HomeMy WebLinkAbout2017-09-21 Public Art Commission Agenda Packet
IS POSTED IN ACCORDANCE
WITH GOVERNMENT CODE SECTION
54954.2(a) OR SECTION 54956
PUBLIC ART COMMISSION
Jim Migdal, Chair
Mila Zelkha, Member Ben Miyaji, Vice-Chair Amanda Ross, Member
Hsinya Shen, Member Nia Taylor, Member Loren Gordon, Member
City Council Liaison: Liz Kniss
Rhyena Halpern: CSD Assistant Director
Elise DeMarzo: Public Art Program Director Nadya Chuprina: Public Art Coordinator
http://www.cityofpaloalto.org/publicart
Thursday, September 21, 2017
City Hall Community Meeting Room
250 Hamilton Ave
7:00 p.m.
AGENDA
ROLL CALL
AGENDA CHANGES, REQUESTS, DELETIONS
ORAL COMMUNICATIONS
(Members of the public are invited to address the commission on any subject not on the agenda. A reasonable time
restriction may be imposed at the discretion of the Chair.)
Materials related to an item on this agenda submitted to the Public Art Commission after distribution of the agenda
packet are available for public inspection in the City Hall Council Chambers during normal business hour.
APPROVAL OF MINUTES: PAC Regular Meeting on August 17, 2017 ATTACHMENT; PAC Retreat
on September 8, 2017 ATTACHMENT
STAFF COMMENTS
ACTION:
1. 450 Bryant St - Final Review for Public Art in Private Development by artist Martin Webb for a
project at 450 Bryant St. (20 minutes) ATTACHMENT
2. De-Accession of Artworks – Staff recommends initiating the deaccession evaluation process for
California Avenue, California Native by Susan Leibovitz Steinman, currently sited on California
Avenue. ATTACHMENT
3. Temporary Public Art- Staff recommends the allocation of funds in the amount of $23,000 for
Konstantin Dimopopous’ Blue Trees Project on King Plaza Spring 2018- Spring 2019.
4. Adoption of Priorities for 2017/2018 - as determined by the PAC at the annual retreat September
8, 2017.
ANNOUNCEMENTS
FOR YOUR CALENDAR: Next PAC Regular Meeting – 7 PM, October 19, 2017
Joint Meeting with Council October 23, 2017 6 PM
MINUTES
PUBLIC ART COMMISSION
REGULAR MEETING
Thursday, August 17, 2017
City Hall Community Meeting Room
250 Hamilton Ave
7:00 p.m.
Commissioners Present: Jim Migdal, Ben Miyaji, Hsinya Shen, Loren Gordon, and
Nia Taylor (joined the meeting at 7:03).
Commissioners Absent: Mila Zelkha, Amanda Ross
Staff Present: Elise DeMarzo, Public Art Program Director
Nadya Chuprina, Public Art Program Coordinator
CALL TO ORDER: Chair Migdal called the meeting to order at 7:01 p.m.
AGENDA CHANGES, REQUESTS, DELETIONS – Staff requested to move Non-Action Item 6
forward. Chair Migdal granted the changes.
ORAL COMMUNICATIONS – David Carnahan Deputy City Clerk made a recruitment announcement
for the Architectural Review and Historic Resources Boards, and Planning and Transportation
Commission with the application deadline on September 19, 2017 at 4:30 pm. Le Levy of the Friends of
Lytton Plaza spoke to the commissioners in support of deaccessioning of Digital DNA and its removal
from its current site on Lytton Plaza. Levy asked the Commission to consider the site for the display of
temporary public art installations and to incorporate lighting to enhance visitor experience.
APPROVAL OF MINUTES: July 20, 2017 PAC Regular Meeting Minutes Moved: Ben Miyaji, Second:
Jim Migdal. All in favor.
STAFF COMMENTS: Staff updated the commissioners on the maintenance project of Confluence, a
permanently installed sculpture by Michael Szabo on California Ave. plaza. The artist and his crew
conducted a detailed 2-day treatment to inspect the bronze sculpture, remove dirt and built-up in the drain,
clean surfaces of any stains & oxidation, work on the patina, wax the surfaces and apply a hydrophilic
coating for UV protection. The water flow was then tuned-up. Staff also reported on the repair of the neon
light sculpture Excel at the Palo Alto Art Center.
NON- ACTION:
6. Downtown parking garage - Staff provided an informational update on the upcoming downtown
parking garage and public art process for the project. Public Works Senior Engineer Holly Boyd
presented slides with renderings of three preliminary design options for the future parking garage. All
three options share the same height and footprint, but vary significantly in their response to context,
materiality, and streetscape character. The estimated public art budget is $159,000. Public Art
Program Director Elise DeMarzo spoke about the artist selection process and encouraged the
Commissioners to serve on the selection panel. There are 35 qualified artists in the prequalified pool
for this project. Staff intends to assemble a selection panel in September to begin the artist selection
process. The Commissioners noted that each of the presented design options presented great
opportunities for the integration of public art, including the wall paneling, windows, stairwell and
pedestrian walkways adjacent to the new garage.
ACTION:
1. Highway 101 Bike/Pedestrian Bridge – Staff updated the Commission on the project development,
presented an overall rendering of the bridge design and summarized the artist selected process. The
selection panel comprised of 7 stakeholders and arts professionals chose five artists to give
presentations about their previous work and their design development process. One of those finalists
dropped out of the project, and the remaining four made presentations to the panel January 25, 2017.
Mary Lucking was selected the finalists as the highest ranked artist. Staff presented the conceptual
design for the functional artwork integrated in the overlook area of the bridge facing the Baylands.
Inspired by the wetlands, Lucking proposed creating sculptures for the overlook that can double as
creative seating. Three cast aluminum pieces will have a brushed finish and sculpted texture that will
make them visually engaging and interesting to touch. Due to the scale of the project and the limited
art budget, the opportunities for public art integration are limited. Some funding is available to put
toward an artist designed railing at the overlook area, but not enough to fully fund the railing. Public
Art staff is currently collaborating with Public Works and the design team to determine if the artist
designed railing is feasible. If it is determined that the railing is not feasible, then artist may cast
additional sculptural elements that could be placed near the approaches to the bridge. Commissioners
expressed strong support for the integration of the railing in the overall artist project scope and
inquired with staff whether additional public art funding can be allocated for this purpose. Staff
recommended the approval of the concept design for the artwork by Mary Lucking for the project and
that they would return to the PAC with an update on the funding for the railing or make a request for
funds. Moved: Commissioner Nia Taylor moved to approve the artwork design for the project.
Second: Vice Chair Miyaji. All in Favor.
2. Acquisition of Creative Seating Elements by artist Colin Selig – Staff updated the Commission on
the project history behind the temporary loan of five seating elements installed in downtown Palo
Alto. The PAC approved the temporary installation in April 2016, with a budget of $6,665 for the
delivery, installation, loan, and removal of the artworks. The City entered into a contract with artist
Colin Selig for the loan of five creative seating elements to be on display on University Avenue from
May 2016 through May 2017, with the option to extend the contract for six months. The artist agreed
to give the City a discount on the acquisition of any artworks at the end of the loan period, and apply
the costs associated with his removal of the artworks ($2,500) in the contract to the purchase. The
City is asking the Council to approve a one-time contribution from the utilities water and gas
replacement projects for the Art in Public Places Fund with the intention that the funds will be used
for the purchase of the public art benches. In addition, a group of Leadership Palo Alto Fellows
launched a Gofundme page for the benches that raised $1,200 in funds that can be applied to the
purchase. Staff recommended that the Commission allocate funds in the amount of up to $17,100 for
the purchase of the Colin Selig sculptures and accept the five creative seating elements in the City
collection. Moved: Vice Chair Miyaji moved to allocate funding for the purchase of the sculptural
seating elements and to accept them in the City Collection. Second: Chair Migdal. All in Favor.
3. De-Accession of Artworks - Staff recommended that the PAC initiates deaccession evaluation
process for Digital DNA by Adrianna Varella and Nilton Maltz, currently sited at Lytton Plaza based
on the process and conditions outlined in the City’s Deaccession of Artwork Policy adopted in
December 2016. Staff provided a detailed overview of the artwork commissioning and maintenance
history and presented considerations for the deaccession of Digital DNA including: the condition of
the artwork cannot be reasonably guaranteed; The artwork requires excessive maintenance and has
faults in the materials and repair is impractical or unfeasible; The artwork has deteriorated, and repair
or remedy is impractical or unfeasible; and no suitable site is available for relocation or exhibition.
Staff also shared recommendations provided by ARG evaluation and the collection report sections
from the public art master planners. Staff reminded the PAC that public opinion and aesthetic taste
are not reasons to de-access the artwork, but those that apply as outlined in the presented report and
policy. Commissioners clarified with Staff on the removal options and expressed concern about the
current condition of the artwork noting that exposed circuit boards may contain hazardous materials
and pose a risk to public health and environment. Moved: Chair Migdal moved to initiate deaccession
evaluation process for Digital DNA. Second: Vice Chair Miyaji. All in Favor.
4. De-Accession of Artworks - Staff recommended that the PAC initiates deaccession evaluation
process for Go Mama by artist Marta Thoma currently sited on California Avenue and Ash, based on
the process and conditions outlined in the City’s Deaccession of Artwork Policy. Staff provided a
detailed overview of the artwork commissioning and maintenance history and presented
considerations for the deaccession of Go Mama. Based on the condition reports provided by ARG and
PAMP consultants, calling attention to the artwork not being stable enough to withstand physical
contact and expressing concerns about public safety, staff recommended deaccession for the
following considerations: The condition of the artwork cannot be reasonably guaranteed; The
artwork’s structural condition may pose a threat to public safety; The artwork has faults in the design
and repair may be impractical or unfeasible; Significant changes to the design of the site have
occurred which affect the integrity of the artwork; No suitable site is available for relocation or
exhibition. Staff recommended that PAC proceed with the deaccession process and open the public
comment period, notify the artist officially of the deaccession, and agendize the final vote for
November. Commission clarified the ways for public input and welcomed the opportunity for public
discussion about the future of the artwork. Moved: Commissioner Taylor moved to initiate
deaccession evaluation process for Go Mama. Second: Chair Migdal. All in Favor.
5. King Plaza Temporary Public Artwork – Staff briefed the Public Art Commission on the intent of
the rotating temporary public art installations on King Plaza to offer a variety of kinds of installations
that explore the use of the plaza and activate the space. Staff vetted a number of artists in the
prequalified pool of artists both with existing artwork available for exhibition, and who create site
specific temporary exhibitions. Based on this process staff proposed the following three artists for
installation on King Plaza over the next 2 years: Toby Fraley with his retro-style interactive
installation Art Forge 2:0 to remain on King Plaza through Spring 2018. The budget for the project is
$20,000 with the Art Center contribution $5,000, making the PAC portion $15,000. Another project
is Konstantin Dimopolous and his global The Blue Trees project. This community engagement based
project is expected to take place April 2018 – January 2019 and cost about $20,000. Staff also
intends to bring LA-based artist Megan Geckler primarily using flagging tape to create a site-specific
project for the Palo Alto City Hall. Staff is currently exploring concepts for potentially utilizing the
front façade of the City Hall building for an installation. This project will take a number of months to
work out logistics and materials that could remain in place for a year. Moved: Vice Chair Miyaji
moved to approve three upcoming temporary public artworks for King Plaza by Toby Fraley, Megan
Geckler, and Konstantin Dimopolus, and allocation of funds in the amount of $15,000 for the Toby
Fraley installation. Second: Chair Migdal. All in Favor.
ANNOUNCEMENTS – Chair Migdal made a recruitment announcement to the City’s Boards and
Commissions. Staff circulated published copies of the Public Art Master Plan and encouraged the
Commissioners to review the document prior to the upcoming PAC retreat on September 8, 2017.
FOR YOUR CALENDAR:
PAC Annual Retreat – 8:30 AM – 1:00 PM, September 8, 2017 – Mitchell Park Community Center
Next PAC Regular Meeting – 7 PM, September 21, 2017
MEETING ADJOURNED at 8:29 PM by Chair Migdal.
IS POSTED IN ACCORDANCE
WITH GOVERNMENT CODE SECTION
54954.2(a) OR SECTION 54956
PUBLIC ART COMMISSION
Friday, September 8, 2017
Mitchell Park Community Center
8:30 a.m. -12:30 p.m.
ANNUAL PAC RETREAT MINUTES
Commissioners Present: Jim Migdal, Loren Gordon, Amanda Ross, Ben Miyaji, Hsinya Shen.
Commissioners Absent: Mila Zelkha, Nia Taylor.
Staff present: Elise DeMarzo, Public Art Program Manager
Rhyena Halpern, Director of Arts & Science
Nadya Chuprina, Public Art Program Coordinator
Brittany Benjamin Amante, Art Program Assistant
CALL TO ORDER – The meeting was called to order at 8:40 AM by Chair Migdal.
ADDITIONS, CHANGES, REQUESTS, DELETIONS – None.
ORAL COMMUNICATIONS – None.
NON-ACTION:
Staff provided a summary of current and upcoming temporary public art projects and ongoing projects in
municipal and private development. Staff updated the commissioners on CIP, Public Art Fund, and
General Fund budgets. Staff then provided a status update for high priority conservation / treatment
priority projects, and those undergoing de-accessioning process. The Commissioners reviewed the PAMP
Implementation Grid to discuss current status of priorities and recommendations as outlined in the PAMP,
and identified the following priorities as part of the PAC two-year working plan:
1. Completion of the murals and percent for art in private development policy revisions.
2. Increase staff capacity by hiring Project Manager to provide support with the oversight of municipal
public art projects.
3. Commissioners to act as active ambassadors for the program.
4. Focus on increasing public art collection awareness by exploring mobile applications.
5. Expand the locations and scope of temporary public art installations to new locations and, when
possible, incorporate interactive (light and sound) and performance-based projects.
No action was taken.
FOR YOUR CALENDAR:
Joint PAC Meeting with City Council – 6 p.m. October 23, 2017
Meeting adjourned 12:35 PM by Chair Migdal.
City of Palo Alto Staff Report to Public Art Commission
September 21, 2017
Re: 450 Bryant Street – Avenidas Community Center, Final Review by PAC
Recommendation:
Staff recommends that the Public Art Commission approve the submitted artwork by Martin Webb for
the 450 Bryant Street project site.
Summary:
Avenidas is submitting the attached packet for the Final review by the Public Art Commission for the
integration of artwork on the project site located at 450 Bryant Street. The project completed Initial
review by the Public Art Commission in January, 2017 and presented a project update upon selection of
Martin Webb as the project artist in July 2017.
Discussion:
Background:
Avenidas has been the City’s provider of senior services, and the operator of its senior center, since
1976. In this role, Avenidas makes it possible for the City to meet its goal of “providing responsive,
efficient, and cost-effective community services…to meet the needs of groups with special needs.” The
City leases the former Police and Fire Station to Avenidas under a long-term lease and provides
operating support in the form of an annual contract. Avenidas’ Bryant Street Center at 450 Bryant
Street is a community center with activities and services for independent older adults and their family
caregivers and offers a broad range of health and wellness services.
The building has operating beyond its capacity and it does not meet current seismic standards. The
construction project will include a complete remodel of the existing building; Installation of an ADA-
compliant elevator; add an 11,000 square foot wing at the rear of the building, replacing the current
dining room with two floors above and an atrium; and provide a seismic upgrade of the historic
buildings to current standards. The project addition of over 10,000 sf triggers the public art requirement.
Artist Selection Process:
The applicant chose to commission artwork onsite and contracted the City of Palo Alto Public Art
Program to project manage the entire commissioning process. The total art budget is $38,500. The tall
wall in the lobby of the new wing was identified for the placement of artwork.
Staff put together a roster of 8 artists who had submitted applications to the 2014/16 Prequalified Artist
Pool. Staff narrowed the qualified applicants down to 3 who were interviewed by the selection panel to
identify a finalist. Martin Webb was selected based on his artistic excellence, strength of previous body
of work, and relevant experience working with projects in public realm with similar budget and scope.
In June, Avenidas and Public Art Program staff facilitated a community meeting with 15 stakeholders
where the artist presented his previous body of work and gathered community input to inform his
design concept.
The Proposed Artwork:
When developing his concept design the artist’s goal was “to visually represent the ethos of Avenidas as
being about community, connection, and growth”. In response to the settings of the site and
stakeholders’ feedback gathered at the community meeting, the artist proposed to create a large scale
mural (approx. 18’ x 12’) using reclaimed wood from the original building with relief and painted detail
to be sited at the new atrium lobby. The artwork will first be viewed through the glass as one
approaches the building, and should have a graphic component that is sufficiently bold and strong
enough to be read from a distance. Once inside the lobby door, the visitor will be only 8ft from the wall
supporting the artwork. From this close vantage point smaller graphic elements, relief, and surface
qualities will become apparent. The proposed composition uses a backdrop of simple tree/foliage
silhouettes in vertical strips. Floating above this image is a pattern of gridded circles which itself forms a
canopy-like image. The background foliage is quite cool, calm, and static, whilst the circle patterns imply
movement. Their grid is clearly perceptible, but is quite organic and fluid, suggesting movement rather
than regiment. The cool foliage layer also contains a subtle grid of large circles that echo the small ones,
adding another layer of visual and textural interest and serving to tie the layers together. (See
Attachment A for the full description)
Due to the limited space in the lobby and maintenance considerations, the artwork will not begin at the
pedestrian level, but begin approximately 7 feet up the wall and cover the majority of the remaining
wall.
While the rendering attached represents the final design, staff would like to be sure that the
Commission understands that there will be minor shifts in color palette and some design elements may
shift a bit as the artist begins the fabrication process, exploring the patterns and textures of the sanded
wood and the saturation levels of paint.
Maintenance:
The work of art will be made of reclaimed wood with relief and painted detail. The wood's preservative
coating will last many years but in case of any signs of deterioration it can be re-coated. The artist will
work with UV stable paints and protective varnish so fading of the colors should be minimal.
Timeline:
The demolition work will start next week. It is estimated that construction will take approximately 18
months. Fabrication and Installation phases will be coordinated with the construction schedule. The
building is currently expected to reopen to the public around February or March of 2019.
The artwork will be integrated into the site and installed prior to the issuance of the Certificate of
Occupancy, as outlined in Ordinance #5226.
Artwork Proposal for Avenidas – Martin Webb
Concept
My aim is to visually represent the ethos of Avenidas as being about community, connection, and
growth. In looking for metaphors to represent this I found myself gravitating towards two ideas: a
forest-like grouping of trees looking upward to a canopy; and the more abstract image of clusters of
circles suggesting social groups with a combination of movement and cohesion with a lose grid
format providing a sense of organization and connection.
The site itself has significant bearing on the design. The piece will first be viewed through the glass
as one approaches the building and should have a graphic component that is sufficiently bold and
strong enough to be read from a distance. Then the piece will be viewed as one enters the hallway
door that is only 8ft from the wall carrying the artwork. At such a distance the smaller graphic
elements, relief, and surface qualities will become apparent. The lower edge of the piece will be at
approximately head height so the primary viewpoint will be looking upward. The landings of the
staircase to the left of the wall provide secondary viewpoints that will look down and sideways
across the surface. All of this was considered and early on it became clear that a composition with a
strong upward direction would work best in this location. Also, the need for both a distant and close
reading of the piece influenced the development of the imagery and ideas about the nature of the
surfaces and relief.
Development
The proposed material for this project is reclaimed wood with relief and painted detail. Since this
produces a very layered visual outcome I took a similar approach to developing the composition
using painting, collage, and digital techniques.
It should be noted that any small-scale rendering of a design will inevitably take on different
qualities when scaled up to the dimensions of this piece, especially when a textured and highly
variable material like reclaimed wood is used. For this reason I want to emphasize that some of the
visual aspects such as texture, variegation of color, size of marks or patterns etc. cannot be fully
decided upon until the final piece is actually being fabricated.
Proposal
The proposed composition uses a backdrop of simple foliage silhouettes in vertical strips. Floating
above this image is a pattern of gridded circles which itself forms a canopy-like image. The
background foliage is quite cool, calm, and static, whilst the circle pattern shimmers and vibrates
visually. Their grid is clearly perceptible, but is quite organic and fluid, suggesting movement rather
than regiment. The cool foliage layer also contains a subtle grid of large circles that echo the small
ones, adding another layer of visual and textural interest and serving to tie the layers together.
From outside the building you will clearly see the pattern of small bold circles against what will
appear as a quite nebulous cool background. On entering the building, you will read the foliage
shapes in different blues, see the texture of the wood interact with the paint surfaces, and see the
larger circles cut in relief into the wood. You will also see that the small circles are actually raised
discs. When seen from the side landings, these will become more prominent and their red color will
be more significant.
Raised wood discs approximately 7 diameter
1/2"to ;'4' thick. Red edges are painted.
Surface stripes are routed and/or painted.
By raising these pieces, this area will change
as the viewer moves from outside to the hallvay
to the stairwells.
Background circles made by routing
fine channels into the wood. These will be a
subtle graphic element but add a contrasting
level of relief to the small raised circles.
Reclaimed wood boards running vertically_
Exposed bare wood areas with matte varnish_
Painted areas with some sanding to add texture_
This.will be determined in the making of the piece -
how the grain of the particular wood comes through,
and how much contrast is desirable_
I'm picturing the two blue foliage areas having some
subtle "tone on tone" texture - enough to give some
interest and movement, but not so much contrast as
to compete with the main graphic elements_
1
1
1
Resume
Selected solo and two-person exhibitions
2017. Crocker Art Museum, Sacramento. Installation opening September.
2015. Many Streams, The Compound Gallery, Oakland CA.
Nightwalking, , City Of Berkeley Addison Street Windows gallery..
2014. Stanford Art Spaces, curated by DeWitt Cheng, Stanford University, CA.
2013. Made for you and me The Compound Gallery, Oakland CA.
2011. Making The Road by Walking Compound Gallery, Oakland CA. 2 person show with
Thomas Christopher Haag
2010. The Peregrines Metro Gallery, City Hall, Reno NV.
2009. Well, how did I get here? De La Sole, San Francisco CA
Fully Guaranteed Genuine Pure Zza’s, Oakland CA.
2008. Best Western Esteban Sabar Gallery Oakland CA.
Solo show. Tercera Gallery Palo Alto CA.
2007. Passengers Float Gallery Oakland CA.
Solo show, Truckee River Gallery Reno NV.
Selected group shows
2017. Awakening, Carmel, CA. Curated by Green Chalk Contemporary.
2016. Disruptus Vessel Gallery, Oakland.
Our Town Richmond Art Center.
Sand City, juried exhibition.
What is, Was Epperson Gallery, Crockett, CA.
2014. Forces and Perceptions Four person show at The Thoreau Center for Sustainability,
San Francisco.
Triton Museum Of Art statewide juried show.
Fresh Fish Green Chalk Contemporary, Monterey, CA.
2013. Out of the Blue Gallery Route One, Point Reyes. Juries by Ruth Braunstein.
Wonder Berkeley Art Center.
Laborfest 3013, Solidarity across borders, International Longshoreman’s Warehouse
Union Local 34 Hall, San Francisco.
50/50 fifty works in fifty days at Sanchez Center, Pacifica, juried by Lonnie Lee.
2012. Duration Gallery Route One, Point Reyes. Juried by Andrea Schwartz.
Baker’s Dozen at Quicksilver Mine Co, Forestville CA.
2011. On Being Human Picture Art Foundation, Dominguez Hills CA.
Support: Artists Unite For Japan presented by Art from the Ashes at Royal/T, Culver
City CA
Inaugural Show Meyer-Metro Gallery, Houston TX.
Earth Portraits juried by Scott A Shields, Santa Cruz Art League, CA
Red Pacific Art League juried by George Rivera, Palo Alto CA
Animal Dreams: Animals as Visual Metaphor A New Leaf Gallery Sonoma CA.
Out of the Box, Compound Gallery, Oakland, CA.
2010. Bay Area Juried Annual, juried by Betti-Sue Hertz at Sanchez Art Center.
California Open juried by Grace Kook-Anderson at Long Beach Arts.
Transformative Experience Art at The Oakbook, Oakland.
BayVAN Bay Area Visual Arts Network Gallery group show Oakland, CA.
San Francisco City Hall group show at supervisor’s offices.
Manmade two person show with Al Honig, 525 Market Street San Francisco CA.
Departures three person show. Float Gallery Oakland CA.
Art in a Box group show, The Compound Gallery Oakland CA.
2009. California Modern Gallery San Francisco CA.
Metro Galleries Bakersfield CA.
Eco-Art Show UC Berkeley.
2008. Reflections of the Bay juried show California Modern Gallery San Francisco CA.
A New Leaf Gallery Sonoma CA.
2007. Inart Gallery Santa Fe NM.
Esteban Sabar Gallery Oakland CA.
Tercera Gallery Palo Alto, CA.
A New Leaf Gallery Sonoma CA.
Public Art
2016/17 Crocker Art Museum, Sacramento. Developing an installation for the museum as an part
of the Art Spots residency program.
2016. Stream Mural, 1200ft mural on Winton Ave, Hayward.
City of Santa Rosa CA continuation of the 2008 commission with 400 sqft of artwork in the
concrete walkways.
2015. Bridge Housing, 20 x 20ft lobby mural in reclaimed wood for a new affordable housing
building at MacArthur Station, Oakland.
City of Santa Rosa, two murals 25 x 90ft each for a new retail development.
San Francisco Art Commission image of "The Fog Was Lifting" painting purchased for
the San Francisco General Hospital collection.
2014. City of Palo Alto CA, Riding The Currents, wall mural and free standing wood pieces for
the Water Control Plant.
Napa Valley Community Foundation, long term temporary installation of the wood piece
Grove.
2013. City of Mountain View CA, cut and stained concrete with stainless-steel design for a
large planter in a public paseo.
City of Reno finalist to design artwork to be installed in walls, railings, and sidewalks of a
new downtown bridge.
City of Santa Rosa CA continuation of the 2008 commission with 1500 sqft of artwork in
the
concrete walkways.
2012. City of Santa Rosa CA “Seed”, jet-cut brass, cut and colored concrete artwork installed
across approximately 3000sqft of Santa Rosa Plaza.
2011. City of Santa Rosa CA continuation of the 2008 commission with 2000 sqft of artwork in
the
concrete walkways.
2010. Cupertino CA “Converge” commissioned artwork installed in a public park.
2009-10. Northern California Public Art Academy
2009. Los Angeles County Art Commission finalist for a public art project for Vasquez
Rocks Natural Area Park.
2008. City of Santa Rosa CA commission in conjunction with Simon Properties. Piece 38x17 ft
of
concrete paving with cut and blasted artwork inset into pedestrian walkway.
2007. City of Walnut Creek CA “The First Object He Looked Upon” exterior wallpieces
commissioned for The Mercer Building.
Education and awards
2009-10. Northern California Public Art Academy.
2000. Fulbright/British Council teaching exchange.
1991. Bretton Hall College, University of Leeds UK. Post Graduate Certificate in Education in
Art and Design technology.
1986. Lancaster University UK Bachelor of Arts Honors - Visual Arts. Special studies in
drawing, painting and illustration.
City of Palo Alto Staff Report to Public Art Commission
September 21, 2017
Agenda Item 2
Recommendation:
Staff Recommends that the Public Art Commission initiate deaccession proceedings as outlined in the
City’s Deaccession of Artwork Policy for California Avenue, California Native by Susan Leibovitz
Steinman, located at the 400 block of California Avenue in Palo Alto, CA.
Summary:
Staff recommends that the Public Art Commission initiate deaccession process for Susan Leibovitz
Steinman’s California Avenue, California Native, located on California Avenue, based on the process and
conditions outlined in the City’s Deaccession of Artwork Policy 1-59/CSD (Attachment 1) adopted in
December 2016.
Background:
In 1996 the Public Art Commission in collaboration with the California Avenue Area Development
Association (CAADA) conducted a design competition to design a gateway feature for California Ave.
Susan Leibovitz Steinman’s site specific proposal was determined to be consistent with the objectives of
the 1995 Palo Alto Comprehensive Plan and selected as the finalist. In 1996, Steinman entered into an
agreement with the City of Palo Alto to prepare, construct and install artwork entitled “California
Avenue, California Native” for $15,000. The site specific artwork was to enhance the quality of California
Avenue by providing a unifying theme for the streetscape. The artwork was installed in early 1997. The
key elements of the original artwork included:
Landscape along the entry median at El Camino Real with California native grasses and
wildflowers. A series of 8 rectangular white granite boulders along the median and at pedestrian
intersections across California Ave near the entry median. An existing California Avenue
concrete sign, spruce tree and three flagpoles remained, and were incorporated into the
artwork. The top portion of the entry sign was outlined in golden yellow to match the banner
backgrounds. New drip irrigation system was installed by contractor (Schwartz and Associates)
as part of their landscaping scope of work.
A series of seven banners with printed drawings of California indigenous flora and fauna
including golden trout, horn snail, tiger salamander, blue-eyed grass, brown pelican, bighorn
sheep, and blacktailed jackrabbit. Vertical banners were installed on three flagpoles within the
median; and four others – along both sides of California Ave.
Engraved bricks in a herringbone pattern that were incorporated into the Pedestrian
approached to the crosswalk adjacent to the entry median. One hundred bricks were engraved
with three lines of text, sourced from the local community groups and relevant to the California
theme.
Susan Leibovitz Steinman has a number of other public installations with the focus on ecological, social
and economic concerns and community-voiced needs. Based in Oakland CA, she is an “itinerant social
sculptor,” who creates street front, temporal, improvisational, performative artworks. Most of her site
specific installations and community-driven projects are of temporary nature. Artist’s resume
(Attachment 2) provides further details.
Maintenance History:
The artwork received several maintenance and replacement treatments, including ongoing landscape
maintenance conducted by the City’s Parks department and Schwartz and Associates, a landscape firm
that worked with the artist to plant the original landscape in 1996. Replacement projects included
reprinting and installation of banners and replacement of engraved bricks.
Out of respect to the artist’s VARA rights the City staff has been in consultation with the artist
throughout the years regarding any changes into the streetscape of California Avenue that would affect
the overall integrity of the artwork. On most occasions, the artist and City were able to find solutions
that when implemented did not impact the integrity of the art work. In some instances, the City would
not pursue its initiatives if the artist expressed concerns about the negative impact they might cause to
the character of the environmental installation. Thus, in 2010 the City did not pursue the replacement
of the street signage and planting of an oak tree in the entry median after the artist expressed concerns
that the selected tree was not appropriate for the site and changed the character of her artwork.
1996 – Evaluation of the landscape design and key elements by the City’s Parks Department. Key
concerns and recommendations: longevity and long-term ongoing maintenance of indigenous
wildflowers, which would require additional maintenance funding, or consider substituting some of the
plants with other perennials that would require less maintenance. Artist’s original proposal called for an
annual planting of auxiliary pots of plants.
1997 – Installation of original artwork by artist.
1997 – Landscape maintenance by contractor (Schwartz and Associates) - $500
1998 – Landscape maintenance by contractor (Schwartz and Associates) - $500
1998 – Condition report by Lesley Bone. Main areas of concern: plants not flourishing due to inadequate
irrigation in place and many worn pedestrian pathways through the planting area.
1999 – 2013 – city-managed on-going landscape maintenance - $500 per year. (In 2009 the City stopped
planting annual flowers and only maintained native grasses from the artist’s suggested list of plants).
2006 – Replacement of banners - $2,000.46
2008 – Reported damage of engraved bricks. Fabrication and installation of 45 bricks - $1,734
2011 – Replacement of banners - $2,000.46
2015 – Replacement of banners - $2,241.50
2015 – Replacement of 100 engraved bricks (as part of the California Avenue streetscape
redevelopment project all the engraved bricks had to be replaced) – $2,200
2015 – Banner arms - $800
2016 – New signage - $450
Total maintenance: $9,692.42 excluding costs associated with landscape maintenance efforts by the
City’s Parks Department.
Discussion:
With the new California Avenue streetscape project completed in 2015, the landscape of the entry
median and sidewalks was largely redesigned and curbs for increased traffic flow were shifted. New
improvements in these and other areas alone California Avenue included new wider sidewalks,
intersection bulb-outs, decorative sidewalks with embedded glass, trench drain facilities, curb & gutter
work, underground irrigation, and streetlight facilities. As a result, many of the art elements of
Steinman’s California Avenue; California Native had to be slightly shifted and / or replaced in
consultation with the artist. These changes include: the boulders in the median and sidewalks were
relocated to new sites; the three banners in the entry median remain displayed, but now on a single
flagpole (instead of three flagpoles); all of the one hundred bricks were re-fabricated and installed in a
different orientation as part of the new slightly shifted crosswalks; the median landscape includes the
Californian native plants as recommended by the artist, however the positioning and scale of
landscaping had to be downsized in order to accommodate the new irrigation utilities installed within
the median. The shifted traffic lane positions required dramatic changes to the setting of the artwork.
The new streetscape also brought changes in the layout of light posts along California Avenue which
proved impossible to install the four banners along both sides of the street: only three light posts out of
four were reinstalled in approximate locations. The configuration and limited height of the newly
installed three posts cannot accommodate the banners given their original height and width; The top
portion of the entry sign is no longer colored golden yellow.
ARG evaluated the artwork in 2015 and identified it as one of the high priority artworks for the Public
Art Program to address. Their report (Attachment 3) specifies that some of the elements of this artwork
has been damaged or currently are not on display.
The Public Art Master Plan consultants observed the artwork and made the following recommendations
regarding its disposition:
This environmental artwork has been severely compromised by retrofits to the streetscape that
have taken place since its original 1997 installation. Because the work is subject to the Visual Artists
Rights Act, it is imperative that the City of Palo Alto continue to discuss the status of the artwork
with the artist and determine whether it should be removed.
When the City of Palo Alto issued an RFQ for the sculptural artwork for California Avenue in 1996, Susan
Leibovitz Steinman’s proposal was selected as it was consistent with the Comprehensive Plan of the
decade and met a number of Urban Design Element objectives specified in the Plan. Unfortunately, two
decades later, as the California Avenue Redevelopment Project took place in 2015, the character, use
and design of the streetscape has significantly changed that caused alternations to the original artwork.
In sight of the many alternations to the original artwork and changed streetscape many members of the
public fail to notice or recognize the environmental artwork as a cohesive installation.
Of the considerations for deaccession outlined in the policy, staff recommends deaccession for the
following considerations:
The condition or security of the Artwork cannot be reasonably guaranteed;
The Artwork is not, or is only rarely on display because the City lacks location for its display;
No suitable site is available for relocation or exhibition, or significant changes in the use,
character, or design of the site have occurred which affect the integrity of the Artwork;
Staff waited until the new deaccession policy was in place to bring forward the deaccession request so
that the Public Art Commission has time to adequately weigh the pros and cons to deaccessioning the
artwork and has time to gather community input prior to taking a final action.
Timeline and Budget Considerations:
Should the Public Art Commission vote to proceed with the deaccession review process for California
Avenue; California Native, staff will immediately notify the artist of the deaccession proceedings. The
final deaccession decision will be calendared for the December or January Public Art Commission
meeting. Should the Commission decide to deaccession the artwork at that time, then staff will
coordinate the partial removal of the artwork, in accordance with our policy.
Attachments:
1- Deaccession Policy
2- Susan Leibovitz Steinman Resume
3- ARG Conservation Report - California Avenue; California Native
4- Images of the streetscape taken in 1997, 2009, 2014 and 2016 (demonstrating the changes into the
streetscape over the time and how it affected the artwork).
POLICY AND PROCEDURES 1-59/CSD
February 2017
CITY OF
PALO ALTO
CITY OF PALO ALTO PUBLIC ART PROGRAM
DEACCESSION OF ARTWORK POLICY
PUBLIC ART PROGRAM VISION
Public art reflects Palo Alto's people, diverse neighborhoods, the innovative and global character of its
businesses and academic institutions, and the beauty of its natural environment.
INTRODUCTION
The Public Art Program (PAP) maintains the City of Palo Alto's (City) collection of Artwork for the benefit of Palo Alto
citizens, Removing an Artwork from the collection (deaccessioning) is a sensitive matter and should be managed
according to clear criteria. The policies outlined below are subject to periodic review by the PAP; from time to time, with
the input of the Public Art Commission (PAC), the PAP may update this policy to include additional guidelines or
procedures as it deems appropriate. Except in the case of a safety emergency, no Artwork in the collection will be
deaccessioned until the policies set forth below have been observed. This policy applies to permanent Artworks in the
City's collection; it is not intended to apply to "Temporary Artworks," which are the subject of a separate policy. This
policy shall govern removal, disposal and destruction of Artworks; the City's Surplus Property Disposal & Destruction
Policy (Policy and Procedure 1-49/ASD) shall not apply.
POLICY
1. Any proposal for removal or destruction of an Artwork shall be submitted to PAP staff and reviewed by the PAC
according to the policies and procedures contained herein; review shall be deliberate and independent of political
pressures, fluctuations in artistic taste, popularity, and public opinion.
2. Deaccession shall be a seldom -employed action that is taken only after issues such as Artists' rights, public benefit,
censorship, copyrights, and legal obligations have been carefully considered. The final decision with respect to
deaccession of Artworks owned by the City shall rest with the PAP Director upon approval by the PAC.
3. At regular intervals, the City's Artwork collection shall be evaluated by the PAP and reported to the PAC to
determine the condition of each Artwork and determine whether there is Artwork recommended for deaccession.
DEFINITIONS
For purposes of this Policy, the following definitions apply.
ARTIST: An individual generally recognized by critics and peers as a professional practitioner of the visual arts as judged
by the quality of the professional practitioner's body of work, educational background and experience, past public
commissions, sale of works, exhibition record, publications, and production of Artwork.
ARTWORK: Works in any style, expression, genre and media created by an Artist and owned by the City of Palo Alto in
the permanent collection, whether functional or non-functional. Artwork may be stand-alone and integrated into the
architecture, landscaping, or other site development if such are designed by an Artist as defined herein.
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POLICY AND PROCEDURES 1-59/CSD
February 2017
The following are not considered Artwork:
1. Reproductions, by mechanical or other means of original Artwork, except in cases of Film, video, photography,
printmaking, theater, or other media arts;
2. Art objects that are mass produced (excluding artist -created, signed limited -edition works), ordered from a catalog,
or of a standard design, such as playground sculpture or fountains; and
3. Directional or other functional elements such as signage, supergraphics, color coding, or maps unless specifically
designed as artworks.
DEACCESSION: The procedure for the removal of an Artwork owned by the City and the determination of its future
disposition.
DEACCESSION NOTIFICATION: A written letter to the artist or donor referencing the applicable condition(s) of the
Artwork and describing reasons why the deaccession review needs to be undertaken.
GUIDELINES
Any Artwork owned by the City shall be eligible for deaccession with the exception of an Artwork that is accompanied by
verified legal stipulations that the Artwork may not be deaccessioned. During the review process, the Artwork shall
remain accessible to the public in its existing location unless it poses a threat to public safety.
Artwork may be considered for review toward deaccession if one or more of the following conditions apply:
1. The condition or security of the Artwork cannot be reasonably guaranteed;
2. The Artwork requires excessive maintenance or has faults of design, materials or workmanship, and repair or
remedy is impractical or unfeasible;
3. The Artwork has been damaged or has deteriorated, and repair or remedy is impractical or unfeasible;
4. The Artwork's physical or structural condition poses a threat to public safety;
5. The Artwork is proved to be inauthentic or in violation of existing copyright laws;
6. The Artwork is not, or is only rarely, on display because the City lacks a location for its display;
7. The Artwork has exceeded its expected lifespan;
8. No suitable site is available for relocation or exhibition, or significant changes in the use, character, or design of the
site have occurred which affect the integrity of the Artwork;
9. Changes to the site have significantly limited or prevented the public's access to the Artwork;
10. The site where the work is located is undergoing privatization;
11. Deaccession is requested by the Artist;
12. If there are more than six works (excluding editions of prints) by the same artist in the portable collection, or more
than three permanently installed works on public display in the City or in Private Development, PAP staff may
recommend to PAC that the City retain only a representative selection of that artist's work.
13. If the Artwork has been lost, stolen, or is missing, the PAC may approve formally deaccessioning it from the
collection while retaining a record in the collection database showing that the work has been deaccessioned.
Artwork may be reviewed for deaccession at any time at the initiative of PAP staff or PAC members. Review also may be
initiated by the Artist regarding the Artwork she/he created, by that Artist's designated heir(s), or by legally recognized
representative(s).
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POLICY AND PROCEDURES 1-59/CSD
February 2017
PROCEDURES
Deaccession shall begin with a formal Deaccession Request which can be initiated by the PAC, by PAP staff, the Artist,
the Artist's designated heirs or legally -appointed representative. The Deaccession Request shall be submitted to PAP
staff and shall describe the applicable condition(s) outlined in the Guidelines above, and the reasons why the
deaccession review should be undertaken. A Deaccession Request must also contain information about the requestor's
relationship to the Artwork and stake in deaccessioning the Artwork.
Deaccession Requests shall be reviewed by PAP staff, who shall make every reasonable effort to contact the Artist who
created the Artwork named in the Deaccession Request, and any other known parties with a vested interest in the
artwork, and shall comply with any applicable state or federal notice requirements. When Artworks are proposed for
deaccession, staff shall place the matter on the PAC agenda for an initial review of the reasons deaccessioning is being
considered and to gather comments on the deaccession proposal. At a subsequent PAC meeting, staff shall then present
a deaccession recommendation to the PAC.
In presenting the Deaccession Request, PAP staff will provide all available relevant corresponding materials to the PAC,
including, but not limited to:
1. Artist's name, biographical information, samples of past artwork, and resume.
2. A written description and images of the Artwork.
3. Artist's statement about the Artwork named in the Deaccession Request.
4. A description of the selection/acquisition process and related costs that was implemented at the time the Artwork
was selected.
5. If available, a formal appraisal of the Artwork provided by a qualified art appraiser.
6. Information about the origin, derivation, history, and past ownership of the Artwork.
7. A warranty of originality of the Artwork.
8. Information about the condition of the Artwork and the estimated cost of its conservation provided by a qualified
visual arts conservator.
9. Information about and images of the Artwork's site.
10. For permanently -sited Artwork: information about how community feedback about the Artwork was collected and
the outcome of that feedback.
11. Feedback from the Director of the City department responsible for operating and maintaining the Artwork site.
12. A detailed budget for all aspects of conservation, maintenance, repair, installation, operation, insurance, storage,
and City staff support.
13. The Artist's contract with Donor or comparable legally binding document with Proof of Title.
14. Deed of gift restrictions, if any.
The PAC shall approve, with or without conditions, or reject the Deaccession Request based on the Deaccession Criteria
described in this policy.
DEACCESSION CRITERIA
In addition to the condition and security of the Artwork as stated above, the review criteria for Deaccession Requests
include, but are not limited to:
1. ARTISTIC EXCELLENCE: Qualifications and professional reputation of the Artist; craftsmanship, conceptual content,
style, form.
2. VALUE OF ARTWORK as determined by a professional appraiser, if available.
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POLICY AND PROCEDURES 1-59/CSD
February 2017
3. RELATIONSHIP TO EXISTING COLLECTION OF ARTWORK: Style, form, scale, diversity, quantity, quality, longevity, and
compatibility with the existing collection of Artwork and goals of the Public Art Program.
4. AVAILABILITY OF CITY SUPPORT: The availability of necessary funding for conservation, maintenance, and/or repair;
exhibition and storage space; real property for siting Artwork; and staff support.
5. RELATIONSHIP TO SITE: Accessibility, public safety, and social, cultural, historical, ecological, physical, and functional
context of the Artwork in relation to the site, both existing and planned.
6. LEGAL CONSIDERATIONS: Issues related to liability, insurance, copyright, warranties, ownership, theft, vandalism,
loss, indemnification, and public safety. The City Attorney shall review the recommendation of the PAP staff and
PAC to determine whether there are any known legal restrictions that would prevent deaccessioning the object. The
City Attorney's approval must be obtained prior to deaccessioning an object.
7. TIMING: Safety or hazard emergencies, relevant construction schedules, and the allowance of sufficient time for a
normal review process.
8. ACQUISITION PROCESS: Method by which the Artwork was acquired and accessioned into the collection of artwork
(i.e. donation, loan, commission).
9. COMMUNITY FEEDBACK: Community feedback about the Artwork, its site, and its condition solicited via a publicly -
noticed meeting or placed on the agenda of the Public Art Commission.
10. RESTRICTIONS: Any recognized restrictions associated with the Artwork.
IMPLEMENTATION
The deaccessioned Artwork shall be removed from the collection of Artwork through methods administered by the PAP.
In all cases, the Artist or the Artist's designated heir(s), or legally recognized representative(s) shall be given, when
possible and within a reasonable time frame, the opportunity to purchase the Artwork for the fair market value (as
determined by a qualified art appraiser), or, if the Artwork is determined to be of negligible value, the Artist shall be
given the opportunity to claim the Artwork at the Artist's own cost.
When the Artist does not purchase or claim the deaccessioned Artwork, the City, at its discretion, may use any of the
following methods to remove the Artwork:
1. Sale. Proceeds from the sale shall be deposited into the Public Art CIP Budget. Written acknowledgement by Budget
to place revenues from the sale of deaccessioned Artwork into the Public Art CIP Budget, must be obtained. Public
notice regarding the sale shall be provided on the City website, at a publicly -noticed meeting and in any other
manner required by law.
a. The Artist/donor shall be given the right of first refusal to reacquire the work at fair market value, original price,
or nominal value, depending on the recommendation of the PAC. The cost of removal of the work may be
reflected in the amount set.
b. Sell the work through a dealer.
c. Sell the work through sealed bidding or public auction.
2. Trade or exchange of a deaccessioned Artwork for another by the same Artist.
3. Donation of deaccessioned Artwork to a non-profit organization, institution, or agency.
4. Destruction. This method is appropriate in the following instances:
a. The entire Artwork has been damaged or has deteriorated, and repair or remedy is impractical or unfeasible.
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POLICY AND PROCEDURES 1-59/CSD
February 2017
b. Most of the Artwork has been damaged or has deteriorated, and repair or remedy is impractical or unfeasible,
and any remaining intact parts of the Artwork are deemed to have negligible value, and the Artist is not willing
to claim the remaining parts at the Artist's own cost.
c. Public safety considerations support destroying the Artwork.
d. Every effort to locate the Artist, kin, or donor has failed.
e. The City determines that no other method of implementation is feasible.
When possible, the method for removing the Artwork from the collection of Artwork shall be selected to ensure that the
highest reasonable price is received. Any profits received by the City through the sale, trade, or auction of a
deaccessioned Artwork shall be deposited into the Public Art CIP Budget administered by the PAP.
If a deaccessioned work is sold or exchanged, PAP staff will implement any legal requirements for compensating the
artist, including but not limited to the California Resale Royalties Act.
PAP staff shall remove acquisition numbers and labels from the Artwork and coordinate its physical removal from the
City's collection.
PAP staff shall report on the sale or exchange of Artwork at the next regularly scheduled meeting of the PAC, following
receipt of all funds or the completion of the sale, exchange, or donation.
PAP staff shall transmit a report informing City Council of the removal of the Artwork from the City's collection.
Staff shall maintain a Deaccession File that includes individual files on each deaccessioned Artwork. These files shall
include all documentation regarding the Artwork.
Artworks may not be sold, traded, or donated to current employees of the City of Palo Alto, their business partners, or
their immediate family members. Current elected officials, PAC members, their business partners, and their immediate
family members may not buy, receive or own any Artwork which has been deaccessioned from the collection of
Artwork.
Nothing in these guidelines shall limit the City's ability to take appropriate action to protect public health and safety in
the event of an emergency.
Recommended:
Approved:
2 - 3='7
Director Date
City Manager Date
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SUSAN LEIBOVITZ STEINMAN
SL Steinman Studio, 4227 ML King Jr. Way, Oakland, CA 94609
Phone: (510) 205.9033 SteinmanStudio@gmail.com www.SteinmanStudio.com
EDUCATION M.F.A. High Distinction, Sculpture, California College of Arts, Oakland/San Francisco, CA
Undergraduate art, non-degree, California College of Arts, Oakland/San Francisco, CA
B.A., Journalism, University of Maryland, College Park, MD
COMMUNITY ECO ARTSCAPES
2013 STRAW BALE FARM, Arlington (VA) Arts Center, with Arlington Public Art Comm. For Green Acres.
2009 URBAN DEFENSE, temporary Permaculture pentagon beds, SCEE, Amy Lipton, Philadelphia PA
2008 GARDENS FOR ALL, Train station community garden & gallery installation, Kultur-Natur, Hamburg, Germany
2006-08 SWEET SURVIVAL: Urban Apple Orchard II, Sonoma County Museum, Santa Rosa, CA Outdoor installation.
2005 BENEATH LAND & WATER: Project for Elkhorn City, KY. 5 year community collaboration with Suzanne Lacy &
Yutaka Kobayashi. Includes: Blue Line Trail, River Heritage Murals, Waterfront revitalization, Habitat sculpture
garden. Sponsor: Elkhorn City Heritage Council. Funded by: Appalshop, Creative Capital, KY Women’s Art
Foundation, and numerous local individual donations in cash and in kind. Started in 2000.
2002-03 ART & COMMUNITY LANDSCAPES residency, National Park Service, Rivers & Trails Conservation Assistance
Program. With Jackie Brookner. 3 waterfront revitalization projects : Tillamook, OR; Puyallup, WA; Caldwell, ID.
Sponsoring partners: the National Endowment for the Arts, NPS, and the New England Foundation for the Arts.
2002 ONE STRAW REVOLUTION, Demonstration biointensive garden in downtown Federal Reserve Bank Plaza, for
Cincinnati Contemporary Art Center, Eco-Vention exhibit, Cincinnati, OH
2001 GARDENS TO GO, prototype portable community garden, 2000 Potrero Nuevo Fund Prize, Oakland, CA
2000 MARKING THE MILLENIUM, community participatory bench art project, Friends of Oakland Parks, Oakland, CA
1999 ST. ANDREW’S PLAZA, park remodel, City Economic Developoment Agency, Oakland, CA
1998-2001 MANDELA ARTSCAPE, 2 acre revitalization prototype with recycle freeway materials & 3,000 native plants.
Community participation. Multi-agency and grassroots sponsorship. Private grants . Oakland, CA
1997 CALIFORNIA AVE., CALIFORNIA NATIVE recreates CA native grassland/wildflower meadow in shopping street
median strip. Permanent commission for City of Palo Alto Public Art Commision, Palo Alto, CA
1995 URBAN APPLE ORCHARD, demonstration varietal antique apple orchard, with community participation.
San Francisco Art Commission's Market Street Art in Transit Program, SF, CA
1991-92 RIVER OF HOPES AND DREAMS, permanent 3 acre sculpture garden. Educational model of reclamation,
recycling & resource conservation. Student & staff participation. NORCAL Sanitary Fill Co, San Francisco, CA
SITE SPECIFIC ECO ART
2009 URBAN DEFENSE, Permaculture Forest, Down to Earth: Artists Create Edible Landscapes, SCEE, Philadelphia
WILD APPLES FOR JO, Permanent Memorial Apple Orchard, NORCAL Eco-art Garden, San Francisco, CA
2006 !VIVE VERDE! (Fruit Fence), Art on San Pablo Avenue, Public Art Program, Emeryville, CA
2004 NURTURE NATURE (FOREST KITCHEN), Geumgang Nature Art Biennale, KOREA
2001 ODE TO LIVING SYSTEMS (I), Berkeley Art Center, Berkeley, CA
1997 NATURE SEEING NATURE (46 DOORS), Connemara Land Conservancy, Plano, TX
LOOKING FOR THE CREEK ON STEVENS CREEK BLVD., Euphrat Museum, Cupertino, CA
SEEING NATURE (FRUIT), Paradise Ridge Sculpture Park, Santa Rosa, CA
1996 GARDEN FOR ROSE DR, sited at tract home built on toxic fill. Arts Benicia, Benicia, CA
POWER TOWERS II, Empire Fulton Ferry State Park, Brooklyn, NY
1995 FOR THE BIRDS, City of Concord Public Art Program, Todos Santos Plaza, At-risk youth participation.
Concord, CA
1994-97 EARTH ARK, Chavez Waterfront Park, Berkeley Art Commission, Berkeley, CA
1994 POWER TOWERS I, for Spatial Politics: A Garden, 600 Townsend Sculpture Court, SF, CA
1993 BACK TO THE GARDEN, interactive collaborative public installation, City Recycle Depot, Berkeley, CA
1992 RECYCLE TOTEM, Garbage Reincarnation, Inc., Sonoma County Landfill, Sonoma, CA
GALLERY INSTALLATIONS
2013 EOE: Equal Opportunity Eating. American U. Museum, Washington DC, for Green Acres (below)
2012 DIY POP UP FARMS, installation, Green Fields, Cincinnati Museum Contemporary Art. Sue Spaid curator.
Sculpture and photos, Beyond Landscape, Marin County. Patricia Watts curator.
2011 JOHN MUIR, multisculpture installation re Muir’s life of place, J. Gardner, Napa Valley Museum, Yountville CA
2009 LAND(E)SCAPE 10x30’ temp painting with topsoil re topsoil, Terroir exhibit, curator Tricia Watts, Marin Co, CA
BENEATH LAND & WATER photographic panoramas/music, with Lacy & Kobayashi, original design for
GROUNDWORKS, Regina Miller Gallery, Carnegie Mellon University, Pittsburg, PA. Curator Grant Kester
2004 FOR THE BIRDS II, US Dept of Interior Museum, For National Migratory Bird Month. Washington, DC
VON GRUND AUF: DAS WILDAPFEL PROJECT (proposal artwork), Grossenhain, GERMANY
2003 HOPE IS A BIRD, Gallery 555, Oakland Museum, Oakland, CA
2002 EKOS, Oakland Museum, (for 45 Oakland Artists) Oakland, CA
1999 COMPOST & STORIES, Project Space/With the Earth, Gallery Rt One, Pt. Reyes Station, CA
1997 BIRDS, Jack London Square Art Window, Oakland Chamber of Commerce honoree, Oakland, CA
REFOUND, San Francisco Museum of Modern Art Artists Gallery, SF, CA
1995 POWER TOWER, Oakland Museum sculpture garden , Oakland, CA
1996 WORLD WEB, "REcycle" Festivals, Jack London Square, Oakland, CA
1994 TRASH, 3 part installation, Southern Exposure Gallery, SF, CA
WORLD WEB, (1) Stanford University, Palo Alto; (2) Festival of the Lake, Oakland, CA
CLEAN SWEEP, Exploratorium, SF, CA
ARCH, World Health Organization International Conference, SF, CA
1995 J CURVE, Eco-Nation, Bedford Art Gallery, Regional Center for Arts, Walnut Creek, CA
1992 BIG MOUNTAIN, “For the Earth” Program, Gallery Route One, With S. Girot. Pt. Reyes, CA
MENORAH, San Francisco City Hall, Sponsored by City Recycling Program, SF, CA
1991 SUCCAH/SEEKING SHELTER, Judah Magnes Museum, Berkeley, CA
INSIDE THE WAVE, San Jose State University Gallery. With Suzanne Girot. San Jose, CA
1990 MARKING TIME, "Seeing Time" Program, KALA Institute. With Judith Foosner, Berkeley, CA
THE TREE MUSEUM, Addison Street Public Window Site, Berkeley Art Commission, Berkeley, CA
GROUP EXHIBITS
2013 GREEN ACRES (continued), American Univ Art Museum, Washington DC. Sue Spaid and Jack Rassmuseum
2013 GREEN ACRES—Artists Farming Fields etc., Arlington Arts Center (VA) Sue Spaid and Stephanie Fedor.
2012 GREEN ACRES, Cincinnati Contemporary Art Center (OH), Sue Spaid curator.
2009 DOWN TO EARTH—Artists create Edible Landscapes, Curator Amy Lipton, SCEE Philadelphia PA
DOWN TO EARTH—Selections, Curator Amy Lipton, Ecoartspace Gallery, NYC, NY
2006 HYBRID FIELDS, Sonoma County Museum, Santa Rosa, CA. Curator Patricia Watts.
2005 ECO VISIONS, P. Sanders, curator, Thoreau Center Gallery, The Presidio, SF, CA
2004 CULTURA 21, Kunst & Zukunftsfahigkeit im landlichen Raum, Grossenhain, Germany
2003 CREATIVE INTERVENTIONS, University of Oregon, Eugene, OR
SHAPING POSSIBILITY, Gallery 555, Oakland Museum @ City Center, Oakland, CA
2002 ECOVENTION, The Contemporary Art Center, Cincinnati, OH
BEING THERE: 45 OAKLAND ARTISTS, Phil Linhares, Oakland Museum of CA, Oakland, CA
NO THEME, Rene di Rosa, curator; Contract Design Center, SF, CA
2002 ECOART = RADICAL APPROACHES TO RESTORING THE EARTH, Ecoartspace Gallery, Beacon, NY
2001 WHAT WE DO & WHY WE DO IT, Gallery Route One, Point Reyes Station, CA
ECO-ART=ECO-ACTIVISM, JFK, University Arts & Consciousness Gallery, Berkeley, CA.
2000 SCULPTURE/USF/2000, Richard Kamler, Curator; site-specific installation, U. of San Francisco, SF, CA
ENVIRONMENTAL PERSPECTIVES: BEAUTY & THE BEAST, Koret Gallery, Palo Alto, CA
1999 MONUMENTS, Terri Cohn, curator; Contract Design Center, SF, CA
WHAT IS ART? curators Wm. T. Wiley & Mary Hull Webster; Oakland Museum of CA
1998 WINTER SHOW, Michael Schwager, curator; Contract Design Center, SF, CA
PASSING THE FLAME--Artists Who Teach, Museum of Children’s Art, Oakland, CA
WATER SHED EXHIBIT, Santa Clara Art Center, Cupertino, CA
1997 ECLECTIC ECOLOGIES, Terri Cohn, curator; new SF Main Public Library's Stegner Env. Center, SF, CA
MAKING WAVES, André Thompson, curator. Richmond Art Center, Richmond, CA
1996 POSTWASTE: IMPERATIVE FOR NEAR FUTURE, Arts Benicia, Benicia, CA
SCULPTURE, Central Sierra Arts Council Gallery, Sonora, CA
PAST, PRESENT, FUTURE, Oliver Art Center, California College Arts & Crafts, Oakland, CA
1995 LEFTOVERS, Works Gallery, San Jose, CA
WEATHER WORKS, Contract Design Center, Phil Linhares, curator, SF, CA
THROUGH THE DOOR, Contract Design Center, Marian Parmenter, curator, SF, CA
1994 IMPROMPTU SCULPTURE SHOW, Oakland Museum, Oakland, CA
PUBLIC ART EXHIBITION: A MINDFUL GEOGRAPHY, SF Art Commission Gallery, SF, CA
LIVING IN BALANCE, Richmond Art Center, Richmond, CA
WOMEN MENTORS SHOW, SF Art Commission Gallery, SF, CA
LIVING IN BALANCE, International terminal, San Francisco International Airport, SF, CA
1993 NATURAL DIALOGUE, Baile Oakes, curator; California Crafts Museum, SF, CA
EARTH DAY EXHIBIT, The Gap Co. Headquarters, SF, CA
1992 RESIDUE IMMORTALIZED, Linda Evans, curator; Security Pacific Bank, SF, CA
SOURCES, faculty exhibit, CA. State University Hayward Art Gallery
ARTISTS USING REFUSE AS THEIR PALETTE, Student Union Gallery, S.F. State University, SF, CA
ART FROM THE WASTE STREAM, NORCAL Sanitary Fill Co., SF, CA
1991 ISSUE: EARTHART, Brandstater Gallery, Loma Linda University, Riverside, CA
1990 SCULPTURE, U.O.P. Gallery, University of the Pacific, Stockton, CA
ENVIRONMENTAL CRISIS, Marian Parmenter, juror; Gallery Rt., One, Pt. Reyes, CA
CURATORS CHOICE--East Bay Open Studios tour; sponsored by Art House & Pro Arts, Oakland, CA
SMALL SCULPTURE, Terry St. John, juror; Mendocino Art Center, Mendocino, CA
1989 WOMEN ARTISTS '89, national juried show, Matrix Gallery, Sacramento, CA
NEW WORK, Peter Selz, juror; Modesto Lanzone, Opera Plaza, SF, CA
CHASM, Gallery 44, Oakland, CA
OTHER PROJECTS
1997 Connemara Land Conservancy, Residency, Plano (Dallas), TX
1995-97 Headlands Center for the Arts, Ft. Barry, Affiliate Resident, Sausalito, CA
1994 3 permanent elementary school "recycle" sculpture gardens,
§ Oakland, CA: for MOCHA, Oakland School District and CALARTS
§ Pt. Reyes, CA: for West Marin Arts grant & Gallery Rt. One art in schools program
1993-94 LIVING IN BALANCE, environmental art exhibit originating at San Francisco International Airport, and traveling
to Richmond Art Center, Co-curator, SF and Richmond, CA
1993 CELEBRATION OF THE ENVIRONMENT THRU ART, Dublin Fine Arts Foundation, Dublin, CA
1992 NORCAL Sanitary Fill Co. waste transfer & recycling facility, Artist in Residence, SF, CA
1991 MAPPING THE TERRAIN: New Public Art; artists & critics forum and symposium on public interest art.
Planning team & site coordinator for director Suzanne Lacy, SF MOMA, SF, CA & Napa, CA,
1990 ACROSS TIME & SPACE, international radio art performance by 3 older women from Finland, Russia & USA.
Project coordinator for director Suzanne Lacy, Joensuu, FINLAND
1989 CITY SITES--Artists & Urban Strategies, public art lecture/event series sited at relevant community settings
Planning assistant & coordinator for director Suzanne Lacy, Oakland, CA
AWARDS & HONORS
2000 Potrero Nuevo Fund Prize, SF, CA
1998 Grants, LEF Foundation and Nancy Gray Foundation. For environmental public art project, Oakland, CA
1996 Eureka Fellowship nominee, Fleishhacker Foundation, SF, CA
1994 Arts Education Advocate Award, Oakland Chamber of Commerce, Oakland, CA, Nominee.
1989 High Merit Award, "Women Artists '89," national juried show, Sacramento, CA
SELECTED TEACHING
1995-96 Visual & Public Art Institute, California State University Monterey Bay, Monterey, CA
1992-95 Art Department, California State University at Hayward, Hayward, CA
SELECTED PUBLIC COLLECTIONS
NORCAL Sanitary Fill Co., SF, CA
City of Palo Alto, CA
City of Oakland, CA
Garbage Reincarnation, Sonoma County, Sonoma, CA
The di Rosa Preserve Collection, Napa, CA
BIBLIOGRAPHY
2012 Sue Spaid, GREEN ACRES—Artists Farming Fields, Greenhouses & Abandoned Lots, CAC, Contemporary Arts
Center, Rosenthal Center for Contemporary Art, Cincinnati OH
2009 Anke Haarmann, Harald Lemke (ed), CULTURE/NATURE:Art & Philosophy in…Urban Development, Jovis Pub, Berlin.
2009 Hamburg Newspaper Article
2006 Stephanie Smith, “Suzanne Lacy & Susan Leibovitz Steinman—The Confluence of Conservation Ecology and
Community Economics,” In Art Journal, Spring 06 published by College Art Assn, NY.
2005 Grant Kester, GROUNDWORKS—Environmental Collaboration in Contemporary Art, Miller Gallery, CMU, Pittsburgh,
PA.
Ann Rosenthal , “Imagination Can Save US.” In New Practices/New Pedagogies, Malcolm Miles ed., pp 79-80,
Netherlands: Swets & Zeitlinger Publishers.
Reiko Goto with Tim Collins, “Eco-art Practices.” In New Practices/New Pedagogies, Malcolm Miles ed., pp 93,
Netherlands: Swets & Zeitlinger Publishers.
2004 Ecological Aesthetics: Art in Environmental Design: Theory and Practice, Heike Strelow (Ed.), pp 101-103, Berlin,
Germany : Birkhauser - Publishers for Architecture.
Geumgang Nature Art Biennale 2004 Catalogue, essay by Heike Strelow, pp 144, 213, 216, Chungnam, Korea:
The Organizational Committee of the Geumgang Nature Art Biennale 2004.
2003 Heike Strelow , “Kunst im öffentlichen Interesse– Partizipation, Intervention und
Kommunikation als ästhetische Kategorien,”, In Die Kunst der Zukunftsfähigkeit, Hildegard Kurt, ed.,
Agenda –Transfer.
Susan R. Ressler, Women Artists of the American West, McFarland & Co., Inc.
“Caldwell will get public art,” Idaho Press Tribune, (January 15 )
Alice Leonhardt, Trash with Dash, Steck-Vaugh Company.
2002 Sue Spaid, ECOVENTION, pp 18-19, 56-61, 79,143, co-publishers: Cincinnati Contemporary Art Center,
ecoartspace &greenmuseum.org.
Tilda Chadwick Jones , “Trail gets artistic touch,” Headlight-Herald, (September 4)
Donna Brookman , “Terms of Engagement,” Sculpture Magazine, (July/August)
Kris, Carber, Ben Marks, Chiori Santiago, “ Tips &Trips,” Sunset Magazine, (August)
Marilyn Bauer , “ Art of a new nature: CAC’s Ecovention’s highlights 40 projects that
transformed ecologies throughout the world,” The Cincinnati Enquirer, (June 27)
Debra Koppman, “Being There: 45 Oakland Artists,” Artweek, (February, vol. 33, #1)
Deborah Frizzell, “Dimensions of Ecofeminist Art: A New Form of Epic Poetry,” unpublished paper,
presented at the CAA Conference, Philadelphia, PA
Ann Rosenthal n, “Bridging the Binaries: Assessing Ecoart Practices within the Context of
Environmental Activism,” n.paradoxa, (vol.9)
2001 Ellen Wilson, “the Art of Ecology,” Pittsburgh Post-Gazette, (Nov 7)
Vicky Elliot, “Planting a Seed,” San Francisco Chronicle, (Sept 28)
“Oakland Features ‘Gardens to Go’ an Environmental Art Project,” Bay Area Business Woman, (vol. 8, #12)
Monique Beeler , “Anything Grows,” Oakland Tribune, (Aug 25)
Alicia Miller, “The Growing Impact of Environmental Art,” Artweek, (April vol.32, #4)
2000 Amy M. Lambert & Maya R.Khosla, “Environmental Art and Restoration,” Ecological Restoration, (vol. 18 #2)
“Potrero Nuevo Prize Recipients Named,” Artweek, (April vol 31, #4)
1999 Dorothy Nissen & Oakland Museum of CA, What Good is Art, StudioDotWiz, 1999
“ Mandela: Temporary Artscape to Permanent Parkway, ” Cypress Link, (winter / spring Issue # 29)
Brian Block , “Project Focus: The Art of Community Development,” Green City, (1999, vol. 34)
David Chazz Cartwright , “Grassroots Effort Turns Parkway Strip into Art,” Eastbay Express, (Feb 26)
Dennis J.Oliver , “Junk Pile Becomes Ecological Artscape,” Oakland Tribune, (Feb 1)
1998 Patricia B. Sanders , “A Conversation with Susan Leibovitz Steinman,” Artweek, (November, Vol. 29)
Kimberly Chun , Inventive Mandela Art Project Graces Parkway in Oakland,” SF Chronicle, “ (December 18)
Catherine Bowman , “ Planting a Dream,” SF Chronicle, (November 28)
1997 Gretchen Giles , “Domestic Bliss,” The Sonoma County Independent, (Sept ember 4-10, pp.1B)
Meg McConahey , “Furnishing Nature with Art,” Santa Rosa Press Democrat, (May 18, pp 1;15-16)
Deborah Kong , “Curbist Art,” San Jose Mercury News, (March 31, P.22)
Catherine Cuellar , “There’s a message in the meadow about preserving the environment,” Dallas Morning news,
(March 14)
Lori Fairchild , “Wide Open Canvas,” The Dallas Morning News, (March 15, pp 1H, 5H)
Jerry Kasten , “Encroachment on the land,” Allen (Tx.) American, (March 15)
“Art That’s More Than Bricks and Mortar,” Palo Alto Weekly, (February 7)
1996 Zahid Sardar , “Salvage Connoisseur,” Renovation Style, (Fall, P.28)
Heather Rock Woods , What’s Happening Here,” Palo Alto Weekly, “ (November 20, pp 17)
“What a Waste” SF Bay Guardian, (June 19)
Barbara Fisher , “Eco Nation: Patriots of the Earth at Bedford Gallery,” Artweek, (May, Vol. 26, #5)
“Postwaste Culture,” Benicia Herald, (May 16, pp 1)
“Sculpture: Facing the Elements,” Weatherwise Magazine, (December ‘95/January ‘96, Vol. 48, No. 6, pp 9)
1995 “Artists Writing in Public,” Public Art Review, (Spring/Summer, pp 15)
“Mapping the Terrain: New Genre Public Art , Book Review,” Artweek, (April, Vol. 26 #4)
1994 “Women of Design,” Showplace (SF) Square News, (Winter, pp 18)
Chin Hyong Park, “New Sculptures Mark Waterfront,” Daily Californian, (September 20, pp 5)
Carol Fowler, “Biennial Event A Fine Platform for Sculpture,” Contra Costa Times, (August 12)
“Power Tower,” Berkeley Voice, (August 11)
Susan Kuchinskas , ‘Food for Thought’ Project Bears Fruit Under Downtown Freeway,” SF Examiner, “ (July 6, pp 3)
Bruno Fazzolari , “Reduce Reuse Recycle,” Artweek, (June 9, vol.25, #11)
“Apples as Art,” SF Examiner, (April 27, pp A-5)
Mary Hull Webster , “Raven’s Nest,” Artweek, (March 10, Vol. 25 #5)
1993 Susan Kuchinskas, “For the Individuals, It’s Garbage In, Art Out,” SF Examiner, (December 22, pp 3)
“San Francisco Art Commission,” West (SF Art Institute Journal), (Winter , pp 13)
Terri Cohn , “Fixing the Earth,” Artweek, (September 9, pp 2 )
Clara-Rae Genser , “Local Artist Recreates with Recyclables,” The (Albany) Journal, (September 2)
Carol Fowler, “Women Artists Show their Wood Works,” Contra Costa Times, (July 2, pp 21)
Karen Hershenson , “He Works with a Sticky Subject,” Contra Costa Times, (January 29-February 4)
Glen Helfand , “Art,” SF Weekly, (January 27, pp 19)
David Bonetti , “Down in the Dumps: Uplifting Art,” SF Examiner, (January 27)
“Garbage Stories,” Suzanne Girot, San Jose, CA. “ Video: (Shown in numerous film festivals)
1992 Amanda Dowd , “Make it Shiny, Make it New: Susan Leibovitz Steinman’s Reusable Art,” Equinox Journal, (Fall, Vol 1)
1991 Lydia Matthews, “Out in the Open,” Artweek, (April 30, pp 11)
Tamar Kaufman, “Three Artists Seeking Shelter atJudah L.Magnus Museum,” The Northern California Jewish Bulletin,
(August 9, pp 31)
Ralph Rugoff & David Levi Strauss, “The Best of California Art,” California Magazine, (July, pp 3)
Jennifer Crohn, “Art Au Lait,” East Bay Guardian, (February, pp 25)
1990 Video: “The Tree Museum: An Interview with Susan Leibovitz Steinman,” Elizabeth Sher,
I.V. Studios, Berkeley, CA. (Library collection, CA College of Arts & Crafts, Oakland)
“Art and Ecology,” Ecocity Conference Report, Urban Ecology, Berkeley, CA (April, pp 74-75)
1989 Ann Powers, “Street Talk,” SF Weekly, (December, 20, V.8 , #49 pp 14)
Victoria Dalkey, “Making Statements, Women artists create images…” The Sacramento Bee, (October 15)
WEB ARTICLES
2008 Web pod cast interview, Arts & Healing Network, www.artheals.org
2005 Michael Gant, “Around the Rim,” www.metroactive.com/papers/metro/01.26.05/exhibits-0504.html
Patricia Watts, “Ecoartists: Engaging Communities in a New Metaphor,
http://communityarts.net//readingroom/archive/66watts.php , Community Arts Network/Art in the Public Interest.
2003 Patricia Watts, “Ecoartists: Engaging Communities in a New Metaphor,” www.landviews.org/articles/metaphor-pw.html
LAND: Online Journal of Landscape, Art and Design, (summer 2003)
2002 The Idaho Statesman, www.idahostatesman.com/News/story.asp?ID=16974, (Aug 5)
The Cincinnati Enquirer, www.enquirer.com/editions/2002/06/27/tem_art_of_new_nature.html
Amy Lipton , “The Alchemical Garden,” http://greenmuseum.org/c/alch_gard/
Greenmuseum.org, www.greenmuseum.org /c/ecovention/
2001 ecoartspace, www.ecoartspace.org
Vicky Elliot, “Planting a Seed,” SF Gate, San Francisco Chronicle, www.sfgate.com, (Sept 28)
Arts & Healing Network, www.artheals.org
Terri Cohn, curator, Women Artists of the American West, www.sla.purdue/waaw/
2000 International Sculpture Center, www.sculpture.com, article on Bay Area Sculptors
Teresa Hauge Giovanzana, “Making a Difference: Community Outreach in the Arts Symposium,”
www.sbawca.org/outreach/outreach01.html, SBAWCA-Outreach
2012 Jo Anna Isaak, “Taking Out the Trash: Public Art Projects by The Garbage Girls,”
Public Space-Gesprachsreiche 2, www.public-space.at/gespr/gespr2.htm, (Aug 18)
Ann Elliot Sherman, “Bound to the Earth,” Metroactive, www.metroactive.com/papers/metro/04.03.97/art-9714.html, (Apr 3)
PUBLISHED WRITING
2009 “Manifesto” in CULTURE/NATURE, Haarman & Lemke (ed), Jovis Pub., Berlin Germany
1996-current WEAD- Women Environmental Artists Directory, editor/cofounder & director, San Francisco,CA
1998 “The Unbearableness of Being Without Light,” (detail) A Journal of Art Criticism,
So. Bay Area Women’s Caucus for Art, San Jose (Vol. 6 #1)
1997 “We Honor You, Jo Hanson,” National Women’s Caucus for Art Honor Awards 1997, catalog,
co-authors Suzanne Lacy and Mierle L. Ukeles (pp 8-11)
1995 “Directional Signs: A Compendium of Artists’ Works,” Mapping the Terrain: New Genre Public Art”,
Suzanne Lacy, editor, Bay Press, Seattle (pp 187-285)
1994 Living in Balance, editor/author, exhibition catalog, Richmond Art Center
1993 The Art of Recycle, school teacher manual; City of SF Recycling Program, S.C.R.A.P. , et al
1992 “The Crime of Candor: Feminist Art Criticism,” Studio Potter (art journal) V.20 #1
Encounters on the Road of Poems and Borders, contributor, Suzanne Lacy, ed., Posit-Tele, FINLAND
Selected LECTURE/PANELS
2013 ECOtistical Art, chair Linda Weintraub, College Art Assoc. Conf., Atlanta, GA
Ecoart Summit, World Earth Day, The Exploratorium, SF, CA
GROUNDWORKS Symposium, Miller Gallery, Carnegie Mellon Univ., Pittsburgh, PA
2004 Strategic Partnering Case Study: Art & Community Landscapes, Americans for Arts Conf. Portland, OR
2002 Art for Life’s Sake, The New Aesthetics of Participation, the Open Center, NYC, NY
The Art & Science of Restoration, BIONEERS Conference, San Rafael, CA
2001 “Art for Life’s Sake: The New Aesthetics of Participation,” NYC Open Center, NY
New School/Parsons College, NYC, NY
“Bridging the Binaries,” WASTE Summit, Chatham College, Pittsburgh, PA
“Eco-Art=Eco-Activism” Symposium/Exhibit, JFK University, Berkeley, CA
Society of Teachers of Family Medicine, Charleston, SC, Plenary speaker
“Taking Nature Seriously” Conference, U. of Oregon, Eugene, OR,
Art/Nature/Culture conference, Flagstaff, AZ
1999 College Art Assn. Conf. panel Co-Chair, “Out of the Mainstream, Into the Mainstream.” Los Angeles, CA
1997 “Re-Viewing Our Environment,” SECAC/MACAA College Art Conf, Richmond, VA
1996 SFSU symposium: Public Artists Working in Non-Traditional Ways in Civic Spaces
Arts & Healing Network, Sausalito, CA
1995 Earth Day, Wayne State College & Northeast Community College, NE
"Reclaiming the Landscape," de Young Museum, SF, CA
"Urbanism & Transformation," 2AES/Center for Critical Architecture, Capp St Arts, SF, CA
Discussion of Recent SF Public Art Projects, SF Art Commission Gallery, SF, CA
1993 "Environmental Imperative for Art," San Jose State University, CA
1992 "Nature, Culture & Crisis" Symposium, Pt. Reyes, CA, Speaker
” Art & Ecology," 2nd International Conference of Visual Artists, SFSU, SF, CA
1991 "The Crime of Candor", critical paper presented at the Annual Feminist Conf., U.C. Berkeley, CA
1990 "Art and the Ecocity,” International Ecological City Conference
Palo Alto Public Art Survey II / ARG Conservation Services, Inc. / License #799537 21
YEAR
1997
LOCATION
California Ave. @ El Camino Real
Palo Alto, CA
MATERIALS
Granite, brick, steel, printed synthetic cloth, plants
TREATMENT PRIORITY
High
California Ave., California
Native
by Susan Steinman
Palo Alto Public Art Survey II / ARG Conservation Services, Inc. / License #79953722
DESCRIPTION
This artwork is comprised of multiple pieces of mixed
mediums comprised of large granite slabs scattered about
the intersection, seven banners, local plants, and engraved
brick pavers. Some granite slabs located on the sidewalk are
functional and serve as benches, while other granite slabs
located on the center island serve only aesthetic purposes.
The flags depict images of wild life and plants native to
California. The brick pavers are laid in a Herringbone
pattern at 45 degrees. The engravings on the bricks are
sayings and names of people from the area. Local plants
consist of perennials and wildflowers.
EXISTING CONDITIONS
Granite
ʴGeneral soiling and accumulated debris
ʴStaining from pedestrian use
ʴAbrasion marks from general use
ʴImpact-related damages from automobile on one of the
granite pieces located on the center island
ʴIron oxide deposits from natural mineralogy composition
of stone
Brick Pavers
ʴGeneral soiling
ʴAccumulated debris and staining from pedestrian traffic
ʴMortar joints are intact
Banners
ʴGeneral soiling
ʴBird guano drippings on flags
ʴMinor fading of flags from sunlight (UV light)
ʴOnly three of the seven banners are displayed on a single
metal post
Plants
ʴExisting plants are overgrown and not the plants
recommended by the artist
Detail of bird droppings on flag.
Detail of granite bench with staining and soil accumulation
from general pedestrian use.
Palo Alto Public Art Survey II / ARG Conservation Services, Inc. / License #799537 23
COMMENTS ON LOCATION
ʴPollution from automobile traffic
ʴArea of high pedestrian traffic and use
ʴStreet lights illuminate artwork
TREATMENT HISTORY
According to Palo Alto Public Art Program’s records, the
artwork and all of its pieces were first installed in 1997. The
restoration of the artwork began in mid-2014, and ended
in April 2015. Broken bricks were replaced, banners were
reprinted, and a new flag post was constructed. Only three
of the seven banners are currently on display.
TREATMENT RECOMMENDATIONS
Granite
ʴRemove accumulated debris
ʴClean surfaces with pH-neutral, conservation-grade
detergent
ʴApply protective wax coating and sacrificial, anti-graffiti
coating
Brick Pavers
ʴRemove accumulated debris
ʴClean with pressure washer as needed
Banners
ʴHand-wash and air dry banners annually
ʴDisplay all seven banners
Plants
ʴExisting overgrown plants should be removed and
replaced with plants (perennials and wildflowers)
recommended by the artist
TREATMENT COST ESTIMATE
Labor (2 conservators x 8 hrs. x $125/hr.) ............$4000
Materials* ....................................................................$200
Aerial lift rental..........................................................$1500
Total ..............................................................................$5700
* Does not include new plants or banners
The three banners on display at the time of the survey.
Palo Alto Public Art Survey II / ARG Conservation Services, Inc. / License #79953724
References:
• Project Description of California Native by artist Susan Steinman, dated 1997.
• Purchase Order by City of Palo Alto to Susan Steinman for construction of California Native. dated 7/1/1996.
• California Native Plan by artist Susan Steinman, 1997.
• Plant List for California Native, 1997.
• Recommended Native Plants, 1997.
• Bids for replacing bricks, provided by Palo Alto Public Art Program, 2015.
• Brick Pavers Layout 6/24/2014, provided by Palo Alto Public Art Program, 2015.
• Brick Estimate by Bras and Mattos to Nadya Chuprina of Palo Alto Public Art Program, dated 1/8/2014.
• Text for Bricks and brick vendor Bras and Mattos info by artist Susan Steinman, dated 1/7/1997.
• Gift Purchase Transfer by artist Susan Steinman to City of Palo Alto, dated 1997.
• Specifications for Street Lamp Post by RBF to City of Palo Alto, dated 12/2/2013.
• Estimate for Reprinting Banners by Amcoe Sign Company to Palo Alto Art Center, dated 7/6/2014.
• Estimate for Reprinting Banners by Amcoe Sign Company to Palo Alto Art Center, dated 2/3/2015.
MAINTENANCE RECOMMENDATIONS
ʴPerform overall cleaning with conservation-grade
detergent, and renew wax coating (if applicable) on
annual basis by conservator
ʴRegular, uniform water-rinse of granite and brick
ʴAnnual hand-washing of banners in warm water with
mild detergents
ʴAs recommended by the artist: local perennials and
wildflowers should be planted, watered 2-3 times per
month, and pruned to be 6" above the ground
LONG TERM RECOMMENDATIONS
ʴGranite should be cleaned and recoated as needed on an
annual basis
ʴAn annual condition assessment should be performed
to assess any signs masonry deterioration, and plant and
banner conditions
ʴBanners could be replaced every five years if cleaned and
repaired annually
ʴNew banners should be monitored to estimate expected
life span of banners in each location.
ʴWildflowers will have to be replanted annually
ʴPerennial plants should be pruned 6" above the ground
every two to three years
OVERALL LIFE SPAN
ʴIf the granite and brick are regularly maintained, they
can remain outdoors for decades
ʴIf fabric is regularly maintained, it can remain outdoors
for up to five
ʴWildflowers must be replanted annually
ʴPerennial plants/grass must be pruned every two to three
years
RELOCATION PLANS
No relocation is advised if maintenance recommendations
are followed.
Attachment 4
Images of the streetscape taken in 1997, 2009, 2014 and 2016 (demonstrating the changes into the
streetscape over the time and how it affected the artwork).
1997
2009
2014
2016