of focus for public art should be the Essex Street Pedestrian Mall.Through the Essex Street Mall planning process,conducted in 2011-12,public art was identified as a key amenity to help activate and beautify the Mall's public spaces.Public art opportunities include involving an artist in the re-design of East India Square,considering the space a work of art in itself, SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 3 commissioning a work to mark the entrance to the Mall at Washington Street and encourage people to travel down the Mall; and an annual series of curated,site-specific,temporary installations by local,regional or national artists. Beyond the Essex Street Pedestrian Mall,there are several opportunities for public art throughout downtown.Public art can bring vibrancy to key civic places throughout including gateways,squares and historic walks which help to tie different areas together, Public art can help anchor important public spaces such as Derby Square; welcome people to Salem at important gateways such as the MBTA station,the Blaney Street Pier and Terminal,and the Old Salem jail'Green; enhance the experience of walking along the Heritage Trail and Harbor Walk,Including along the National Grid Substation Fence,and create immersive art experiences in Artists Row Public art can also play an anchoring and a community building ole Citywide.Artists can work intensively in Salem's neighborhoods through Commumty.Erigaged Projects creating works that reflect community aspirations; public art at facilities such as the Community Life center can express community identity; art projects in Salem's Waterfront Parks can,,engage people with the shoreline; and artists can help strengthen the identity of Salem'Sgrowing BlkerTrail system. PRIORITIZATION gf Due to the fact that there are so many opporti n+itles;aset of criteria will;assist the Department of Planning and Community Development,Public Art Commission and community partners in prioritizing project. ,+ ,n • Support the vision..Priority should be given to,projects that support one or more of the three �. ter. areas of emphasis:m the City's public art vision:`cultu+re,community and design. • Visual impact.Priority should be given to projects in highly visible locations that reach abroad �� and diverse audience • Timirig onsidera on should be given to projects that can be done in conjunction With a major capital,building or infrastructure projeet so that an artist can integrate their work into the design process. g • Funding and Staffing There;is an identified source of funding to support the project and adequate staffing resources to administer it. NEXT STEPS With the Public Art Master Plan complete,the real work of building the Public Art Initiative begins. To get started,the City should begin with these important tasks: 1. Adopt an Ordinance establishing the Public Art Initiative and Public Art Commission.The ordinance should be crafted in a manner consistent with the recommendations in this Master Plan. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 4 2. Appoint the Public Art Commission. Once the Ordinance has been adopted,the Mayor will appoint the Public Art Commission. The recommended composition, roles and responsibilities of the Commission can be found on page x. 3. Identify the lead staff`. The Public Art Program will be most effective if there is a single City staff person who is responsible for managing and overseeing it. Responsibilities for this staff person can be found on page x. 4. Identify funding. The Master Plan outlines several funding strategies on page x.The City should pursue multiple avenues,including identifying an ongoing source of,,finds.Funding should be sought to support projects,as well as to ensure the proper maintenance and conservation of the collection and to support communications,outreach and project'management. 5. Assess the existing collection.A first order of business should be to do a full assessment of the existing collection,including researching the history of alf the art works developing a thorough database and files on each work in the collection,and'con tluctin g a conservation assessment. The research,database and record keeping system could be a project for an intern. 6. Develop a first yearPublicArt Work Plan. Once the Public Art Commission is in place,City u y. staff and the PAC will develop the first Public Art Work Plan outlined on page x,to determine !� which public art project(s)they would'hke to tackle first' k 7. Initiate a rst commission. Based on h'e Publie'Art Work P b in the rotes �k.ti g process commission a permanent or temporary work of art to-continue buij'ding momentum for the A} av program. 8. Monitorproject o oftunities::The Ci staffres onsible for public art should monitor P I Pp. �� City �� P upcoming capital,projects and private development proposals that have been identified as possible candidates f6i'public art projects to ensure that consideration of public art is being made during the planning and design of these facilities. 9. Communicat or n a'nd.outs eh''The City S ould develop a website where people can learn abodi the Public Art Initiative,the'Public Art Commission,works in the City's collection,and new and upcoming projects. 40 Qf SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 5 INTRODUCTION "We don't inherit the earth from our ancestors,we borrow it from our children:" —David Brower PUBLIC ART IN SALEM: BUILDING ON A CULTURAL LEGACY As the second oldest settlement in New England and the second city tobell incorporated in Massachusetts,Salem possesses a rich cultural legacy that includes its '61e ossa leader in the spice trade,its involvement in the Revolutionary War,and of course the well=known Salem Witch Trials. In the 18th century Salem's wealth grew as it became a major fishing,stipbuilding,and maritime center and the wealth produced by this foreign trade resulted in,a`grand collection of Federal-style architecture,as well as cultural institutions such as the Peabo11 4NAdy Museum of Salem and the Essex Institute(now the Peabody Essex Museum).Salem later transitioned to a manufacturing and retail center as the economy turned away from the sea trade and its factories attracted Immigrants from Europe and Canada. lbe Today,Salem's role and identity in the region is once again shifting.Salem is a small city of approximately 41,000 people with a multi-face'ieed'character.Itis a'coastal community of unique historic resources,strong educational and cultural restitutions,cohesive neighborhoods,an economically and culturally diverse population,and a d 11 verse economy.Salem welcomes . .., approximately one million visitors annually who,come toenloyits many destinations,festivals,and attractions. Salem has also become known as the urban and cultural:center of the North Shore,and the city is experiencing new develop'ment,that ig recasting It as a urban alternative to communities in Greater Boston Restaurants and'b6utiques are opening to support the new and existing residents, and small,busmesse's especially i creative industries,are growing. Public infrastructure projects, like the-new MBTA garage and station iJ rovements and the new Salem Wharf,serve to support Salem's-'growing role as tioth-a convenient;pedestrian-friendly residential community and an .st attractive destination. Salem has a long tradition of public art.The city is home to many traditional,historic works celebrating important eopl'e,,n Salem's history,such as Roger Conant by Henry Hudson Kitson and Nathaniel Hawthorne by B,el Lyon Pratt. More contemporary projects,such as the Salem Witch Trial Memorial by Maggie Smith and James Cutler commemorate the events and struggles of the past,and the progress that has been made to date.Today,initiatives such as the electrical box painting project and the murals in the Point neighborhood bring color and whimsy into everyday places. Salem's new public art initiative,launched through this master planning process,has the opportunity to build upon the community's legacy as a global center for art and culture,its historic public art collection,as well as its current cultural assets,including the internationally known SALEM PUBLIC ART MASTER PLAN DRAFT—FOR REVIEW ONLY 6 Peabody Essex Museum,the award-winning arts program at Salem State University,and celebrated local organizations and festivals such as Salem Art Association,the Salem International Film Festival,the Salem Literary Festival,the Salem Arts Festival,and Salem Culture Fest. Public art will strengthen Salem's growing status as a nexus for cultural activity and art-making. Public art is not just an attraction for outsiders.Through the public art initiative,art can become a significant part of people's everyday lives in Salem.Artists working on public art projects can stimulate meaningful dialogue,participation and interaction among community members,and help create visual representations of the stories that tie people to each other:a d>to Salem. Public art can also complement,enrich,and interpret the city's existing cultural and historic assets. Salem is a community that has made a strong commitment to quality urban design and historic preservation.The Salem Redevelopment Authority and its Desi iiReview+!Boar d pay careful into, �' attention to how contemporary architecture and design fit intoahe'existing u ban fabric of downtown,and the Historic Commission ensures the,ongoing architectural integrity of Salem's four ... historic districts. Initiatives such as the Essex Street Pedestrian-Mall project are thinking about the future of Salem's public spaces,how they are welcoming to inhabit ,and use,and how they support the economic health of downtown.The need for a public art master plan was brought to light through the Essex Street Mall planning process,where public act was identified as a key amenity to help activate and beautify the Mall Public:art in Salem will support the City's efforts to maintain and develop thriving public spaces. gi" DEVELOPING THE PLAN x As mentioned above,the need fora comprehensive public art strategy for the City of Salem came,to 44' �s ,< 1 light through the Essex Street Pedestrian Mall planning process,as well as to give the City tools to 4 t manage the growing number of publi�art projects b h =being initiated by the City and by community organizations and'individu Is Through a-grant from the National Endowment for the Arts,the City of Salem working with the Peabody-Essex Museum and the Salem Partnership, conducted°al`sear•ch'a`nd hired Via Partnership (Via)to lead the planning process for a Public Art Master Plan. h ° e Via worked-closely with the City,the Salem Partnership,the Peabody Essex and a Working Group consisting of Salem citizens artists,and art and design professionals,as well as representatives from key organizations and stakeholder groups to develop the recommendations in this plan.The ,.g' x,M process included a community workshop called"Imagine Art Here'held on March 12, 2013,at which more than 40 citizens of Salem gathered to help shape a public art vision for Salem and provide critical input into identifying locations for and approaches to public art throughout the community,and"Envisioning Public Art"on June 14, 2013 where the public was invited to provide feedback on the draft recommendations.Via also worked closely with the City to ensure that the recommended administrative guidelines reflect best practices and fit within existing City policies and procedures. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 7 ADMINISTRATIVE GUIDELINES The Administrative Guidelines recommend procedures and policies that will guide the way that the City of Salem approaches the commissioning and acquisition of new public artworks.They also address related activities,such as the maintenance and conservation of artworks.These recommendations relate to projects the City undertakes,artworks that are offered for donation to the City,artworks that are commissioned by developers as part of their development agreement with the City and artworks that are already in the City s public art collectlon�,,, , f g ty IV An v Y ;TAM: � AFttx c +.7 J t SALEM PUBLIC ART MASTER PLAN DRAFT—FOR REVIEW ONLY 8 CREATION OF THE SALEM PUBLIC ART INITIATIVE The City of Salem should formally establish the Salem Public Art Initiative by ordinance. This ordinance should establish the Public Art Commission and outline the basic charge of the program. VISION .. Public art in Salem contributes to the community's identity as the cultural h'ub;'of the North Shore and r a center for creativity;fosters community pride,ownership and a sense;ofbelonging,and contributes u to the quality of Salem's built environment This big-picture view of the role public art plays in the civic life of Salem builds upon three central ideas. ,�+ • Culture.Salem is the largest urban area in the North Shore and is growing in Importance as a `lk.� place for arts,culture and creative enterprise. Public art prpi ' s,can bring innovative and distinctive art experiences to public places that drawupon Salem's unique character,add new landmarks to the cultural landscape and'directly support rtists in the creation of new art and the exploration of new ideas. • Community.Salem is a diverse and growing com�muaity:,Public art projects can bring people together,build bridges and.`stimulate conversation � �fs0 ts ' " • Design:Many of Salem's most sign,ificant public spaces are in transition,either through City-led capital projects orp a r ate development. Public art can elevate the quality and creativity of design of public spcesr rk important community gateways and thresholds and help anchor important gathering places MISSION The mission,.of the City of Salem Publlc'Art Initiative is to foster the commissioning and acquisition I� *Mr, 01 of permanent and temporary public art,act as a steward of the Cit/' s s public art collection,and engage the public'in the collection. Public art projects will be accomplished through the direct commissioning of artwork community partnerships and by encouraging public art in private NNEdevelopment � + GUIDING PRINCIPLES 1. When the City,on its own or through a partnership,builds or make a significant renovation or addition to a community facility or park,public art should be a part of the project. 2. Public art should grow out of the richness of the Salem community,and,in most cases,be commissioned.Artists should be invited to work in the community and with the community to ensure that the work has meaning and resonance. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 9 3. Public art projects should be commissioned through a transparent,competitive process that values both artistic expertise and community input.The policies and procedures adopted by the City will result in the selection of highly qualified artists and will support them in creating their best work. It will follow professional standards in the field. 4. Public art in Salem should be of high artistic quality and integrity.The City,developers and cultural institutions are paying careful attention to the design of new buildings and public spaces downtown and throughout the community,bringing in fresh design thinking as well as complementing the historic fabric of the City.New public art should:b of the same design cu quality of other aspects of Salem's built environment and support the cultural fabric of the r,;N community. 1�F's 5. Public art should be for everyone.The people who live and or In Salem;the people who visit ..,�.n . ` .. �y for entertainment,culture,shopping and dining,and even;in some cases the people who are just passing through will all have an opportunity tp� xe peri nce art in pubhc'places.Art should invite interaction,contemplation and discussion' g" enRk Iu �t P }n PP 3 ' bis :£ " N� 4-4X : ` - �F SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 10 ROLES AND RESPONSIBILITIES The Salem Public Art Initiative will be expending City funds on City property and thus should be established as a responsibility of the City. Final decisions regarding the Public Art Initiative should be approved by the Mayor and, when the art is located in the Urban Renewal Area, by the Salem �a. Redevelopment Authority. To advise the Mayor and the.SRA,a citizen Public Art Commission should be appointed. In addition, City', taff resources should be deployed to ensure that the Public Art Initiative Is implemented in a professional and fiscally responsible manner ` MAYOR The Office of the Mayor is responsible for ensuringthat the visitors,businesses and residents of Salem are provided With the highest quality of services and assistance that is available to them and that is within the jurisdiction of the Office, The Mayor has oversight over all City policies related to public art.The Mayor makes appointmenmembers of the Public Art Commission and reviews Vii!. "k`v,'F.k�'.?M;. 'ey2'v"`?:�A, individual public art projects and key milestones.`The Mayor also has oversight over acquisitions, donations and the relocation and de-accessioning}of art h 4 ,gt Responsibilities: „ t • Make appointments to the Public Art Commission • Approve the Pubi c'Art Work Plan • Approve Individual Project.Plans " • Sign public art.contracts +� &^x ..'T`�. :�. • A rove ublic ar licies. PPA P o-t;P°, wtEe, • Approve gifts and loans of works ofart.. PP. . g • Appi v.de-accession of works ofart- `911 rty t SALEM REDEVELOPMENT AUTHORITY The City of Salem created the Salem Redevelopment Authority(SRA) in 1962 in order to advance ' the revitalization of key portions of its historic downtown.The activities of the SRA are governed by urban renewallans that.were established b the p y City,in accordance with the state's legal standards and regulations.The Executive Director of the SRA is the City's Director of Planning and Community Development.All but one member of the SRA are appointed by the Mayor and confirmed by the City Council,and one is a gubernatorial appointment.One member of the SRA's Design Review Board will sit on the Public Art Commission (PAC).The SRA will review and approve recommendations made by the Public Art Commission for public art projects in the City's Urban Renewal Area.This review will happen at the Individual Project Plan phase and the artist concept proposal phase. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 11 Responsibilities: • Review and approve Individual Project Plans for public art projects in the City's Urban Renewal Area. • Review and approve the recommended artist concept or the actual artwork in the City's Urban Renewal Area. • Review the recommendation of the PAC regarding the acceptance of gifts or loans of artwork proposed for the City's Urban Renewal Area and make a final recommendation to the Mayor. • Review the recommendation of the PAC regarding proposed de accession or relocation of artwork in the City's Urban Renewal Area and make a recommendation to the Mayor. PUBLIC ART COMMISSION 'tq The Public Art Commission is an official commission of the Cis of Salem a pointed b the Mayor. n'� PP � Y Y The Commission should be comprised of seven members incliidin"g'a representative from the City s Design Review Board,at least one visual artist,and atl'east three with a background in art, architecture,landscape architecture,urban planning,art,or architectural history, design. y'h Responsibilities: • Approve the Public Art Work Plan developed by the Citys Department of Planning and "i Community Development. • Approve Individual Project Plans and forward to Mayor and SRA for'approval. • Reviews artist qualifications and selects finahsts..r�`� • Reviews finalist conceptp posal and/or interviews finalist and recommends selection. • Appoint ad-hoc Art Selection Panels and review and approve recommendations of Panels (when applicable). • For proposed gifts and loans of a works condB aesthetic review and recommends whether the City should accept or notaccept the donation: • Review.lndl iu d al Project Plasand artist concept proposals or proposed artworks for private development projects,where the developer is provide public art as part of their developer agreement with the City a • Review and make recommendations regarding the de-accession or relocation of artwork from M ,r># the City's public art collection. • Make recom em ndations regarding proposed revisions to public art policies and procedures. • Serve as an advocate forpublic art in Salem. �.V - ART SELECTION PANELS For some public art projects,the Public Art Commission may decide to appoint an ad-hoc subcommittee to review artists'qualifications and artist concept proposals and make a recommendation back to the PAC.The majority of members for each panel should have a professional background in the visual arts (artist,arts.administrator,curator,art historian).Other members could include stakeholders that have a close connection to the site (businesses,neighbors, users) or design professionals working on the project(if part of a larger capital project). Each Art Selection Panel should include at least one member of the PAC. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 12 Responsibilities: • Reviews artist qualifications and selects finalists. • Reviews finalist concept proposal and/or interviews finalists and recommends selection. • Reviews and recommends approval of artist concept to the Public Art Commission. CITY STAFF The Public Art Initiative will be staffed by the City of Salem Department of Planning and Community Development.In addition,project managers for CIP projects may also play,role in the successful implementation of public art projects related to capital projects Responsibilities: i l�i� • Manage the Public Art Initiative and facilitate communication among the City Departments, Salem Redevelopment Authority and Public Art Commission. • Develop the Public Art Work Plan,in collaboration with the Public Art Commission c, • Manage all aspects of commissioning and acquiring works of art,including ; • Draft Individual Project Plans, RFQs and RFPs a • Organize and facilitate meetings • Prepare and negotiate contracts u a Fri • Perform technical review of artist designs. • Inspect the final work and coordinate scheduulling of installation with artist • Ensure that the City's public art policies nd procedures arefollowed. • Ensure that the City's publicart collection is properly documented,maintained and conserved. • Develop materials„programsand initiatives to inform and engage the public about the City's public art collection and program • Staff the Public Art CoriimissiomA a • Write grants and solicit funds to support the Public Art Initiative. • Oversee:'the review of donated gifts and loan's. • Oversee the review 44works being considered for de-accession. Y4( anf{E : r SALEM PUBLIC ART MASTER PLAN DRAFT—FOR REVIEW ONLY 13 SOURCES AND USES OF FUNDS The City of Salem should enable the Public Art Initiative through a combination of funding sources. A Public Art Fund should be established to track all funds allocated and expended for public art. PUBLIC ART FUND may„ In general,all project and programmatic funding allocated or raised for.public art should be transferred to a separate category of the City of Salem Annual Oper, "g Budg t and Capital Plan t called the"Public Art Fund,'and all public art project expenditures should be made from this area ' of the budget.The purpose of this is to make accounting for public art monies transparent,and to make certain monies are secure when they are dedicated 1: multiyear art projects. V� Monies in this fund should be allowed to roll over fro year to year,because i cmeand. expenditures for a particular art project may occur indifferent fiscal years Monies in this fund might also be allocated to subfunds for dedicated projects` it USES OF THE FUND Designated public art funds should only bevsedfor: • Artist fees and artist travel and expenses that are r'elated,to the City's commissioning of a work h yi of art as stipulated in a contract with the artist.,."`" o . • Artwork fabrication storage;and,installation per contract.- Acquisition ontract Acquisition of existingworks of ait. �. • Artist selection osissuch as artist travel and honoraria. • Required permits and insurance during the fabrication and installation of the artwork per • Documentation andinterpretive,plaques. • Pr0lect consultants and contracted services if related to the commissioning,acquisition or conservation of artwork • Education and outreach,including collateral materials,symposia and special events. • Publicity for public art proiects. • Curatorial and appraisal services. • Conservation assessments. • Conservation and maintenance. • Public art planning" • Other purposes recommended by the Department of Planning and Community Development and Public Art Commission and incorporated into the Public Art Work Plan for the successful implementation of the program. Designated public art funds should not be used for: • Massroduced work,with the exception of limited editions controlled b the artist. P p Y y SALEM PUBLIC ART MASTER PLAN DRAFT—FOR REVIEW ONLY 14 • Artwork not produced or designed by artists not recommended by the Public Art Commission. • Decorative,ornamental or functional elements that are designed by the architect or landscape architect that has been hired by the City to design the related capital project(when applicable). • Purchase of existing works of art outside of the selection process. FUNDING STRATEGY The City of Salem Public Art Initiative will be funded through a variety of sources. The Initiative will benefit from having diverse funding sources that will help fulfill the vision for the program,and as a result,engage multiple stakeholders in sharing in its success hu The funding strategy for the Public Art Initiative should: ,r • Ensure that projects are adequately funded. vi • Include sources that can be used flexibly,so that public a tcan be commissioned in the places where it will have the most impact,and can be us�ed;for boli temporary and;perruanent work. • Look for sources that will support admimstratlon educatiomand collection management (including conservation and repair) m addition to new work`" '` Funding Options x 1. Percent forArG Percent for art is a pu6lic.art funding mecb'anism in which a set percent (generally.5 to 2%) of capital project funds are setaside for the commissioning of public art.Of the 400+ public art programs in the US,a majority arefunded through percent.These funding mechanisms are usually established by Ordinance'',' gh pefcent can also be a tool that is adopted through practice There are several options for how to adopt Percent-for Art that the City should consider: k ; . t:o" A. Percent of the total capital budget.The City could consider including a line item in its capital budget for public art equivalent to one percent of the total capital budget.This would ensure that there is funding available for projects each year,and would provide the Flexibility for the Cityto allocate;public art funds to the places and projects that would make the greatest impact in the City. B. Percentof capital building and infrastructure projects only.The City could consider T,� requiring that a per cent for art be set aside for all capital building and infrastructure projects.The public art funds would generally then be used for the capital project that generated the funding.In this structure,the percent would not be applied to items in the capital budget such as omit real estate acquisition,vehicles,departmental equipment(FFE), professional fees and underground infrastructure.It could also be structured to only apply to projects of a certain scale,such as projects with a total budget of greater than$500,000. C. Percent on case by case basis.For capital projects where the City is interested in incorporating public art,one percent of the project's construction cost could be set aside in SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 15 the project budget as a line item for public art.This funding would be built in during the budgeting process for the capital project,so that it is an anticipated cost as the project moves through development.This strategy will ensure that public art is planned for and budgeted at the onset of the capital project,but would allow the City flexibility to identify which capital projects would include public art funding in their budget on a case by case basis. 2. Annual Allocation. The Department of Planning and Community Development budget a .N currently includes funds to support public art projects.An annual departmental allocation can continue to support public art that is not tied to capital projects''or supplement those projects when needed.It can also be used to develop programming topro ote and engage people with the City's public art collection. 3. Grants.The City should continue to seek grants to support its public art imhative.Specific public art opportunities outlined in this Master,Pla that are.high-impact,inno 5P_ P/ foster partnerships and effectively engage community'can be good candidates for national or regional r,sdt ,�a: grants.Possible grant opportunities can be found in Appendix X.T" 4. Local Fundraising. Salem has a strongculture of giving The City may have success in raising funds through asks to individuals and busi`ness6s,in Salem.Funds raised would go into the F i"3,' P"Ll Public Art Fund.The City could also look mto creatmg;a,legacy fuhd'that is specifically directed to support public art such as,the Browne Fund and Henderson Fund in Boston.The Public Art Commission would guide thg'userof a legacy fund. �t S. Leveraging Funding through Partnerships.P-artnerships are an important part of the civic culture in Salem,and an essential'toolfor getting big projects done.Public art programs can effectively partner with cultural organizaiions,'educational institutions and community organizations to bring needed resources and expertise to projects.These partnerships often form organically.However,some public;art programs have had success in developing these partnerships through RFPs to enlist partners to help manage,host,and even help fund projects. This might,be an effective strategy for temporary projects. lih� NE EFffi SALEM PUBLIC ART MASTER PLAN DRAFT—FOR REVIEW ONLY 16 A PLANNING PROCESSES FOR PUBLIC ART The Department of Planning and Community Development should work closely with other City departments and the Public Art Commission to set program goals for the coming year in the Public Art Work Plan. Each new public art project should be outlined in an Individual Project Plan. PUBLIC ART WORK PLAN .2 Each year,the Department of Planning and Community Developme t,orking with the Public Art Commission,will develop a Public Art Work Plan that outlines,public ar activities and the use of funds from the Public Art Fund for the coming fiscal year.The PublicArt Work Plan should be N *',� informed by the Public Art Opportunities in the Public Art M2ster Plan,as well as.information provided by the Department of Planning and Communety�Development about ongoing and new capital improvement projects. The Public Art Work Plan will lay out,on a project-by-project basis,the project development and project management activities that will be'undertaken for publ cart projects,as well as other activities such as education,programmen g,'p alai ening,conservation and maintenance.The Public Art Work Plan is developed as part of the Depaof Planning an rtment d Confhunity Development's e Annual Report to City Halle INDIVIDUAL PROJECT PLANx The Individual ProlectPlan is a tool that outlines th work that must be done to undertake the project,establishes thegoalsa gainsevwhich the project will be reviewed by the Art Selection Panel, the Public Art Commission.SR'A and:Mayor and helps a tablish buy-in for the project among key stakeholders before the commissioning process begins. sof , NN The Individual ProlectPlan well outline each aspect of the project,including: • A description of the project's location and other information regarding the proposed siting. • The project goals and how the project relates to the overall vision for public art in Salem. • Evalu tio Icriteria against which the artist selection and Concept Design can be evaluated. � • The budget and„ �funding sources. • The project schedulee and how it relates,if applicable,to a related capital project schedule. • Project stakeholders; • The artist's scope of work. • The artist selection method. • Recommended Selection Panel members with alternates. • A community outreach strategy. The Individual Project Plan will be developed by the Department of Planning and Community Development,in collaboration with the Public Art Commission, other relevant City Departments (if applicable) and other project partners.The Individual Project Plan will be informed by the Public SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 17 Art Master Plan and other planning documents related to the site.The Public Art Commission approves the Individual Project Plan and forwards it to Mayor,and if applicable,the SRA for approval. COORDINATING WITH CAPITAL PROJECT PLANNING PROCESSES The best time to commission a work of art for a facility is oftentimes when the facility is being built or is undergoing a major renovation or expansion.This allows for the art to be considered in the context of the overall design and use of the facility,gives the artist more flexibility in the siting and integration of the artwork,and creates the opportunity for cost saving by including the support infrastructure for the art in construction documents.The Department;f Planning and Community Development should track major Capital Building and Infrastructure Prr otects to ensure that public art is considered early in the planning process for these projects,'and that;if;a Capital Project is a high priority for art,that a budget for art is included in the budg t tQ f ^F tip Ns Ne 01 b a SALEM PUBLIC ART MASTER PLAN DRAFT--FOR REVIEW ONLY 18 ART SELECTION AND PROJECT MANAGEMENT PROCESSES When commissioning or purchasing artwork, a competitive artist selection process should be utilized. The Public Art Commission should be involved in reviewing and making recommendations regarding the selection of artists or artwork. For Partnership Projects, the Public Art Commission will review and approve the artist and artwork selections. Projects will be:managed by the Department of Planning and Community Developmeritunle s outsourced to a project partner. ARTIST AND ARTWORK SELECTION GUIDING PRINCIPLES, Krk at The City of Salem should develop different tools for selecting artists or artwond managing projects.These tools will provide a structure for decision-making,but offer options,to allow for Flexibility in crafting an approach that Will result in the best art and community outcome. When , ;. �i,". deciding upon the appropriate process,the following should be;considered: 3. • The decision-making process should be open,and transparent. , • The process should take into consideration the needs of the site ,,A, community the project will reside in,and the identified public art project goals � � • The decision-making body should include peoplewrth knowledge and experience in art and design as well as people,with:a�stake in the�final�prolect - • An open,competitive,processthaUchallenges and inspires the artist will lead to a more creative and exciting final product. t • A process for selecting n artist/a ork and managing the project should take into account available financial and staff.?esources: {ate ' ` = s The followingoutbnes`three recommended options for selecting artists/artwork and managing il�pr01eCt5 , , w • Commissioning Process This process results in the selection of an artist to create a unique,site- specific wor'k,nofart. • Acquisition Process Through this process,the City purchases an existing work of art. • Partnership Project,Process.This process engages a project partner to manage certain aspects of artist selection`and project management. 11 4V SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 19 COMMISSIONING PROCESS In most cases,the Salem Public Art Initiative will commission works of art for permanent or temporary installation.When commissioning,the City is hiring an artist to create a unique,new work of art.The selected artist is given a project brief that usually includes a site (or ideas around siting),a set of goals,a budget and a timeline.The artist develops a concept design that is responsive to the brief.Once approved,the artist is responsible for the final design,fabrication and installation of the artwork. 1. INDIVIDUAL PROJECT PLAN u Y . The first step for a public art project is to define the general parameters of the project in an Individual Project Plan,as described in the section"Planning Processes for Public Art: Individual �� Project Plan i,k„ 2. ARTISTSELECTION tt Each artist selection process should be uniquely designed to in the conditions`of the;project. However,the process should follow the basic procedures Shown lielow. Review Artist Qualifications Staff collects artist qualifications through an Op n Competition or Limited Competition RFQ(see Appendix X for methods of soliciting artists). 'i" " ,r� ` N Staff presents artist qualifications to the Public Art Comm:sion or their designated Art Selection Panel. Panel chooses one of the following: a. Selection of 3-5 finalists to submit a proposal r a a b. Selection of 3-5 finalists to interview c. Selection of a single ar11�tist based upon their qualifications d. Revise and re-issue=the RFQ to get different artists Review of Artist Proposals or Interviews Finalists a e vited to prepare a proposal or to interview with the Public Art Commission or their designated Art Selection Panel. PanePtecommends one of the:following to the'City,and if applicable,to the SRA: a. Selection ofbne of the finalistproposafs b. Selection ofo eof the artists;F3ased on the interview c. Asking one or more,of the artists to revise and re-submit their proposals d. Not selecting one of the artists or proposals and going back to review qualifications Preparation of Contract and Presentation to Mayor Once the final artist is approved by the Public Art Commission,staff will prepare a contract. The contract should be presented to the Mayor for approval. a. If the artist is selected based upon a proposal,the contract should be for the final design,engineering fabrication and installation of the artwork. b. If the artist is selected based upon an interview,the first phase of the contract should be for the concept design and the second phase should be for the above-listed tasks. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 20 3. ARTIST CONTRACT Upon the recommendation of the PAC and SRA,the Department of Planning and Community Development will prepare a contract that includes the scope of work, fee,schedule,and relevant terms and conditions.The scope of work will vary depending on the project,but will generally include final design and engineering,fabrication of the artwork,and installation of the artwork. For artists selected based on an interview process,the Department of Planning and Community ,a Development may recommend that the contract be phased such that the.sc6pe of work in the initial bi it contract is for a conceptual design and the scope in the second contract Is f 't e final design, engineering,fabrication and installation of the work. Contracts will be presented to the Mayor for f signature. ,t 4. CONCEPT DESIGN(INTERVIEWS ONLY) If the artist is selected through an interview process;the initial step is to develop a concept design. The Department of Planning and Community Development sho lu' rganize an inform tonal kickoff meeting with the relevant staff,contractors and consultants_to allow the artist to become familiar with the site,project,and schedule.To develop the design the artist may also need to meet with other project stakeholders. The concepf design should be presented to the Art Selection Panel for their review and recommendation to the PAC and SRA for their app val.,The concept design may il also be presented to the Mayor. Aiq S. FINAL DESIGN AND ENGINEERING # ,,,, Once the concept designxls=approved;the artist will-develop final design and engineering drawings for review and approval by the City before proceeding with fabrication.The Department of Planning and Community Development will coordinate, eetings with the appropriate City Departments and board or commission to, Ode a.technical review and/or approval of the plans. If the artist proposes any significant design changes from the original concept design,the Department of Planning and•Community;Development will secure the approval of the Public Art Commission'-SRA and the Mayor before approving said changes in writing,per the terms and conditions of the contract If the City requests any modifications due to changes in the project,the Department of Planning and Community Development will review the proposed changes with the artist.In either case a formal change order should be submitted. Ar 6. FABRICATIONOFARTWORK Once the final design and engineering drawings have been approved by the City,the artist will proceed with the fabrication of the artwork. The fabrication may be done by the artist,or part or all may be done by subcontractors supervised by the artist. The Department of Planning and Community Development may request a studio visit,photographs or written updates from the artist. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 21 7. INSTALLATION OFARTWORK In most cases,the artist will be responsible for the installation of the artwork. The Department of Planning and Community Development should coordinate that installation with the artist. 8. DEDICATION, SUBMITTAL OF PROJECT DOCUMENTATIONAND PROJECT CLOSEOUT Once the artwork has been installed a celebratory dedication should be planned by the City and the Public Art Commission.The artist should be required to submit all required paperwork,including all drawings and a maintenance and conservation worksheet,prior to project closeout and final payment. If the project is temporary,the artist is also responsible for de installation. I V h ya SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 22 COMMISSIONING PROCESS—STEP BY STEP Step Outcome Responsibilities 1. Individual Project A document outlining the • City staff drafts,in consultation with Public Art Plan location,budget,specific Commission(PAC). project goals,timeframe, • Approved by the Mayor,and if applicable,the and artist selection Salem Redevelopment Authority(SRA). method. 2. Artist Selection An artist is selected for the • City staff drafts and issue Request for project. Qualifications; o en call or invitational). • PAC reviewg.'artisC'qualifications and recommend-finalists. a. • City astaff draft�apd issues Request for Proposals to finalists or sets up artist i rview",s. • °PAb reviews artist conceptproposals and recommends selection + It U If applicable,SRA reviews and;approves erecommendation. 3. Execute Artist Agreement between the • `Prepared by City staff. Agreement artist(s)and the City Signed by Mayor. outlining scope fee' schedule and relevant s terms and conditiousN 4. Concept Design Approved concept design : City,staff coordinates kickoff meeting and (if not already prepared.ia stakeholder input. I�lthrough'proposal process) • Artist'develops design. a, • PAC reviews and recommends approval. *" i+: w • If applicable,SRA reviews and approves 10 :>r recommendation. 5. Final Design and Approved final design and-vi;r• Artist prepares,or oversees the preparation of Engineering ' ' ' engineering drawings the necessary drawings and documents. qk } '"'n, • City staff coordinates review by appropriate Mkdepartments. k. • Significant changes from the approved concept ;t ,n design must be reviewed by the PAC and the i City and approved in writing. 6. Fabrication 0' Complete Complete fabrication of the • Artist fabricates or oversees fabrication of the Artwork ,artvdork. artwork. N • City staff receives periodic updates and milestone reviews,processes invoices. 7. Installation of Complete installation of the • Artist oversees installation of artwork. Artwork artwork. • Artist works with City to schedule and coordinate. 8. Dedication, Community celebration of • PAC and staff plan dedication,installs plaque. Documentation, artwork,documentation on • City staff receives documentation from artist. Closeout file,and all payments made. • City staff facilitates final acceptance of artwork. Final payment made to artist. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 23 ACQUISITION PROCESS In certain cases,the City and Public Art Commission may determine that it is in the best interest of the City to acquire an artwork directly from an artist or from a gallery. 1. INDIVIDUAL PROJECT PLAN The first step for a public art project is to define the general parameters of the project in an Individual Project Plan,as described in the section"Planning Processes for Public Art: Individual Project Plan". The reasons for purchasing a work instead of commissioning would be outlined in the Plan. 2. ARTWORK SELECTION , In most cases,an art acquisition will be the result of a competitive process•,The City will invite artists and/or galleries to submit images and information abbut existing nd available artwork.The information should include the artist's basic qualifications (resume or bio, portfolio),an image of the artwork,dimensions,materials,date fabricated,condition,provenance and asking price. f � h, The Public Art Commission will review the submissions of'existi, work based on tfie goals and g'w� criteria outlined in the Individual Project Plan.If applicable PAC will forward their recommendation to the SRA for approval.�As with commissions the PAC can choose to delegate the review of submissions to an ad-hoc Art Sel ctlon Panel The Panelwould make recommendations to the PAC and SRA. ' Prior to forwarding a recommendation forpuchase`t'the M yor the Department of Planning and Community Development may'choose to obtain an independent;qualified appraisal of the fair market value of the artwork and a professional art conservator's report on the condition of the artwork. 3. AGREEMENT OF,SALE r The City wilbenter into an agreement,of sale with the seller.The transaction will include a transfer of title from the Belle to tlie.City and an indemnification regarding past and future claims related to } the provenance of the artwork. y N y RB 4. INSTALLATION OFARTWOPK Depending on the nature of the agreement with the seller,the City or the seller may be required to take full or partial responsili ity for site preparation;the design and installation of foundations, landscape and hardscape shipping the artwork to its new location and insurance for the transfer; and the installation of the artwork. 5. DEDICATION, DOCUMENTATION Once the artwork has been installed a celebratory dedication should be planned by the City and the Public Art Commission.The work should be photographed on site and all paperwork related to the acquisition should be archived by the City. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 24 ACQUISITION PROCESS—STEP BY STEP Step Outcome Responsibilities 1. Individual Project A document outlining the • City staff drafts,in consultation with Public Art Plan location,budget,specific Commission(PAC). project goals,timeframe, . Approved by the Mayor,and if applicable,the and artist selection Salem Redevelopment Authority(SRA). method. 2. Artwork Selection An artist is selected for the 0 City staff contacts artists and/or galleries for project. submissions. • PAC reviews,submissions and recommends selection: 3. Agreement of Sale Agreement between the • Pre aired by Ciry'istaff. seller and the City. . Signed b Ma or . 4. Installation of Complete installation of the . Artist oversees installation of artwork. Artwork artwork. Artist works with C tyto schedule and coordinate. 5. Dedication, Community celebration of "4 PAC and'staff plan dedicatipn,"installs plaque. Documentation artwork,documentation on :�1)ocumenCation of acquisition on file with City. file,and all payments made. �9 4 sS f - ON }�n @� *1 tdR � '40 SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 25 PARTNERSHIP PROJECT PROCESS There may be individual or a series of public art projects where the City and the Public Art Commission maybe interested in developing a partnership with a local or regional cultural. organization,educational institution and/or community organization to help provide resources and expertise to realize the project.This will particularly be the case for projects that will require significant curatorial and art production expertise and resources and/or a close working relationship in the community. While these partnerships often evolve organically,the following process envisions the City,through a request for proposals process,inviting organizations to propose to-, rtner with the City on specific projects. `r 1. INDIVIDUAL PROJECT PLAN ' The first step for a public art project is to define the general parameters of the project in an Individual Project Plan,as described in the section Planning Processes for Public Art: Individual Project Plan". The reasons for pursuing partnership process will;be outlined in the Plan,as well as the scope and/or responsibilities of the partner and the City,in;the partnership,and the process for selecting the partner. 2. PARTNER SELECTION The City will issue a request for proposals to organizations that requests the qualifications of the Partnering Organization(s) and a detailed pr posal for-fulfilling a specific scope of work. The Public � s Art Commission may opt tbo,review proposals directly, apor to poinxt a Selection Panel to review and recommend selection of 3 3 a partnene r M Ct 3. EXECUTE PARTNER AGREEMENT The City will enter into an agreement withathe lead partner and the City outlining scope,fee, schedule and-relevant terms and conditions.The Partner Organization will be responsible for contracts with the artist or artist(s)working on the project. w . 4. CURATE EXHIBITION The Partner-Organization will be responsible for selecting artists and working with the artists to develop a con ec pt'proposal Once the Partner Organization has a specific artist selected and concept q under consideraii6h 1:_hey will submit it to the Public Art Commission for their review and approval. The submittal will include a visual representation of the work,drawings that show how the work is situated on the site,a r ative description of the work,and information about the timing of the installation. 5. FINAL DESIGN AND ENGINEERING The Partner Organization will work with the artist to develop final design drawings and will facilitate their review by the City. 6. FABRICATE AND INSTALL WORK SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 26 The Partner Organization will work with the artist to fabricate and install the work. 7. DEDICATION, DOCUMENTATION The Partner Organization and City will work together to dedicate the artwork and develop other programs to engage the public with the work.Documentation of the project will be kept on file by the Partner Organization and the City. S. DE-INSTALLATION, PROJECT CLOSEOUT When the project is temporary,the Partner Organization will be responsible.for ensuring that the .p v 6� work is de-installed and that the site is restored.Once the project is complete;'-the Partner Organization will be issued its final payment. 'fid In> ° ° x .44 '4i w rti � r u S 3 T l� �� ! AIN i 3 �t SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 27 PARTNERSHIP PROCESS-STEP BY STEP Step Outcome Responsibilities 1. Individual Project A document outlining the • City staff drafts,in consultation with Public Art Plan location,budget,specific Commission(PAC). project goals,timeframe, • Approved by the Mayor,and if applicable,the and artist selection Salem Redevelopment Authority(SRA). method. 2. Partner Selection Partner(s) identified that • City staff drafts and issues a Request for will work with the City to Proposals to organizations. = - curate,produce,install and a The Public Art Commission reviews proposals de-install the artwork, and recommends selection of a partner. 3. Execute Partner Agreement between the • Prepared byCitystaff. Agreement lead partner and the City • Signed'by may7o- F outlining scope,fee, , schedule and relevant terms and conditions. 4. Curate Exhibition Artist(s) selected ands . Partner'selects artists and has artists develop concept(s)developed and `+ Conceptdesigns. A approved. • Artiscsand'concepts presented to Public Art .,, Commission for approval. S. Final Design and Approved final design and • Artist'prepares,or oversees the preparation of Engineering engineering drawings(if the necessarydrawings and documents. necessary) :City staff coordinates review by appropriate � a t°(departments. n x Sigmacant changes from the approved concept design must be reviewed by the PAC and the k City and approved in writing. 6. Fabricate and Complete artwork • Partner works with artist(s) to fabricate and Install Work fabricated and installed ��install the work. ' � Partner works with the City to coordinate during fabrication. 7. Dedication, Community celebration of • Partner works with City to develop dedication Documentation artwork and and other community programs. £_, ons Partner documents work and publishes docu"mentation on file. Y V documentation to make the work publically accessible after de-installation it temporary). rDeoinstallation�,�!'N.',. Return of site to original Partner ensures work is de-installed and site is ject Closeout - condition(if temporary). restored. "All payments made • City makes final payment to Partner. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 28 PUBLIC ART IN PRIVATE DEVELOPMENT The City of Salem should work with developers to fund or incorporate artwork that supports the City's vision for public art. DEVELOPER SUPPORTED PUBLIC ART New commercial,residential and mixed use private development is transforming the City,growing the population,adding jobs and new destinations,and,in some cases creatmg'or significantly impacting public places and spaces. , The City of Salem should encourage developers to commisssiion or qulrecpublic art for their developments or to contribute to a public art fund for artwork haY would be`commissioned in the vicinity of their development.These conversations should happen as part of thedevelopment review process.If the developer decides to Include public art imtheir development:or contribute to the Public Art Fund,the details of their commitment,including the process for review of public art, should be incorporated into the Planning Board's decisioR-6fo "n f eI,jI, project. 3 REVIEW PROCESS Developers that are commissioning or acquiring public art as part of,tFiei'r development should have their selections reviewed by the Public Art Commission$ While the Developers should be allowed to use a method of their choosing for identifying artists or artworks,for larger projects the City should strongly encourage a competitive process. Prior to selecting an arhstlor artworkk;`the developer should present an Individual Project Plan to the Public Art Commission for their review and feedback.Like the Individual Project Plans developed ffor'projects that the Ci commissions-or acquires,Individual Project Plan for art commissioned by a developer should'butline the goals,location,budget,timeline,and selection process f6r,,the art project Once the developer has a preferred artist concept proposal (for commissioned projects) or an actual artwork(for an acgmsiti;on),they should present their selection to the Public Art Commission for their review and recommendation.The recommendation of the PAC would be forwarded to the Planning;Board.If the project is in the Urban Redevelopment Area,this recommendation would,also go to the SRA for final approval.The developer should not proceed with fabrication and installation of a commissioned artwork or acquisition of an existing artwork until all approvals have been made. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 29 REVIEW PROCESS FOR GIFTS AND LOANS From time to time, private individuals, foundations, corporations or other organizations may wish to give or loan the City of Salem a work of art for public display.While these gifts and loans can be a great way to enrich public spaces, it is important to consider carefully whether the gift or loan meets the City's vision for public art and ensure that the related costs and risks of the gift or loan are understood. PROPOSAL REQUIREMENTS , Donors who express an interest in making a gift or loan of a worI&art to the City should be required to submit a proposal that includes: t ,r� 1,4 • Drawings,photos and written descriptions of the artwork.This should Include `size;'colors, weight,materials and any other information that will establish hyat the artwork,hras the requisite physical integrity to be placed on public dis laY ;and withstand exposure to the natural . elements. • An explanation of how the artwork supports the,vision and go Is for.public art established in the master plan. f � a a` • Background on the artist(resume or bio) `�r • The proposed location for the Installation • The method of displayand required site Improvements (I e:hardscaping,landscaping, buildings,utilities;security devices,anchoring etc). • Cost estimates forinstalling the artwork incl uding'liut not limited to site improvements, foundations landscap ng seating;lighting and other improvements and the funding source to cover these costs.. • Wrltteh-explanation of legal issues,including but not limited to certifying the current legal owner of the artw�k and the exlstenceof any copyrights,patents or other title right's in or to the artwork,and an explanation of ails conditions or limitations on the donation of the artwork. • The estimated fair market value of the artwork[including appraisals if available,required if more than$10;000) � • A condition report,prepared by a conservator,including an estimate of ongoing maintenance and conservation cbs11 ts,and the funding source to cover these costs. • The anticipated date(s)'for the gift or loan to occur._ • Any additional info oration the City deems necessary or appropriate. TECHNICAL REVIEW City staff should first conduct a technical review of the proposed gift or loan.The review should focus on the following issues: • Ownership.If the donor is proposing to donate an existing artwork,has the donor documented that the artwork can be legally given to the City? SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 30 • Costs.Has the donor documented that the costs associated with the artwork have been adequately anticipated and can be met? • Safety and Liability.Is artwork durable?Does it pose any safety or liability concerns? • Maintenance and Conservation.Are the anticipated maintenance and conservation needs documented,and can they be met? • Availability of Site. Is the proposed site available for the installation of artwork?Are necessary electrical,plumbing or other utility requirements defined and available? • Timing.Is there sufficient time for the normal review process by the City and the Public Art Commission?Has the donor provided timely and appropriate responses>to Commission and staff requests for additional materials? ' AESTHETIC REVIEW � < The Public Art Commission will review the proposed gift or,loan for aestl eticand site considerations.When reviewing the work the Public ArtCommission will cons der the following criteria: '�"�ij �. '�, V"�fY�id • The artist should meet the definition of artist that is included in this plan. • The artwork supports the City's vision and goals for publicA,R`* • The artwork demonstrates excellence:in aesthetic quality,'workmanship and creativity. r • The artwork is appropriate to the site in scale and form,and is of materials/media suitable for the site. �� ,. ACCEPTANCE " For permanent gifts and for temporary loans that would be on display for ninety days or more,the recommendations from G ty staff and'the Public Art,Commission regarding acceptance of the gift or loan should be forwarded`to the Ma yogi for approval:For„loans of ninety days or less,the recommendation should be forwarded toahe Directorwof Planning for approval. Once the proposal fonthe loan or gift has been reviewed and accepted,a written agreement will be prepared detailing the oles and responsibilities of the City of Salem and the entity lending or donating the work of art tiv o tU f w SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 31 COLLECTION MANAGEMENT The City of Salem should adopt documentation practices and policies for the conservation and maintenance of artworks, and the process for de- accessioning or relocating artworks in the City's collection. The City will ensure that the Public Art Collection is properly maintained and preserved, that a periodic assessment of conservation needs is made and that proper records regarding the works in the collection arekept EThe Public Art Commission will review and make recommendations to'.C>ty Council regarding the de-accession or relocation of works in the Ctty's Collection, using a strict set of criteria. F, 2, DOCUMENTATION OF THE COLLECTION WnO ; An important aspect of collection management and,ultimately,aong=term maintenance of the Salem Public Art Collection is keeping accurate,,up-to-date records The main aspects of this are identifying the project on-site,keeping accurate records for each project,and maintaining a comprehensive inventory of the collection The City,should develop proper documentation for existing works in the Cit-/s Collection and develop documentation protocols for new projects: W PROJECT IDENTIFICATIO ,'�; , Each artwork should be Identified with a plaque stating the artist's name,the artwork title,the media and the date the wo was created .The plaque should be placed in an appropriate location near the artwork that can be easily vlewed,by pedestrians. QW PROJECT RECORDS' r Files four all'prolect should be kept m a.centralized location with the Department of Planning and Community Development,, N-011 The file should contain Information such as: • A copy of the artl&t contracts. • A copy of projeceorresgondence and public records,such as discussions of the project at "4 6rr o Public Art Commission-or Salem Redevelopment Authority meetings. • The maintenance instructions provided by the artist and subsequent conservation records. • Documentation of the process,including plans and drawings generated by the artist during the commissioning process,fabrication and installation photos,etc. • Hard copy images of the installed artwork. • Media clippings. PUBLIC ART INVENTORY SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 32 The Department of Planning and Community Development should maintain a full and centralized inventory or database of its public art.This inventory will include information such as: • Name of artist • Title of work • Location (kept in a format compatible with the City's GIS system) • Year completed/installed Owner of work • Media • Dimensions { • Budget/cost and source of funds t'li • A brief description of the work suitable for publicatione'y • Maintenance and conservation needs as defined by the;l+artist and conservation assessments • Schedule of maintenance or conservation needs � '.�1 � • Conservation history it " • A unique number assigned to each work of art that can be used for cross ref rencing with hard files and other digital files. CONSERVATION AND MAINTENANCE OFµTHE COLLECTION �',3khSt Y�y t.i.��h Public art is a community asset that should be properly maintained.The City should undertake xv... conservation and routine maintenance to preserve its PublicArt Collection in the best possible condition. vmx�' 4140, To assist in the maintenance and cfonservation othe City s Publit; rt Collection,information on each work of art commissioned,leased,loaned or!owned outrfgh' t by the City should be kept on file with the City on a standardized maintenance and conservation worksheet.Works of art on loan should be maintained in accordance with the requirements of,and in collaboration with,the lender. Conservation 9 0a Conservation is the regularly scheduled examination,documentation,treatment and preventative care of public art conducted by a professional art conservator. The City will regularly conduct;or here a professional conservator to conduct,a survey of the condition of each work in the City's Collection and make recommendations for conservation,cost estimates,and a recommended schedule for implementation. In addition,the City will.tatee steps to identify conservation needs prior to the fabrication and installation of new works.The City will require,when necessary,that artists consult with a conservator during the design development phase of the project to identify the conservation needs of the project.Alternately,the City could have design documents reviewed by a conservator hired by the City prior to executing the fabrication and installation portion of a contract. For commissioned works,artist should provide the City with a worksheet that identifies the conservation and maintenance needs of the work,including the frequency,methods and materials recommended. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 33 Routine Maintenance Routine maintenance is the care of public art that does not require specialized expertise (i.e.: dusting,washing,lubrication of moving parts). If indicated by the artist as part of the maintenance and conservation worksheet,routine maintenance can generally be managed by the Department that maintains the facility and/or site where the art is located. If the Department responsible for maintaining the facility where the art is located determines that it does not have the expertise or budget to manage routine maintenance,it should contact the Department of Planning and Community Development to arrange for outside support. The City Department should not conduct any non-routine maintenance,as Indicated on the maintenance and conservation worksheet,or conservation unless requested by the Department of Planning and Community Development.The Department responsible foc"maintaining the facility where the art is located should notify the Department of Planning and Com lum Development immediately if an artwork is damaged or stolen,or if theCityD,'epartment plans to,move the artwork or in any way alter its site.Any work that is recommended for relocation or dg-installation would be subject to the de-accession policy. KM Works of art should be maintained in a manner outlined in the above-mentioned maintenance and conservation worksheet,appropriate to the,medium and characteristics of the artwork,and in wof accordance with the Visual Artists RI htAct 1990.1 s' NO DE-ACCESSION AND RELOCATION OF ARTWORKS"IN THE,COLLECTION 'O w It shall be the City's policy to-ensure the ongoing m�grityof,the;artwork and the site for which it was created,to the greatest extent feasible,In accordance withYthe artists'original intentions and consistent with the rights,afforded byArtists the Visual Rights Act of 1990. However,from time to tim tthere will be circumstances in which the City will want to consider de- accessioning and removing an artwork,or relocating an artwork. The Public Art Commission shall review,any proposal for de-accession or relocation of an artwork. Consid ation of de-accession shall Involve the same degree of careful review as a decision to commission awork of art Decisions will-be informed by professional judgment and be made in the interests of the public,balancing the policy described above with the conditions described below. Procedure 1. The City should ot:remove any artwork from the site for which it was selected,nor remove it from display,witho t prior review by the Public Art Commission. 2. The Public Art Commission shall review the circumstances surrounding the proposed de- accession,relocation or removal.The Commission may choose to hold a public meeting for the purpose of gathering community feedback on a proposed de-accession,relocation or removal or gather community input through other methods. 17 USC§106A-Rights of Certain Authors to Attribution and Integrity SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 34 3. The Public Art Commission may recommend de-accession, relocation or removal of a work of art for any of the following conditions: • The condition or security of the artwork cannot be reasonably guaranteed; • The artwork requires excessive maintenance or has defaults of design or workmanship and repair or remedy is impractical or unfeasible; • The artwork has been damaged and repair is impractical or unfeasible; • The artwork endangers public safety; • Significant changes in the use,character,or design of the site have occurred which affect the integrity or relevance of the work; , • Significant adverse public reaction has been documented over an extended period of time(a minimum of five years); APITH,;: , • The work is of inferior quality or is judged to have little:aesthetiii and/or cultural value; • A suitable location for the artwork has been identified that better satisfies the original goals of the project;orS� • The artist requests removal due to concerns listed above. � 4. During the review process,unless there Is imminent danger�to the public,the artwork shall 3a remain accessible to the public in its original locatio ' :,. 5. The Public Art Commission will make a recommendation td the City Council,which makes the a � final decision regarding de-accession;relocation and removal. 5kYPa • The Department of Planning and Community Developmentshouldmake agood faith effort to notify the artist that his or her work Is being considered for'd_e-accession. • If the artwork is site-specific,the Departmenf of Planning and;Community Development should make a good faith I effort to notify the artist that his-orTher work is being considered for relocation. 6. De-accession,relocation or rem val of artwork shall be done in a manner that complies with all other applicable Citystate and federal procedures,policies and regulations.For example,de- accession,relocation and'removal actions must comply with applicable procedures and laws .F, -,�, ,, k� relating to the disposition bfClty propertyand,with laws protecting artists'rights,such as the � � vgt, ,-, '9•ar Visual Attists Rights Act 1 SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 35 I' COMMUNICATION AND OUTREACH The City of Salem and the Salem Public Art Commission should work together to inform the community about its public art initiative, its new projects and to build audiences for public art through programming and ongoing communications. New public artworks are exciting and can open new discussions in a community. The message conveyed from the program can AP ANMUL, help to shape this dialogue and build support for more.projects. COMMUNICATIONS ` 3k Listed below are many strategies for building awareness Whenever possible;these strategies f �. should be employed to communicate with the many audiences;that will encounter the works of art. As budgets for projects are being built,consideration should be given to the opp rCUnities listed below and accounted for so that they are possible toacwh�yleve. PRESS/MEDIA RELEASES There are always a few media-related opportunities around the installation,dedication and activation of a public artwork.Cultivating the local and regio nalpmedla can bring attention to the artist,artwork and community. f DEDICATIONAND CELEBRATION EVENTS As each project is completed it creates an opportunity for a community celebration.All those rE involved in the selection and creation of the artwork,the general public and media should be invited to celebrate it andywelcome It into the community.These events can be as simple as a press conference,or they may turnmto a block party depe'n'ding upon the scope of the project and its location0A . MAPS/PUBLICART TOURS As the public amort collection b6gins to grout,the City should develop a digital and print map of where public art is located throughout=,the city with information about each piece highlighted. The City could also develop a'docent program that can develop public art tours.The PEM already a , offers tours for students;Mthrougs'h their Education Department,but perhaps,through collaboration, this type of programming could be expanded and extended to the general public. WEBSITE AND SOCIAL MEDIA A page on the City of Salem's website as well as the Building Salem website should be dedicated to the new public art initiative.This webpage can share the vision and goals of the program,an annotated map highlighting the City's existing public art collection and new projects. The website can also serve as a good place to host Calls to Artists and announcements about progress on projects.Often photographic and video updates on the progress of the creation of a new artwork can help to build excitement about a coming project. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 36 As the public art program grows it could add value to incorporate social media channels such as Wikipedia, Facebook,Twitter,Tumblr, Pinterest and public photo sharing sites.These channels should be evaluated in terms of the efficacy and breadth of outreach versus the staff resources that are required to manage them on an ongoing basis. COLLATERAL MATERIALS While strong temporary public art projects live forever in the memories of those who experience them,collateral materials can be a physical document that extends their life.Photography and video of projects from fabrication through installation helps to ensure that the creative process is honored as it is often as much a part of the piece as the final project Itself BUILDING LOCAL ARTS CAPACITY Since the public art initiative will be new to the Salem community=there ar'e many opportunities for m programming that can encourage local artists to get involve'd: PRESENTATION SKILLS WORKSHOPS The City can partner with local arts groups to host worksfiops for.artists interested in submitting their qualifications for review by an Art Selection Committee:9nviting an experienced public artist and past Art Selection committee member,tapresent with staffs commission member or experienced curator will provide insight info how materials arerIewed, the importance of good vsa photography and the strategy of writing a successful letter of intent a tdw ;� LECTURES AND MASTER CLASSES �;+" p i ck`4{ts v%9 `*` . As artists come to Salem to work on public art projects partner with a local institution to host a public lecture or master class.This way,they can Share their expertise with a broader audience and build anticipation for the workp theyarecreating that,will'become a part of the community fabric. M I. MENTORING Mentoridnggmri be a professional development opportunity for Salem artists who have not worked on a public art project befote.For exampleJor a large-scale commission,the Salem Public Art Commissioncould request that the commissioned artist work with a local artist as a mentee.The local artist would follow the course of the project from design through installation,would have 4txN�x„ �4Rid responsibilities for specific aspects of the project(as identified by the lead artist),and would receive an honorarium l� SCHOOL FIELD TRIPS Encourage local schools to take advantage of the artwork in public spaces.Connections can be drawn between the artwork and school curricula that will help to provide insight into the artwork and provide a better understanding of the creative process. SALEM PUBLIC ART MASTER PLAN DRAFT—FOR REVIEW ONLY 37 PROGRAMMATIC RECOMMENDATIONS PUBLIC ART OPPORTUNITIES The Programmatic Recommendations are a list of individual public art opportunities to help fulfill the City of Salem's vision for public art and build the City's Public Art Collection (see Appendix X for `R a list of works owned by the City).Some are related to proposed construchucti onprojects in the upcoming Capital Improvement Program (CIP) and others address existing spaces. The Imagine Art Here! and Public Art Envisioned community wockshops�'and interviews with local stakeholders and City of Salem staff have provided the Idea's and parameters f-rnthese opportunities.The imagination,passion and talent of the'community are evident in>the breadth and creativity of these proposed projects. u �E r The following public art opportunity recommendations are preSsented-geographlcally starting with the Essex Street Pedestrian Mall, expanding out to thegreater Downtown area and then to Citywide f > recommendations.Included in each recommended oppormn, a description of the project, project goals,recommended artist selectin strat gies and a recommended budget range that will allow for funding at an appropriate level.I Ji #� �w pauia� Y gyri °41 A S a� SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY - 38 ESSEX STREET PEDESTRIAN MALL The City of Salem,in partnership with the Peabody Essex Museum and Salem Partnership,has initiated a process to enhance the Essex Street Pedestrian Mall. Working from a plan developed by Utile and Landworks Studio in 2012,the initial phase of work,which is anticipated to be complete by end of summer, 2013 includes strategically removing problematic planters,resetting cobblestones and replacing some cobblestones with brick,tree replacement,new bollards,and restoration of the fountain at Washington Street,including reducing the size of the basin.As a longer term strategy,the plan recommends improvements to East India Square as well as public art to help anchor gathering spaces and encourage exploration of the Mal, 1. EAST INDIA SQUARE ' Through the Essex Street planning process East India Square was Identified as a site for w eventual re-design.The need for a full re-design of the space I'simade even more urgent by the continuing deterioration of the East India Square Fountain designed by John F:Collins,and the expansion of the PEM. r Public Art Opportunity 6 The re-design of East India Square should include an arhst'on the design team to infuse the overall plaza design with creativity.The.' esi n team shouldc"bnsider the space as both a "platform"for rotating art installations an for'a-wide range of performances and gatherings. Consideration of the fayade,which makes up two sides of the plaza will be a key design element.These facades could be transformed into two-di' ensio al artworks. An initial step in this process'cculd be to partner with PEM to hire a design team to develop a conceptual design;for East India Square This initial design phase would allow the City and other stakeholders to come to a shared vision for the Square,including programmatic needs,the scope of the re design and ani in tial d ign direction that can excite and mobilize potential funders:. t>rlir Putilic Art Goals a a The gbals,of involving an artist on the design team in the re-design of the Square include: u • Consider the space itself as a work of art,working with the full design team to create a functionaC=.and unique`environment. , x . • Make the spacd�welcommg and artful when programming is not taking place,a place for gathering. =t Consider how aitists,through future permanent or temporary art projects,or performance, will engage with the space. Artist Selection Approach An artist should be selected as a result of a national Call to Artists.The criteria for selection might include quality of past work,experience working on design teams,and an expressed and stated interest in helping to re-imagine public space. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 39 Recommended Budget Range An artist design fee should be commensurate with other design team members and might range from$25,000-$30,000. 2. ENTRANCE TO MALL AT WASHINGTON The entrance to the Essex Street Pedestrian Mall at Washington Street often goes un-noticed. Improvements are underway to reduce the footprint of the basin for The Town Pump fountain by John F. Collins and create more usable outdoor space.The selected.artwork for this site will i need to complement the fountain as well as the unique and varied architectural texture of this a' intersection.This is a very active corner with heavy pedestrian,use.Partners for this project may be the City, Destination Salem,and/or a corporate sponsor m # . Public Art Opportunity An artist could be commissioned to create an inviting permanent site-specificartwork that draws the eye into the Mall. It is recommended that the selected artist for this site consider lighting,or a serial piece that will draw visitominto the Mall':The scope might even-ask the rt artist to consider an artwork that incorporates Lappin Park acro§s Washington Street to help tie these public spaces together. , Public Art Goals • Mark the entrance to the mall from Washmgton and encs a travel down the Mall. -ft• Emphasize this as the heart of downtown.after ester y# ii • Add to the vitality ofthreet dar .,,. t u • Co-exist with existing fountain. • Does not imppeede pedestrian movement or;potential outdoor dining use. Artist Selection Approach r , A Request for Qualification for the project should be distributed. Rec_ommended+-Budget Range $60 000-$150,000."q; " NON 3. ESSEX TEMPORARY G The Essex S eet Pedestrian all has many cross streets and pedestrian cut-through zones that provide access to and fro' "'additional shops,restaurants and attractions,and create pathways for people to move throughout downtown.These mostly pedestrian-oriented spaces create interesting site-lines;termination points,and have the power to attract people to wonder"what is around the corner'. Public Art Opportunity These unusual,often unnoticed spaces can become interesting sites for emerging artists and designers to create temporary installations.The City should foster a partnership with a local or regional cultural institution and/or educational institution in the arts to create an annual series of three to six curated,site-specific,temporary installations by local,regional or national artists. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 40 A recommended timeframe would be during the spring and summer months,perhaps March through August,when there are fewer events already on the Mall. Public Art Goals • Link these cut-through paths visually • Make streets and paths more visible,draw people down cross streets • Visually'widen'the mall by creating visual attractions and/or activity nodes just off Essex • Partner with regional institutions,leverage resources and build new presences in downtown Salem. z • Create an opportunity for local and regional artists and designers to expand upon their body of work. • Encourage repeat visits. -• _ , • Foster innovation and risk-taking. Artist Selection Approach E The City should collaborate with a partner to curate and produce the exhibrtio annually.A partner could be sought through a Request for Proposals to regional art or design,institutions with curatorial expertise,studio facilities and managementcapabilities. The City would issue an RFP and the partner would be recommended by the PAC,based upon their curatorial approach,management capabilities,and resources both pfiysical and financial that could help to realize the project.The selected institution"would be awarded aSpecific amount to fulfill their scope of work,and could be expected to bring theirown resources fo the project.The City 1t ,, would provide support in facilitating review=of artist concepts,and design documents and any . � obtaining permits for installation. The partnen,would recommend artists and artist concepts to °_6 moi, . the Public Art Commission for their review aft "approval,"manage artist contracts,work with the artists through'the fabrication and installat o oE;their artwork,and de-install the work.The Partner and City would�work collaboratively to market the program. ham+. Nn v �6A�QY The proj&,tliartfier for this could change every year depending upon local and regional interest. Potential partners could vary ifom�art schools,universities with sculpture or architecture 4, departments,museums,oar for profit ventures including design and architecture firms. .,:=s Recommended Budgeange To supportthe°3-6 projects,:an overall budget might range from$50,000 to$200,000.The City should consider contributing or raising at least half of the anticipated costs. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 41 DOWNTOWN Developed in the late 18th century,the downtown has an interesting mix of architectural styles with some contemporary in-fill.Public art can bring vibrancy to key civic places throughout including gateways,squares and historic walks which help to tie different areas together. 1. DERBYSQUARE Derby Square is a beautiful public square south of Old Town Hall and across Front Street from •, Artist's Row.Used for the farmer's market in the summer,when not'in;season itis an underutilized public space.Salem Main Streets and Gordon College re current stakeholders in the programming of this area and should be included in discussions about planning and potential funding for an artwork at this site. 0q Public Art Opportunity �, � 4 A permanent artwork at this site could help anchor It as a public space year round,and draw people from and between destinations in all directions. y Public Art Goals .I • Highlight Old Town Hall. E • Draw connection between Essex Street Old Town Hall and�Artists'Row. • Support(and not interfere)with the farmer.'s,market and other.uses. Artist Selection Approach a Artists should be selected through a national/Internatimi rRequest for Qualifications.Once selected and under contract,theartist should conduct a site visit, engage with site stakeholders to learn about thehlstory and current usage of the site,and develop a concept proposal. Recommended Budget Ranges t}Qbp s 6 $150,000"` 300;000 TL 2. HARBOR WALK A ; Harbor a The Harbor Walk,as It desvelops,is becoming an important connector in the city.It connects the 6u.Y,R downtown to the Point neighborhood and also connects residents and visitors to the water.The next phase of the Harbor Walk will extend to the Friendship at Derby Wharf,providing a promenade/buirdwalk that would further build on Salem's waterfront. The City of Salem is building out specific sections of the Harbor Walk and private landowners will build out others as improvements are made on their property. Public Art Opportunity In City-owned sections artists could highlight key points along the way with historical markers, creative benches,consideration of how the water touches land, illumination and or projection.If artists are involved early enough,they could also impact the surface of the walkway itself.The Harbor Walk is a narrow passage,therefore,any artwork would have to have a small footprint, or be incorporated into the existing infrastructure,i.e.railings or surface. SALEM PUBLIC ART MASTER PLAN DRAFT-'FOR REVIEW ONLY 42 Public Art Goals As public art opportunities along the Harbor Walk are executed they should all work with a common set of public art goals to help build a cohesive collection. • Create opportunities for people to make a connection to the waterfront. • Highlight/illuminate the natural/environmental phenomena of the water's edge (the water surface,tides,winds,reflections). • Draw people to and through the Harbor Walk and encourage exploration. Artist Selection Approach Artist selection will need to be determined per each development'section.When the City is : involved,the artist(s) should be selected as a result of an RFPpr•process: Proposed Budget a Budgets for each project should be determined upon p o t-area scope and,,partners. 3. NATIONAL GRID SUBSTATION FENCE �� . The fencing that surrounds the National Grid Substationat,25 Peabody Street,adjacent to Peabody Park and the Harbor Walk,has varying conditions The side facing the Harbor Walk was recently replaced with a coated mesh-fence. Although:lt does not obscure the view to the substation equipment,it is a clean edge,constructed of quality material.The side facing Peabody Street is a combination of rusting wrought iron;chain link and roaa zoror wire and presents an unattractive edge facing the neighborhood Public Art Approach This fencing in the Harbor Walk side could be a]tanvas for an artist or group of artists to enhance.It would be a visual draw as one approaches the canal from downtown and would be r an additional draw to the new sectictl on,of Harbor,lNalk. On the`sfde facing the neighborhbod,consideration should be given to working with National Grid to replace or r pair the ex i Y! 4e. incorporating artwork into design.An artwork here could work well with the murals that a e installed across the street and create a new art space in the Point neighborhood�,a Public Art Goals • Creatively enhance the Marge blank space along the Harbor Walk. • Connect the space'visually with the murals on Peabody Street. v Artist Selection Approach On the Harbor Walk side,an artist or artist team should be selected as the result of a national Request for Qualifications.Once under contract,the artist should develop a concept proposal. This site might also be considered as an opportunity for a Community Engaged Project as described below. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 43 �, On the Peabody Street side,a variety of approaches could be considered,depending on the willingness of National Grid to provide the enhancement.At a minimum,as described above,an artist could be selected through an RFQ process to create a two-dimensional artwork that could be applied to the existing or a repaired fence.A more impactful approach could be to engage an artist-led team to develop the entire enclosure. Recommended Budget Range $75,000-$125,000 4. THE BLANEY STREET PIER AND TERMINALger �'Mx3 The Blaney Street Pier and Terminal is an$18-$20 million project that will increase commercial use of the harbor and allow for increased cruise ship activity The p`roiect includes a concrete h and steel pier with utilities and amenities for a variety o}f,mmercialv cels including the ss � Salem Ferry,cruise ships,excursion boats, offshore suppl' y� cwessels,and commercial fishing boats,as well as a multi-use terminal building Itis estimated that the projec twill provide a substantial increase for the tourism industry .,'iP.�µu� {{, `� , The City is nearing completion on the first phase of th'e Pier"and Terminal,which includes 260- *u ro t` feet of the new wharf,installation of.floating docks gangways and associated dredging, rebuilding the seawall,paving the packing loot and constr cting a small terminal building. M401 Ni'm Public Art Opportunity ' a The current phase of the Pier and Terminal should be a location for a permanent,site-specific work of art that welcomes`people to Salem.There are two possible sites: the roundabout or the overlook.Consideration should b$e.given for how people will use the space and how future phases of develop ent may impact the use and visibility of these sites. As planning of the new power plant developmenfparcels continues,additional public art should -•-:�- {rte' be considered_in-the early site planning for t design,to insure its overall integration. Public Art Goals � FT •Weleome visitors to"alem. • Celebrate and explo a maritime history that put Salem in the center of culture. • Highhght%'illummatethe natural/environmental phenomena of the water's edge (the water surface tides winds,reflections). 5 Artist SelectioWApproach Artist should be selected as the result of a national/international Request for Qualifications. Recommended Budget Range $70,000-$100,000 S. HERITAGE TRAIL SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 44 The Salem Heritage Trail is marked by a red line painted on the sidewalks and in the,streets throughout downtown Salem.It connects the various historic and cultural destinations within Salem,as well as linking to the MBTA station and the Blaney Street Pier and Terminal. The line creates four loops through the city and is also on the information kiosks and in most tourist maps of the city. Public Art Opportunity As visitors follow the Heritage Trail,an artist could help to highlight this passage and encourage visitors to explore Salem once they've disembarked through a series`o system of artwork such as bollards,sidewalk inserts,plaques,or cairns.The seriality of the project would further encourage exploration,provide opportunities for further interpr•etatlon and create a sense of place.The system may have historic content, it might include allusions,to local legends,or it may be strictly design focused,but it would have to be alluingyenough to'pull pedestrians along the walk. Public Art Goals • Encourage visits to wharf by passing through historic part of Salem • Welcome visitors to explore downtown Salem with the assurance that they are in the right place. € g R s, Artist Selection Approach s' An artist or artists should be selected as the result of,a national Request for Qualifications.Once s. ,� t�.°., k I, under contract the selected.artist should conduct`xslte vis`itand develop a concept proposal. Recommended Budget Rna ge In order to create a system of significance this project will require a budget of$100,000 - $200,000. 6. MBTA;$AdkINT6RMODACSTATION -r The,My3 sachusettS Byay Transportation Authority(MBTA) is in the process of a major Improvement to the Salem Station mcluding a new parking garage with 714 spaces,an at-grade bus platform,taxi lane and kiss and*ide drop-off/pick-up area,pedestrian sidewalks and a pedestrian bridge from Bridge Street,elevators and stairs down to the platform and an enclosed waiting room.T here will be station upgrades to seating,lighting,signage systems and landscaping The Construction will begin in the summer of 2013 with completion anticipated in the winter of 2014%15; Public Art Approach The MBTA garage is going to be a significant gateway into Salem.Through the incorporation of public art,it can share some distinctive qualities of Salem.To place any art on MBTA property the City Will need to obtain a license from MBTA as outlined on the MBTA's real estate website transitrealty.com. Any artwork that is proposed for the MBTA station needs to be removable and is considered "temporary",though could be in place for an extended period of time,and are reviewed by MBTA for maintenance and safety considerations.The City,as opposed to MBTA,is SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 45 responsible for the cost of any artwork,including the artist selection process,installation, insurance and de-installation. Public Art Opportunities There are several opportunities at the new station where artists could enhance the structure that would be visible as trains pass by and as commuters embark and disembark from the station.Since none of these projects are integral with the station design,they can be pursued as funding becomes available. 1. 1. Explore opportunities for two-dimensional free-standing art m the'erielosed lobby space or at the elevator exits (a form of wayfinding).Could be mosaicgporcelain enamel or laminate panels or another durable material. �? 4l0#;0 3 2. Along the eastern faSade of the garage at pedestrian level will be a brick all that varies in height from 4'to 6'.The length of this space is,approximately 300'.This`walj could be a good site for a series of two-dimensional works to add color and interest to the train /passenger side of the structure. =zl I' ,�� 3. At the northern end of the structure there is a covered.y aping area that also has a 4'to 6' high brick wall.Panels in this area w uld be visible fi oni�the train. 6a 4. The kiss-and-ride drop-off/pick up"area is another site for consideration of a two- a, r dimensional project or a suspended work.This ,are.,; a will be highly used by pedestrians and those being dropped aU_he station. y � Public Art Goals • Add color and a sense of local character to the station. • Create a sense of arrival in Salem. ' n " 1 3:t» , Artist.-Selection Approach Ana t or artists�hould be selected as the result of a regional and/or local Request for Qualifications.Once an artist/artists-are selected they should work with stakeholders including the City;MBTA and commuters to develop a specific public art proposal. Criteria for Artor Artist Selection should follow FTA Guidelines for Design and Art in Transit Projects as refe aced in FTA circular 9400.1A: • quality of art or:design, • impact on mass-transit customers, • connection to site and/or adjacent community; art that relates,in form or substance to the cultures,people,natural or built surroundings,or history of the area in which the project is located, • appropriateness for site,including safety and scale, • durability of materials, • resistance to vandalism,and • minimum maintenance. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 46 Recommended Budget Range $15,000-$45,000 per project opportunity 7. OLD SALEM JAIL GREEN The Old Salem Jail was recently converted into a celebrated residential community and restaurant.The nineteenth century facility,located at the corner of Bridge Street and St. Peter's Street,is already a landmark in the city.At the intersection in front of the jail,where Bridge Street makes a turn at the Sergeant James Ayube Memorial Drive (Bridge Street Bypass),there is significant space for a gateway-scale work of art. Public Art Opportunity . V A significant artwork comfortably sited within this landscape would'serve as a welcome to the City.The site is adjacent to the original Parker Brothers headqr an uarted may be an appropriate place for a work celebrating their start in and contributions to the development of Salem. Public Art Goalsul „ • An artistic landmark indicating entry into Salem and the downtown. • At a scale to be experienced by drivers passing by. Artist Selection Approachn , An artist should be selected as the result of a nat['"', It"equest foc Qualifications.Once under contract,the artist should develop a site specificcon`ce _proposal Recommended Budget Range $150,000-$400,000 8. ARTIST'S Row " d4( t.k h Artist's Row is a walkway between Front Street and New Derby Street,just east of Washington Street%The City lea"sesfour stalls easonally to artists to display and sell their work at no cost, in exch nge for demonstrations forth',:eublic.Artist's Row is open late May through late x,r* Noveitib�� a� The City's goals,with Artist's Row are to give area artists and craftspeople the opportunity to work, exhibit and sell the art; and to create a lively atmosphere that add to the diverse cultural offerings available for residents and tourists visiting historic downtown Salem. Public Art Opportunities The City's goals for Artist's Row can be supported through energizing the space with permanent and temporary public art installations by local artists.Artist's Row should visually declare its creativity and artists should be commissioned to help transform the entire environment. Every surface of Artist's Row should be about art. Each season, one or two artists should be commissioned at the same time that the RFP for artist stalls are issued.Commissioned could include mosaics on seating walls and planters,a new paint palate for the buildings themselves, SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 47 lighting projects,and more.These can be grass roots,fun projects that showcase the talents of local artists.Project proposals may include work that involves the community in its process and production creating more reasons to spend time at Artists'Row. Public Art Goals • Enliven Artist's Row both during and in-between the season,making is a fun and attractive pathway through downtown. • Invite artists annually to create new work,creating a constantly evolving visual landscape. • Highlight the work of the local creative community. Artist Selection Approach t _ > Each spring,when City issues an RFP for spaces at Artists Row it should include one or two new invitations for artist-initiated opportunities for publirart.Artlstsshould submit proposals for these opportunities to be selected by the same Art Selection'committee determining the artists for the stalls.This will ensure a curatorial cohesiveness for Artist Row y t Recommended Budget Range 3 P •„ SRi' $1000 to$10,000 per project � en, k {9,i" Vp ' AIM V k a 3 SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 48 CITYWIDE Public art can also play an anchoring role,as well as a community building role in neighborhoods throughout the City whether in City parks,on bike trails or at other community gathering places. 1. COMMUNITY LIFE CENTER The City of Salem will be acquiring a new 20,000 sf state-of-the-art senior center within the Gateway Center project,a new building to be constructed at the corner of Boston and Bridge Street. Public Art Approach { The City should commission a permanent artwork that celebratesthe specific audience and users of the center.The work can be interior to the building or It might welcome visitors as they approach from the outside. RH The City should also consider incorporating a rotating art gallery in the Center'to showcase r,nc �6t local artwork and draw cross-generational audiences. Y �+ Public Art Goals • Express Salem's community identity,. • Help anchor the facility in the community Artist Selection Approach t� 't^ � For a permanent artwork,an artist or artist teams should be selected as the result of a national Request for Qualifications.Once under contract.6iart st should develop a concept proposal. >> h i r fl Recommended Budget Rae ��`� � 4' If the work is on,tKe Interior,the:badget may range,from$15,000 to$30,000.If an artwork is commissioned for the e tx erior a,budget of$60,000 to$100,000 should be provided. If a gallery Is incorporated afi annual budget for programming should be established including admmistrahve costs and costs for collateral materials such as press releases and invitations for gallery openings. eo � 2. WATERFRONT PARKS Salem Is a city built by the water.However,due to infrastructure,use and time,the water's edge has become less visible and accessible. Fortunately,there are a number of City parks that touch the water and provde'free and equal access to all residents.Many of these parks are slated for improvements as noted in the 2007 Open Space Plan. • Forest River Park • Salem Willows • Winter Island • Peabody Street Park • Derby Wharf(NPS site) • Palmer Cove • Collins Cove Playground SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 49 • Furlong Park • Kenwood/McCabe Park Public Art Opportunities Artists should be invited to enhance the experience of water,wind,and light at each of these parks creating a series of artworks that surround the city and celebrate its location and maritime heritage.As work is being done in these parks by the City of Salem Parks Department, consideration should be given to artworks might be incorporated. Public Art Goals • Highlight/illuminate the natural/environmental phenomena of the water's edge(the water surface,tides,winds,reflections). ie � • Engage residents and visitors with the coastline Artist Selection Approach Ar u } If significant park improvements are being made a"Request for Qualificatio s s}iould,be issued u. , as early in the process as possible.This way,the `selected artist can integrate thei.>r work into the o, �r park improvements.Once under contract the artist should develop a site specific c concept proposal. NH Recommended Budget Range Budgets will depend on the scope of the proposed'project They may;vary between$50,000- $300,000 per project Act r y 3. COMMUNITY ENGAGED PROJECTS Artists build community through projects in neighborhoods,parks and schools which emphasize process collaborative products.These types of projects allow communities to explore issues that are relevant and imp rtant i their daily lives. Potentially,they open lines of communicahoh`s,�paths to understanding anda new sense of community identification and pride.. Public'Art Opportunities �.._, The Cityshould develop a partnership with a community organization or institution such as the I'llSalem School`;the Boys and'Girls Club,or a CDC such as the North Shore Community Development Coalition,aii4a cultural organization to develop community based public art projects for a spec f c neighborhood location.Through this collaborative partnering,the groups can work together Ift.bring an artist that will help to support the goals of the City and the community. Public Art Goals • Build audiences for public art • Create meaningful work within the context of the community • Extend services already offered by partnering institution Artist Selection SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY SO The City should issue a,Request for Proposals to local and regional arts programming organizations.The RFP should request information about the types of programs,artists and collaborative capabilities the organization could bring to Salem and haw they propose working with a specific community group.The selected partner would then be responsible for selecting projects to pursue and artists to work with.As a result of this project plan,the groups can work together to bring in the right artist for the project.Projects will then need to be reviewed by the Public Art Commission once selected artists have developed concepts. Recommended Budget Range ; Budgets for these types of projects will vary from$10,000 -$25,000 depending upon the scope and goals of the project. 4. BIKE TRAILS As bike trails are being designed,planners may consider including an artlst6n the design team to enhance the trail experience. K 4 a1 t� 3 s Public Art Opportunity 11 " Include an artist in the design process for a new blke't,""ail as early as possible. y For example,as the bike trail along Cahal Street is being developed,an artist,or artists should be a en ed to think through how art m ht enhance the ex erlence:The current fence along engaged g g P g Canal Street will be pushed back closer to the Aracks.This will allow for a paved pathway that will go underneath and between three billboards Th6se billboards,or sites closer to the ground plane,may provide an interesting canvas for arhstsV Public Art Goals o rm • Build awareness of the City s growing bike trail network. • Encourage alternative forms of transportation. • Exper.Ienceaetineverydayiplaces. =fin Artist Selection Approac An a3rhst should be selected as the result of a regional Request for Qualifications.Once selected, the artist could attend design meetings and have a dedicated budget for public art on the trail. Recommended,Budget Range An artist might be paid aadesign fee of$7500 -$15,000 depending on the scope of work.A dedicated fee for ar ght be$10,000 -$20,000. SALEM PUBLIC ART MASTER PLAN DRAFT—FOR REVIEW ONLY 51 SUMMARY OF PROJECTS PROJECT SUMMARY RECOMMENDED BUDGET RANGE ESSEX STREET PEDESTRIAN MALL East India Square • Conceptual Design product for Square. Artist fee for participation on • Consideration of potential for a design team-$25,000- temporary artwork. $30;000 Entrance to Mall at • Permanent Artwork 4 1 64,00()-$150,000 Washington '=' Essex Temporary • Temporary Public Art Exhibition vTbsupport the 3-6 projects, WE .t;u an overall budget might range from$50,000 to „ ' I $200 000; DOWNTOWN . '>" I °' Derby Square • Permanent Artwork 4W, $150,000 -$360,000 Harbor Walk/Canal • Permanent Artworks-serial and/orBudgets for each project periodica should be determined upon in project-area scope and partners. National Grid • Permanent and or tem t '$75,000-$125,000 Substation Fence P7 ,. Blaney Street Pier and • Permanent Artwork, _ $70,000 -$100,000 Terminale s Heritage Trail ,: Permanent Artworks serial and/or $100,000-$200,000 <: eriodlc: ,F MBTA Salem •'fir,Long term°temporaryartworks. $15,000-$45,000 per project , Intermodal StationMulti' le o ortumr tles: opportunity Old Salem,Jajl Green • Peirinanent Artwork' $150,000-$400,000 Artist's Row :- Permanent.and temporary artworks $1000 -$10,000 per project CITYW1bE, NO, '*'mp Community'Life • A Permanent'Artwork interior and/or $15,000-$30,000 interior Center Nits, exterior $60,000-$100,000 exterior �a Waterfront Parks • #Permanent artworks $10,000 -$30,000 h9•�TPTemporary artworks temporary $50,000-$300,000 permanent Per park project Community engaged • Permanent and temporary artworks $10,000-$25,000 depending projects upon scope and goals of each roject Bike Trails • Temporary billboards or artworks $10,000 -$20,000 SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 52 MAP Coming in final draft kvlt ter¢. 41 * 1 Y t:t� It AM 41 P �(Yk, SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 53 PRIORITIZATION The proposed budgets for the projects listed above under Project Opportunities are based on what is appropriate for the project,rather than the funding and staff resources available. Therefore,the Department of Planning and Community Development,Public Art Commission and community partners will need to prioritize projects based on a set of criteria. • Support the vision. Priority should be given to projects that support one or more of the three areas of emphasis in the City's public art vision: culture,community and design. • Visual impact.Priority should be given to projects in highly visible locations that reach a broad and diverse audience. . • Timing.Consideration should be given to projects that can,be done'm conjunction with a major capital building or infrastructure project so that an artist canintegrate their work into the design process. • Funding and Staffing.There is an identified source of funding to support the projectand adequate staffing resources to administer It Near Term Priorities "" -v Through the course of this planning process six projects were contjnuously discussed as priorities. The first three projects are not tied to a specific capital protect and ould'be started as soon as 3� funding was secured. • East India Square (design,phase), 4 • Essex Temporary," ! f� • Artist's Row " The next three projects are li capital projects either led by the City or others.While public art could be added in at a I`ater date,incorporating public art earlier on may result in cost savings and will allw,`for,public art to be a part of the facility from day one. • The Salem Wharf • MBTA station • Community Life Center SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 54 APPENDIX A:ACKNOWLEDGEMENTS To help oversee the planning process,the plan project partners assembled a Working Group.This group of Salem citizens provided guidance for research,valuable feedback and direction as the plan developed and careful review of the recommendations. A significant amount of the research for the planning process involved discussions and tours with community members.Some provided their expertise relating to City,functions;goals and plans and others toured us around providing insights into how Salem residentsperceive their own community.All provided invaluable information that is mcorpo' ted into`the recommendations for M how the Salem Public Art Initiative will function and for what itwill achi6ie Salem Public Art Master Plan Working Group ,`Jr' � Mr.,Trevor,Smith,Curator of Contemporary Art,Peabody Essex Museum, Ms.,Patricia,Zaido, Executive Director,Salem Partnership, ` Mr.,Ron, Malionek,Assistant Director,Salem Department of Public Works, Ms.,Sandy, Heaphy, President,Executive Board MHP Enterprises Chamber of Commerce (also of Kensington-Stobart Gallery) �b Ms.,Karen,Gahegan,Director,Center for Creative and,Performing Arts,:Salem State University,and President, Destination Salem. VM Ms.,Ellen, Hardy,Interim Executive Director,Salem Arts Association, Ms.,Leonie,Bradbury,Director,'Curator: Monti ierrat'College'of Art Galleries Ms.,Kate,Leavy, Local business owner- Roost Beehive and Scrub Ms.,Helen,Sides,Architect; member of Design Review Board and Planning Board Mr.,Mike,Lash,Local public art consultant and residen'tl Mr.,Jonathan,Parker,Chief of'lnterpretatiop�, &Education,National Park Service, — .,m Ms, Rosario,Ubiera7Minaya Exec;Director;Salem'Education Foundation Mr. Robert,;Mitmk Salem Redevelopment Authority Meetings Mayor Kim Driscoll - Joshua Basseches Deputy Director&Chief Operating Officer,PEM Michael Blier, Landworks George Doherty Margie Lochman,Katherine Nolton and Gretta Van Grossma,MBTA and Jonathan McCreedie,Fennick McCieedie Kate Fox,Executive Director, Destination Salem Ellen Hardy,Salem Arts Association Steven Immerman,President,Montserrat College of Art Mike Lash Tim Love and Meera Deean,Utile Joan Lovely, Massachusetts State Senator Rinus Oosthoek,Director,Salem Chamber of Commerce Matt Picarsic, RCG Patricia Zaido,Salem Partnership SALEM PUBLIC ART MASTER PLAN DRAFT FOR REVIEW ONLY 55 Megan Pendleton,Youth Programs Coordinator, PEM Ken Reker,artist and sculpture professor,Salem State Claudia F.Chuber,Director of Community Affairs, PEM City Staff Nina Bridgman,Acting Director, Finance Lynn Duncan,Director of Planning&Community Development Jane Guy,Assistant Community Development Director Karen Partnenen, Director,Parks,Recreation and Community Services,"Urthc Daniel Sexton, Staff Planner x t A Ellen Talkowsky,Manager of Special Projects , Frank Taormina,Staff Planner and Harbor Coordinator Tours , *TOS i= Tom Daniel,former Economic Development Manager" w t Danielle McKnight, former Staff Planner Helen Sides,Architect and member of Salem Design Review Board l Trevor Smith, PEM Rosario Ubiera-Minaya,Salem Education Foundation and Mickey Northcutt,CEO North Shore Redevelopment Coalition Karen Gahagan,Director,Center for Creative and Performing Arts SalenState ` F 3 vj � n i » X" y5 � s�G SALEM PUBLIC ART MASTER PLAN DRAFT—FOR REVIEW ONLY - 56 APPENDIX B: DEFINITIONS Accession-The act of adding or acquiring a work of art to the Salem Public Art Collection through commission,purchase or gift. Artist-A professional practitioner in the arts,generally recognized by his or her peers as possessing serious intent and ability.For commissioning purposes,an artist cannot be a City 4,g' •,", employee,a member of the Public Art Commission or the relevant Art Selection Panel.If part of a Capital Project,the artist cannot be a member of the Prime Consultant's firm or team. Art Selection Panel-An ad-hoc subcommittee of the Public Art Commisstop that can be organized recommend the selection of an artist or artwork for a particular`project. y> Artwork-An aesthetic creation of permanent or temporary medium or combmat cm:of media resulting from the skill and creativity of an artist or actlsts Call to Artists-General term for a request for artists tapply fora public art commission. •Ird Vt taT Capital Improvement Program (CIP) A multiyear plan identifyingcapital projects and equipment to be funded during the fiscal year.The CIPJs part of the Cit/, s Adopted Annual Budget and Capital -' Plan for each fiscal year and provides afive=year forecast;.,, ' f ern Capital Projects-Building proje'ets outlined In he CIP Concept Design-The phase of a publicart project}m which an,artist creates an initial proposal, including diagrams or a maquette and conducts a preliminary cost estimate. a 4, , Conservation The regularly scheduled 6'inatlon',documentation,treatment and preventative care of an artwork C66ducted by a professional art conservator. De-accessioning-The permanent removal of a work from the City's Public Art Collection by selling, donating or;destroying it. lU. Design Review Board(DRB)-The Design Review Board is an advisory board reporting to both the Salem Redevelopment,Authority and the Salem Planning Board.The SRA requires that all improvements to the'exterior of a structure and any changes to signage to properties located within the Urban Renewal Areas"undergo design review.The DRB also reviews projects in the City's North River Canal Corridor District. Final Design and Construction Documents-The phase of a public art project in which the artist finalizes the design,placement,installation specifications and cost estimate,and has relevant components prepared and stamped by a licensed engineer. Gift-Art donated to the City from a private individual,institution or other outside source. SALEM PUBLIC ART MASTER PLAN DRAFT—FOR REVIEW ONLY 57 Individual Project Plan-A document,developed by the Department of Planning and Community Development with input from the Public Art Commission,that outlines the work that must be done to undertake a specific public art commission or acquisition and establishes the goals against which the project will be reviewed.The Individual Project Plan is approved by the Public Art Commission and forwarded for approval to the Salem Redevelopment Authority,if in an Urban Renewal Area, and the Mayor before a project begins. Loan-Artworks provided to the City for its use for a period of time and to be returned to the owner after the loan period expires. ,z%u Maintenance-The routine care and repair of works of public art t11 oes not re uire specialized expertise(i.e.: dusting,washing,changing light bulbs,lubrication of b, arts,etc.). -3, Partnership Project-Public art projects where the City seeks,'a partner usG'111" t rou h a Request d '�Ind dd for Proposals process,to manage aspects of the project��,afid pirovi eex ertise - 'a itional p resources. 4,KIP NM, Public Art-Elements of a public place that are designe a 69sional artist or artist team. Public art can be permanent,temporary or functional. Ii can be stand-alone or integrated into the architecture,landscape or infra§thicture such as public,buildings,bridges and parks.Public art can be the sole creation of the artist or it,may result from a d6§ign,team approach in which artists work on project teams with archite�'t§,,enginee�s,,Iandscape"�rchitects and others to design and create public places. 'V&*"h�nM, IN, PublicArt WorkPlan- Plah,"d6el6ped by the De� ment Of Planning and Community A-ap, Development,in collaboration witlkh�Public Aritommission,that outlines public art activities %�v� 've�, _, and the use of the Public Art-Fund fqe,the coming fisealyear. Z ,- - &�...... inmissioned by the City. Salem Public Art-Collection -Pu lic art o' r CP Sale e evelo entA�thority(SiR)��7he City of Salem created the Salem Redevelopment Aut Oil '(S ) in 1962�ido`rcler to advance the revitalization of key portions of its historic *'A r1K, do ntown. e activities of the SRA are governed by urban renewal plans that were established by the City,in acco dance with the,state's legal standards and regulations.The Executive Director of 11 4�� w"i the SRA is the City'5"Director 6fPlanning and Community Development. Site-Specific Artworks--'Artw"orks that are inspired by and created to fit the context of a particular 1,, place. Temporary PublicArt-Works of art that are created to be in a public place for a limited period of time,generally less than five years. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 58 APPENDIX C: GRANT OPPORTUNITIES National Endowment for the Arts (NEA).The NEA could continue to be a good source for funding. The NEA accepts applications from nonprofit, tax-exempt 501(c)(3) organizations as well as units of state or local government.The NEA has several grant programs that support public art. NEA-Art Works.The goal of Art Works is to support the creation of art that meets the highest standards of excellence,public engagement with diverse and excell6rit'Art,lifelong learning in the arts,and the strengthening of communities through the 'it in t ese areas,innovative projects are strongly encouraged.Grants generally range to 1 0,000.There are generally two deadlines annually(the next deadline is Au I n a review of recent Art Works recipients, public art projects generally have a s,'r e munity impact ak, and already have artists selected and a sense of the artist" c r roject.The Salem Public Art Master Plan is funded through an ArtWorks gra No 4L NEA-Challenge America Fast Track.The goal of Chall6rige is to ori projects that extend the reach of the arts to underse.11 e o ulations.-- her is one deadline per year(next deadline is May 23, 2013).These gra ia e or 00. hall' e merica supports " V professionally directed public art proj ts.' r-jects ust be vis only(such as murals, sculptures, or environmental art) that are, evel6 'e"t rou co-"ffiunity engagement. Evidence of community involvement in the,planning,cesi", r fabrication of the work must be apparent. A,W i. W11 r 1 11 1 , 11 NEA-Our Town:tOlir own funds' reative placemaking projects that contribute to the livability of communities and c the r "iifth 4�, 1�,-�,, ', core. cant amounts range from$25,000 to$200,000. There is one,deadl nea ear.', '6 t3 I has passed. Art Place.,,ArtPlace is a oratio"' f,to national foundations,the National Endowment for the Artsand Various feder I encies to accel rate creative placemaking across the U.S.Participating founclation��Frilclude Bloo be P ilant ropies,The Ford Foundation,The James Irvine Foundation, The John S.and'Ja'mes L. Knight Foundation,The Kresge Foundation,The McKnight Foundation,The Andrew W.Mell6ff]76undatioa��'The Rockefeller Foundation,Rasmuson Foundation,The Robina 1V 11�ftl 'Itv Foundation and an aficriymo s donor.ArtPlace periodically awards grants to organizations doing groundbreaking work in creative placemaking. Other Foundations.While there are few major regional and national foundations that have public art as one of their primary focus areas,there are several that have art and culture,placemaking and/or community development as a focus, of which public art can be a subset.Many of these foundations also have a geographic focus area.The City of Salem should take a focused look at private and corporate foundations that have these interest areas and that have the Salem area in their geographic focus. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 59 APPENDix D: METHODS OF ARTIST SOLICITATION Any of the following methods could be utilized to seek out artists when conducting a competition to select an artist for a commission: OPEN COMPETITION In an Open Competition,any artist may submit his or her qualifications,subject to any 1&�, requirements established in the Call to Artists.The call should be suffici v detailed to allow artists to determine whether their work is appropriate for consideration. 0.1 An Open Competition allows for the broadest range of possibilitie,s a A�n, rin in new,otherwise unknown,and emerging artists.However,Open Competitions cdi,co su ealar e amount of staff resources,and sometimes discourage established artists Wfib"prefer to respo I n 'to limited 01, competitions or to be directly selected for projects. LIMITED COMPETITION OR INVITATIONAL a zzhl A10 In a Limited Competition or Invitational process,several pf67seletted`artists are invited to submit ,*nt,�& their qualifications and/or proposals.This method would be appropriate when the City is looking for a small group of experienced artists,Aieriihere is a limited'diiie,frame,or if the roject '9-A p requirements are so specialized that only a4im�iill�� 'number of alr6adyid6ntified artists would be %,A�Al eligible.It is possible that this list of artists m'_a L mit6diorinvitaticiftil Competition would come It from an Artist Registry DIRECTSELECTION A,l On occasion,the City may choose to directly reco �71' d.an artist for a project. Direct selection may be useful on projects where there is-an urgent.timeli low budget,or when very specific project requirements exist.It is possi-616'fhat this'artistwould come from a pre-qualified list or roster.Such selection would need to'be consistent with City procurement procedures and be approved as part of the,lfidividual Project,,Plan. V01 DIRECT P'URCHASE Some projects rqu1ire the puf chase of a specific artwork due to the exacting nature of the project or a very limited projecttimeline:,In this case,the work must be"one-of-a-kind"and not mass- produced or off-the-shelf,unless it is part of a limited edition. Ii is possible that this artwork would come from an artist onla�or I e-qualified list. Approval of the Mayor must be secured to prior to utilizing this selection method. PRE-QUALiFiED ARTIST ROSTER The City can decide to develop a pre-qualified pool of artists,or Artist Roster,from which it can choose artists for Limited Competition/Invitational or Direct Selection.This Roster would be developed based on a comprehensive review of qualifications from artists who responded to an Open Call to Artists.This list could be focused on a specific set of opportunities,or be used for a broad range of commissions. If the Roster is meant to be used for several years,it should be SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 60 updated annually or bi-annually to allow new artists to be considered and to allow Registry artists to update their materials. A Roster requires upfront work and ongoing management,but it allows for artist selection for specific projects to proceed much more quickly.This would be a viable strategy if Salem were anticipating a large number of commissions over a short period of time. 'a AN, IN 03L p4 -5, Its; SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 61 APPENDix E: CRITERIA FOR SELECTION AND REVIEW At various steps in the commissioning or acquisition process the Public Art Commission, the Mayor and the SRA may have a role in reviewing the project.The following criteria should serve as a , starting point for evaluation of projects at various benchmarks. QUALIFICATIONS REVIEW CRITERIA The PAC will review qualifications based on the following crite A* ria,as well,as other criteria that may be added because they are specific to the project: Artistic excellence and innovation as demonstrated by the a 'S twork. The capability of the artist to develop a project that is consis 'th6yision for public art in Salem and specific project goals outlined in the RFQ. A demonstrated understanding of and interest in,&6ating'�w�ork for the spe'ific-site. Established proficiency in the use of materials,appropriate for a public installatiow..6, CONCEPT DESIGN REVIEW CRITERIA —AESTHETIC REVIEW The PAC will review the Concept Design based on the folloWing�criteria,as well as other criteria Skthat may be added because they are specifi�_td the project: 5, N. • The concept demonstrates artistic excelf6rice,in,aifitaining high quality,innovation,creativity and clarity of vision. VY ru how the artwork will be • The artist possesses a clear,understanding bf,the,site,inclddi��g integrated into the phyiical environment and how it will en age the public. 9 The concept addre�seslthe overall vision and goals for public art in Salem as well as project- specific goals. CONCEPT DESIGNRE EW Ch RIA — E—CH ICA" REVIEW The City of Salem iiaffi�vill conduct atechnical review and provide feedback based on the following W '&`rations that may be added because they are specific to the conside4sations,as well as�other con%�i 'W",—, I " I "I project: Capacity to,meet all safety'and maintenance requirements. Ability to sa'6s'f' y the budgetary limits of the project. Feasibility of ti�`e ine. Im Consideration of ali stages of fabrication and installation. Consideration of sieerissues such as permitting,installation staging,and availability of electrical or other utilities. CRITERIA FOR REVIEWING ACQUISITIONS The Public Art Commission will use the following criteria when evaluating acquisitions of existing artwork,as well as other criteria that may be added because they are specific to the acquisition: Clearly responds to the City's vision for public art. SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 62 Meets the project's goals as outlined in the Individual Project Plan. Demonstrates excellence in aesthetic quality,workmanship,innovation and creativity. Demonstrates appropriateness in scale and form,and is of materials and/or media suitable for the site. Demonstrates feasibility in terms of cost,timeline,safety,durability,operation,condition, maintenance,conservation,legal and ethical issues related to possession and use of artwork, security,and/or siorage and siting. CRITERIA FOR SALEM REDEVELOPMENTAUTHORITY REVIEW OF PUBL-kART COMMISSIONS AND ACQUISITIONS The Salem Redevelopment Authority Will use the following critelria�.t �T'evie ro osed commissions and acquisitions of artwork in the Urban RenewalA,rea. The project is supportive of the land use in the adjacent ea. The artwork is appropriately sited. q XT, AR'K, CRI TERIA FOR MA YORA L REVIE W OF PUBL ic A R T C01MMISSIONSA ND CQUISITIONS The Mayor will use the following criteria to review prop6socl,corfiffiissions and acquisitions of artwork: Al The City's policies and procedures haV4-13-ee followed properly2,,�,,�...... Recommendations are consistent with the,apotoyed4ndivi dual P�qject Plan and other relevant plans and policies of the City. A" "Mr SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 63 APPENDix F: SALEM'S PUBLIC ART COLLECTION Sculptures. Memorials and Monuments Maintained by the City of Salem, incomplete listing. 1917 Roll of Honor 1919 23rd Regiment Boulder and Cannon Captain William Driver Memorial Choate Monument Statue Citizen's of Ward Civil War Monument A, Cpl. Robert McGlew Park Memorial Immaculate Conception Parish Monument John Riley U.S.N. Memorial John Splaine,Jr. Memorial Park Lafayette Park War Monument Liberty Tree Plaque Merrit Camp Civil War Memorial* Mr.Jean M. Mussud Memorail Nathaniel Hawthorne* xlil'�' O'Keefe Memorial Field Plaque xN Replica of McIntire Arch* W1, W, Roger Conant(1592-1679) 1st Settler of Saer,6*t!jjj� Salem VFW Memorial* Salem Ward Three World War I Memorial Soldier's Memorial Bandstand Theobald Mathew Statue -D, Town House Square War Memorial 5A I I World War I Monumi WWII Plaque "4 Owned by Salem and maintained by others W M� a itch emori I &Zo Works on Loa-n Bewitched Statue",R, V, *Objects marked with an a t ikare registered with Smithsonian Institution's Save Outdoor Sculpture Program SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 64 APPENDix G: IMAGINE ART HERE DOCUMENTATION BACKGROUND On Tuesday March 12,the City of Salem,in conjunction with project partners the Salem Partnership and the Peabody Essex Museum,hosted a public art workshop titled ImagineArt Here!The workshop was facilitated by Via Partnership,the public art consulting group that is leading the development of the public art master plan.This community engagemenOPlorkshop was designed to: N� Provide information about the public art master planning cess. g Provide participants with a better understanding of the b t a e t of public art,a ui� role familiarity with different types of public art,anda exposur cts c issioned in other communities. al Generate discussion on public art values visionantgo Generate discussion and ideas regarding potential-,public art'�Oproaches,site 6bj-ctives, project types,partnerships and additional insights." More than 50 participants took part in t4e,two hour workslib" ;and shared their views on how public art can have an impact in Salem. wv�� WORKSHOP FORMA T The workshop began with amoverview of the planning pro'ce by,',Mayor Driscoll and a slideshow "i"'. J presented by consultants M6tidith:McKinle and- j il lu eilfeld of Via Partnership. The Ji ioA. - slideshow presenteddiffe,rent types of public art and how artists are working in Salem and in other communities.The framework for the presentation qfiniages was a proposed vision,or big-picture view of what Salem's public'_�a can"-cmtriButeto the,community. Examples of artworks in other communities demonstrated h6" ese laces z a 1commissioned or acquired artwork that 4� 4 supported'a'§imilarvision or goals.�Workshop participants were asked to provide feedback on this g" vision.� 5 J� &h )6 As the slides dw conclude rticipanis were asked to work at the tables where they were seated X,'i to discuss potential sites for public art and why these projects would be important. Each table was led by a facilitatd Who was asked to guide the discussion.The tables were supplied with a downtown map and'a C ide map,public art cards,and markers to draw,describe and notate thoughts. Participants were asked to think broadly and not concern themselves with limits regarding cost. GROUP DISCUSSIONS An important aspect of the workshop format was to give each participant an opportunity to share their thoughts and ideas:The break-out discussions were designed to elicit individual thoughts as to develop some consensus around the types of projects the City might prioritize.The analysis of SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 65 these discussions can help to shape the creation of projects with an understanding of community need. mg SHARE WORDSTHATYOU WOULDLIKETO USE TO DESCRIBE SALEM,FIVE YEARS FROM NOW "0---3 "'O",-4� � /Jz, - Each participant was asked to share a word to describe how'they would like to be able to describe Salem five years from now.These are theT&sponses: integrated (2) • Humor �'Spiritdality?,, mp • Cohesiveness Arrived�W, 0 Lighting ,11.,4�zr.,R vor • Quality Vibrant(j)�'":- 121��,, 0 Color g5,� rtbltg��, H. • Waterfronts ..... Inte 1 Challenge • Sophisticated Asto i-§ ing Push • Dynamic Spar lin Be unafraid 1 9 W1 • Inclusive agical -.0 0 Progressive • Reflective Intelligent "AM 4gpeu 0 Rrexsi�ons�--- W Port of Culture mazing 0 T a �61azirfg�q- Attractive 0 Returnable Z Edgy 0clectic -Original Risky Memorable Creative Accessible, Nn Inspired AN; SALEM PUBLIC ART MASTER PLAN DRAFT-FOR REVIEW ONLY 66 WHATARE THE Top 3 PROJECTS OR SITES TO PLAN FOR OVER THE NEXT THREE TO FIVE YEARS AND WHY? The projects listed in this section are those that came up in discussion in each group. Group discussions were animated and fruitful.Each group elected one or two participants to share the highlights of their brainstorming with the workshop participants at-large. Projects to pursue now • Artist's Row • Bring color to Artists' Row with a creative lighting projece-fhat runs across it. • Artists' Row-gateway,annual art event,light,creativepathways • Artists' Row can be the arts hub.Respect local artists and community past and present • Artis ts'row is a bri dge to LO LA a nd D e rby Street 61 • MBTA Garage • things that move,colorful lighting • kinetic,illuminated,infrastructure • Transform overpass to train station • MBTA garage-illuminating lightbox,kin4i • Inside of MBTA tunnel (lightinstallation) Essex Street Pedestrian Mall • illuminate,discover -V1 • East India Square-lightin r cts a, Gce for performance • Garage enhancement(dis is r e) • Essex Str ,eet-Ma0with w r eA, s ra map reflects idea of history as a world mecca=wate�V�r`eflec s ari e istor • Creatively light pedestrian mall • Gathering spaic6e;,consume s t at have multi-purpose art exhibitions -draw but also".work" ,people 4'6 Fountains on Essex-N_� o " ' I"A Place'miis6urn quality-light boxes on garage 4QQiri o Enhance'jailiering spaiicie's'o'n Essex Street Pedestrian Mall I IRK Projects to pursue in fivi-kears • Wharf A_- & • Salemwelcome • easterrilin6uences,maritime history • Extend Harborwalk towards Friendship • Harborwalk:water,light,change • Harborwalk • creative benches to encourage staying,lighting in canals,firewater,Tide Flowers • light; tide change; projection • illumination and discovery OTHER SITES, THEMES AND ISSUES DISCUSSED The ideas listed below were noted by individual groups. • Sites mentioned many times (more description below) • MBTA Station • Artists' Row • Essex Street Pedestrian Mail • Wharf • Harborwalk • Highlight existing sites as strengths/improvement areas '4"i4pl N, • Lafayette,Canal Street-fence along MBTA track AR, P • Bridge Street Connector & 4,%Ai • Historic Salem • Perpetuate Salem being home of National Guar mur Ipture J • Old Derby-Illuminate pathway area "'141MIN74 ",1% in A n in • Triangle in front of old jail should be ho eloa'Monopoly mo ument • Enhance existing art-focus on street'as a historical corridor.-Clio-Apte,Robert Conant, 16th Regiment Rock(Iighting�l RIJ 4 • Film on buildings=city's heritage • Historic Sculpture Pathway-Congers Street • Historic Area Selected • Blaney Street/Artist Houls%h, e �ab Salem Today • Lafayette Park and St.Josepfi!s-hub-Aynch pin-ho larify and create a new vision"of an area. • Freestanding�lii�p,posts-build'qn,' er'ods X!7'�' • Improve,view' s to Old`7own a • Salem 6-aimon-tbf�k about vistas'�`and viewsheds to art,beautify • Labyrinth in Salem Common • Continue Lady�of Salem-pr( .0 • Improve and beautify in rastrVcture wHighlight hidden gems d A 0 Sen�o�r,Center-bench6s,and sculpture 4NReplace arth on Salerii Common that is falling apart -o-) Harborwalk�,-7 �10�, �projects in-water,along pathways,incorporate light,include benches 0"", o er Plantls�an opportunity for something 0 T�ZrbySquare'�m' erformancespace 0 ��' Ai A� :'(pub q art s I ) tell us who we are and tell us who we are becoming." 0 'Salem was-t e original cultural hub of the United States.New work should be as originai,no sit as then." - • Navigation e • Gateways to City-entries and exits • Highlight vistas with lighting • All over City-Monopoly pieces • One project with multiple site that links sites to places to each other • Sidewalk navigation • Red line (or a different color for different areas) needs to go to more places • Walk-way Illuminating; magical,transportative, LED trips-cheap-smaller budget • Artist Selection and Art Production o What do wewant the art"to do" relative to where wewantit to be. o Bring artists in,but also hear local artists o Involve schools and students o Public art from the community and outside ExIT QUESTIONNAIRE In an effort to be certain that everyone had the opportunity to participate as well as share additional thoughts,participants were invited to fill out a questionnaire at the end of the workshop. This form asked four questions: 1. What are you looking forward to most about public art in Sale 2. What was the most exciting idea you heard this evening? -F Rik, 3. What image of a public art project from tonight's present i il it ou? 4. Please share any questions,suggestions or concerns you g ha 'out public art in Salem N-11 that weren't addressed at tonight's workshop. Through discussion and from response to the questionnaire,it see s as t ough partid an are very interested in the community engagement pot6irtiluf public-art in Sale . he t e e of �%'11 , A�l community building came up consistently as well as diseu`ssions-a�ro nd issues of design, especially relating to Artists' Row and the new MBTA station.A strong,interest in revealing Salem's "long forgotten past"as well as creating opportunities for artists toconiment on contemporary Salem 4. '-mv"" revealed that the Cultural aspect of the vOidn'st4tement is strong V��V Questions 2 elicited many responses about thi excitement around the creativity that public art can ,%& 4"9� bring to Salem.Many participantsc9mmented'bri th'6,ability,tb transform Artists'Row through "O"��Q ,�ko' public art and many commente out creative lighting drawing people to new areas in the City. Question 3 revealed't a ere i's a si�� ng inte est i n pro j cts that bring light to Salem both in populated places and into'pl#es that *all 0 unn'oti e .On the questionnaire,the project of lampshades strung,across the,�alley'was mentiohe& ultiple times along with the Tide Flowers by Stacy Le 6t 'n- oned in the�questionnaire,but revealed on the preference board is the interest in stron threshold mar ers.'such as th&project by Jorge Pardo.Water and light seemed to Aa 7,��, �'re interest do ina in p gards to roj Beforelight,Syn-oikia Pittaki Jorge Pardo,Penelope Stacy Levy, Tide Flowers 2 �T, 't 4 -911AM j ,e*l er Question" r t u any�concerns about local v:national,historic v. contemporary and process. T is ue 1 1 revealed tl;a(there is a significant group interested in reviving Artist Row.Also, s e te r r u lic art projects are already underway,i.e.light boxes and Lady of Salem,and there is c c r a"o,uthow and whether these programs will be able to continue once the program is in place. NMO EXIT QUESTIONNAIRE RESPONSES 1. What are you looking forward to most about public art in Salem? • Great art to complement our great history and architecture • Beautifying and revealing places that might otherwise be missed.Creating welcoming en tryways. Building community and bringing diverse groups together through creative 4 b ug st on a so 14, 1h, mpo a yp on e n b opportunities. • Big,bold,complementary,memorable to other art 3 • A way to transform the City • A connected correlation between the vibrant,growing artist community in Salem and it's representation through art accessible t�all. • Very strongly looking forward to recognition of the militia"where it all began" National Guard of the USA • Participating in the process • Evoking curiosity-putting Salem on map as an art destination • Excitement through color and illumination of large areas • Creating whimsy,inspiration and friendlier places that make peci'016',,think. NO • Something to share with visitors 0,OF • Connecting neighborhoods • Creating memorable sense of place • Making Salem look better Harbor Walk in Salem 1pl '2 That I get to be part of it 4 Change=toward including community voice in7d6cisions'A',", Expanded arts opportunities just the excitement and engagement,it will create with-populations that are perhaps not engaged or working/interacting together,currently. • I walk a lot and I choose my route ba"'s.ed'o�insceoery-the id6athat many more routes may be opened. • Linking the community together 4 1��,01�lg',- F • Bringing people invia Wat&.t$ • Connecting com unity,bringing people nd to different pieces. • Shared experienc' & T Vibrancy Experi6cifigIt . ..........�0 4q�' improve openlspace 4�r,-jlncorporating LOCAL,artists and provide appropriate monies. tw\ 0 1 would like to see Salem make more of an effort to connect with and celebrate parts of its large'iyJ6rgotten hist6r.y, articularly its central role in the abolitionist movement,from the p 183 Os to the Civil War.'There is not one memorial to any of Salem's groundbreaking women such as Charlotte Forten (first black graduate of Salem University,and first black teacher of white students i6Salern(and probably MA),Sarah Parker Remond, Caroline Plummer, Caroline Emert6h). 0 To embrace our history-SEAPORT,industry,mills,diversity.We are fortunate to be coastal.Let's use it! 0 Art that will beautify,interact,and enhance the community as a whole. 0 A well-needed boost of enthusiasm-city looking a bit run down. 0 Historical references, involving the community,utilizing our resources and geography 0 Enjoyment 0 Beautification,thought provoking,innovations 4 • Seeing the prospects for it to continually grow • To share with tourists what Salem is about. • Bring artists together to create synergy • It creates a cultural hub-like the first great day in spring-it draws people out to engage • A collaborative and transparent effort between community,artists and supporting organizations. 2. What was the most exciting idea you heard this evening? • People talking about art • Thematic connections about locations,types of projects and.16 mmuiii buildingthatare really consistent around priority and opportunity • Lights. Moving Artists'Row to a designated art center rt iff6r • Connectivity: connecting visitors to the city and diff6re eighbor6odds to each other. • Artists' Row coming to life • The enthusiasm of each group to improve Artists'Row • Gathering spaces/lighting dark areas Gateways and illumination 11's Illuminating the new MBTA depot/ N Illuminating Salem Harbor Walk-illuminate the tide 5-1 1"�V, V N Artworks that make evident wind,light,tidal patfbrns M "'Wb 'M �,qg`p- Artist Row and light ts',Row%&Ok N Revitalize Artis 1% %`� W Being included through the,process Transforming Ar-tis-ts'Row ZO September film fest,on'the Common and more'use of local artists The idea ofa-living walfal 6ng Canal'Stre-et"51n the fence Thkidea of a-ct'ivating andb��aiutifying with interactive art.Especially Harborwalk. -14.:,,14H�rbor Walk,AA��ttr art CanatStreet living Wall,, '4'N-1� , 's, 0 HarborWalk 0 Canal Steet'and Harbor Walk Artists' R V OWN A;� Developing the',Ha--r'bor Walk with water and light.Doing some public interactive art on the Canal Street Fence. Enhance presence of fountains.Idea of Fire Water at Harbor Walk.-Lafayette Park- immigration sculpture • An immediate action=Artists' Row gets an urgent facelift. • Lighting boxes with framed art.Lighting lanterns over alley way. • The possibility of having public art with the city environment • Real expertise,real interest in our ideas. • Reforming Artists'Row and having it involve the community. 0 Fix what we already have 0 Rather than deciding on a location and format for artists to fill the void,please create a line of communication to draw the artists that might have their own ideas that are completely different than those discussed and so it should be more collaborative. 0 One person suggested to have a meeting with just artists so that they can express their ideas. 0 Integrating history and contemporary times and culture 0 Investing in Artists' Row to help it expand An, 0 Environmental installations...solar driven...water driven...using'liiht/shadow to create "'the presentation,but tension and dynamism.Sound/wave installations were not includeiin could be considered. 'd IMN 3. What image of a public art project from tonight's presen'ta't, ill sta-'y� ith you? 40 0 Awesome art of MBTA A, 0 Big red ball and any that has light,draw me to the art pl etc. N * User interface sculptures 0 Mural-National Guard,or statue M 0 Solar lighting-Ross Lovegrove Solar Trees 0 The High Tide/Low Tide Flowers.,,The,Illuminated scull "tu'res and text on the sidewalk 0 Illumination on waterway 0 Lamps strung across alleys..Lighted tin cutouts- 0 Lampshade corridor P 0 Patrick Dougherty.4al., 0 Lampshade cm 0 Lights 0 1 really liked how youfra 7M R 0 New ideas for Artists, 0 0 The,66"Ioffu1 blooming flowers in the wa I t with the tide-what a great gathering picnic to All 11- .... ... 'V11-N waich them bk_6nieach day�'=�'communi Also,the three hearts aim Dine) =iconic and an 4.',�4iiiage that people' ill,want to'ph660'graph and post for others to see and encourage visits. `q� -� k lr� Aff&fffially,the images�that used'light to create meaning and texture. Progressive art,simple,,trying to avoid kitsch memorials like Bewitched. Tree in Water V, A Lighting insta'fllations�and fountains Interactive water,f fitain Lighting 1 liked the solar energy sculpture Commuter Station-interesting ride experience. Lighting=use of pedestrian walkway well lighted and colorful Murals on"ugly'buildings • Art that brings people to different neighborhoods and highlights,enhances the community. • MBTA art and graphics 6 • That at the entrance of Salem,wharf and MBTA,there will be art to let people know they've arrived. • Works that incorporate light and water • Something that will make people say"Wow" • Text that reaches across the street in banners • New image:A future in Salem where there is actual investment in art/culture in keeping with Salem as original source of culture • Person sitting on a rock in a rivulet floor map. 4. Please share any questions,suggestions or concerns you mi e a u ublic art in Salem that weren't addressed at tonight's workshop. 0 1 think the best approach will be to hold competitions,t ic a eces-not assignments. 0 When do we start? A & Art should speak for itself-people should have.anVoin e a r:another,but it should also enhance a sense of place,communifty,cultu rt shou hiai'�e�something to p say. form 0 1 was wondering how the Steering Committee was Is I am hoping�t participate in more forums like this. 0 I'm al ready i nvolve d in th e Lady'6f Salem Proj ect.Would]ove to s ee more sup po rt i n th e form of sponsors and committee 0 Give it thought.Create something that,mak6Kseirise in this location. * What is the process of engagement wk6artists!What is.thedecision making process v 0 Where is the PerformanceArt Center? Ole Boy networkilr' Less paper Work a an o enne s to ris w rk , 'W fl, '7 It is important to r Y i er the various communities with the city.To find connections and c in--11 lities .-I se competitions i so e, ses o ra t e level of quality and sophistication. Not so much merested in mu -WOUlailKeto,seei work. I teach atan artschool and would love to )utalprojectbac dents.' It wis'limited, direct d by thinking of sites already,rather than concepts. VIA we li�ave��"a great litera, �histo and present-incorporate words too. Nk� How will Salem become an artist destination?At a recent CEANS meeting in Gloucester they promoted Glo u-cestepas the only artist destination north of Boston. Avoid just our B16 CORPORATE IMAGE. Lots of variety/cross culture,etc. Community art by and for and from the community.Interactive art that brings the community together. 0 Any priority to local artists? 0 Making public spaces easily accessible for local artists. Less difficult to get permission to execute an idea. 0 Public safety:The arts should be diverse and inclusive to represent the diversity in Salem. 7 • What happens to small volunteer run projects like the Lady of Salem that have been growing organically in town? • My concern is that our community and artists will not be included in a dialog regarding the future of public art in Salem. WORKSHOP PARTICIPANTS A broad range of people attended and participated in the Imagine Art Here workshop on March 12, 2013 at the Salem Five Community Room.The dots on the map below indicate where participants live. Z 5§� .1MM 4_1, U 1,11— h, �)JAIR "I I 01� Participants: Martha Almuy Patti Roka Sara Ashodidw 2 eaph Julie Rose a4klill, Bradley,Backer anna or itz Nancy Santana ,29 us Dinah,Cardin Sh61b�'Hypes J.D.Scrimageour Matthew C'a-r-uso 15 Deb�rah Kako Daniel Sexton Jason Cruz Paulette Langone Helen Sides Brian Donnelly Mike Lash Trevor Smith S� Lynn Duncan A4Y Lisa Lyons Larry Spang Nniwr� Amanda Dunham Dann Maurno Sarah Thomas Sara Fiore Frank Mayo Flora Ton That Scott Froeschl Gavin McAuliffe Whitney Van Dyke Karen Gahegan Bob Mitnick Chip Van Dyke David Allan George Mandy Mitnick Caitlyn Williams Carol Gorevitz Jeanne Pare JoyWinkler Robert Goss-Kennedy David Pelletier Patricia Zaido Sue Grillo Laura Potter Mary Ellen Halliwell Ken Reker City of Salem Public Art Master Plan Working Group Meeting Agenda City Hall Annex, 120 Washington Street, Yd Floor Conference Room January 29, 2012, 8:30 A.M.— 10:00 A.M. 1. Welcome and introductions 2. Via's Observations 3. Discussion about Values and Vision 4. Imagine Art Here workshop 5. Next steps 6. Adjourn Via Partnership,LLP P.O.Box 23157 St.Louis,MO 631SGtel;314 664 S902e mail:art laMapartnership.com To: City of Salem Public Art Master Plan Working Group From: Emily Blumenfeld and Mericlith McKinley, Via Partnership LLP Re: Salem Public Art Master Plan Observations,Values and Vision Date: January 22, 2013 It was a pleasure meeting you and starting the discussion about the public art master planning process. We look forward to continuing the discussion next week and wanted to share some of our initial thoughts to prompt the discussion. The following outlines initial observations and thoughts regarding next steps as they relate to crafting a statement of values, and a vision statement. We look forward to discussing this and more with you on Tuesday morning. OBSERVATIONS Listed below are some of our initial observations and reflections from our first visit. A. Salem's identity in the region is intentionally shifting.Salem has long been known for its history and its industry. In recent years,Salem's identity as the urban and cultural center of the North Shore has grown.The city is developing as a year-round destination for boutique shopping and dining.And it has the opportunity to further define itself as a hub for arts and culture. With the PEM and Salem State Performing Arts Center, high-quality public art can positively impact Salem's status and draw as a nexus for cultural activity and art-making.Through the public art initiative, it will be important not just to commission or place art, but to program and promote it so that it doesn't become one of Salem's"well kept secrets". B. The potential audience for public art is broad, and includes citizens,workers, and the wide range of visitors to the city. When considering the locations for art, as well as the type or art or artists, consideration should be given to the people who live and work in Salem and the region, not just the visitors. Consideration should be given to locations outside of downtown and to artwork that is accessible to a wide-ranging audience.The plan should focus on adding quality of life value to those who live,work, shop and dine in Salem. C. Major capital and private development projects in the near future will be impacting important gateways into the city. MBTA's station improvements and parking garage will drastically change how people arrive via commuter rail, as well as impacting the view corridors along Bridge Street and Washington Street.The new wharf will be a point of entry and departure for tourists and commuters.And private development at Washington and Mill Streets could create a new gateway experience into downtown.These gateways could be potential sites for public art. D. Salem's public art initiative should focus on both permanent and temporary artworKc:�:O;m�lsslo 5 and installations.Temporary projects, particularly on Essex Street, seem to be garnering interest because they have the potential to provide reasons for repeat and continued visits to the Mall. Temporary projects also allow for innovation and risk-taking as they are only in place for a specified period of time. Permanent artwork in the right locations can help build identity for place and demonstrates to the community a long-term investment. E. In the near term, public art approaches in Essex Street should allow for flexible use. During peak times in the summer and fall, space is at a premium and a large-scale, permanent installation could detract from the needs of event planning.Also, it seems as though discussions around vehicular traffic on the Mall have not been finalized making it essential to keep the possibilities open. F. Partnerships may be a key resource for implementing projects in Salem and can enrich the outcome. Different partners may bring different resources, Le.: access to sites,funds, audiences, curatorial or other expertise. Partnerships with PEM,Salem State, Montserrat College of Art, MBTA, private developers, and others should be explored.The administrative framework for the initiative should take into account the role that partners may play in projects. VALUES The following values will underpin Salem's public art initiative. 1. Public art commissions will grow out of the richness of the Salem community, its culture and heritage.Artist's may find that the stories of Salem's past still have important resonance today and can be explored through contemporary works of art. And the issues, ideas and cultures that are alive in Salem today have the potential to provide fertile ground for artists to create new work and generate vital community conversations. 2. Public art in Salem will be of high artistic quality and integrity to support the strong cultural institutions, public and private, already in place.The public art initiative will create mechanisms to select great artists and support them in creating their best work. It will follow professional standards in the field. 3. Public art will, in most cases, be commissioned specifically for Salem.Artists will be invited to work in the community and with the community to ensure that the work has meaning and resonance. 4. Public art will be for everyone.The people who live and work in Salem;the people who visit for entertainment, culture, shopping and dining, and even, in some cases,the people who are just passing through will all have an opportunity to experience art in public places.Art should invite interaction, contemplation and discussion. PUBLICARTVISION In addition to a statement of values,the starting place for Salem's public art initiative should be a vision: a big-picture view of what the initiative will contribute to the city. Instead of a single vision,we have outlined three different approaches, one that focuses on the cultural identity of Salem, another that focuses on art as a component of community building and a third that expresses public art's role as an element of good urban design.These ideas are certainly not mutually exclusive, and Salem's public art initiative could embrace all three. Or there could be other ideas that surface through additional conversation and input. The following outlines these three components of a possible vision and how a public art initiative might be structured to support each component. Culture: Public art contributes to Salem's identity as the cultural hub of the North Shore and a center for creativity. How: • Create innovative and distinctive art experiences that draw upon Salem's unique character and history. • Commission artwork that reveals important ideas, issues,and cultures that are present in Salem today. • Create opportunities for artists to create new work and explore new ideas. • Create landmark artworks that become part of the City's cultural landscape. • Create changing art experiences that encourage return visits. • Site art in areas that are frequented by visitors. • Site artworks in such a way as to encourage exploration. Community: Public art fosters community pride,ownership and a sense of belonging. How: • Create moments of whimsy and delight in the everyday spaces of Salem. • Create opportunities for artists to work collaboratively with community in the creation of public a rt. • Create artwork that encourages participation and/or social interaction. • Create opportunities to bring people together, build bridges and stimulate conversation. Design: Public art contributes to the quality of Salem's built environment. How: 0 Elevate the quality and creativity of design of public spaces. 0 Mark important community gateways and thresholds. 0 Anchor important gathering places. 0 Create opportunities for artists to collaborate in the design of civic infrastructure. City of Salem Public Art Master Plan Working Group Meeting Agenda City Hall Annex, 120 Washington Street, 3rd Floor Conference Room December 11, 2012, 8:30 A.M. — 10:00 A.M. 1. Welcome and introductions 2. Project background 3. Via Partnership's introduction 4. Approach and community engagement process 5. Work plan, project schedule and next steps 6. Discussion of public art and its role in Salem 7. Adjourn City of Salem Public Art Master Plan Working Group Meeting Agenda City Hall Annex, 120 Washington Street, 3 rd Floor Conference Room December 11, 2012, 8:30 A.M. — 10:00 A.M. 1. Welcome and introductions (Danielle - 10) a. Welcome, thank participants b. Value to this project to have all of you to provide your direction/guidance/experience to our consultant as we move through thisprocess c. You represent many affiliations, aspects of community d. We want to not only create a master plan for public art, but also put in place a public art program in Salem. We hope you will be an active participant in this and a champion for public art and the program e. Go around with introductions—name, affiliation and if you have a favorite piece of public art 2. Project background (Danielle/Tom - 10) a. Began in conjunction with ideas about redesigning the pedestrian mall; public forums b. out of that grew the idea of bringing in public a rt/i ncorpo rating it into the mall —Tom to add to this c. Series of grant applications to NEA d. Given smaller amount of money, decided to do a master plan with focu� on mall e. As we did in grant applications and in other previous work relating to the pedestrian mall, we partnered with PEM and TSP in the creation of the project's scope and the selection of our consultant, Via Partnership f. Received very strong proposals from numerous firms; Via was the best fit, and they have created numerous other public art master plans for communities across the US and Canada 3. Via Partnership's introduction (Via - 10) 4. Approach and community engagement process (Via - 15) 5. Work plan, project schedule and next steps (Via — 15) 6. Discussion of public art and its role in Salem (Via—30) 7. Adjourn W-7 &)-�7 Room setup —working group meeting Projector Table/extension cord Screen Flip chart Easel(s) Agendas Table setup— 11