HomeMy WebLinkAbout2017-11-16 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
Elise DeMarzo: Public Art Program Director Nadya Chuprina: Public Art Coordinator
http://www.cityofpaloalto.org/publicart
Thursday, November 16, 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 – October 19, 2017 ATTACHMENT
STAFF COMMENTS
ACTION:
1. 693/689 Arastradero Road - Final Review for art in private development project associated with
the Bowman School project. Presentation by Mary Beth Ricks of Bowman School and Jon W.
Daseking of Pacific Peninsular Architecture. (20 minutes) ATTACHMENT
2. De-Accession of Artworks – Staff recommends the deaccession of Digital DNA by Adrianna
Varella and Nilton Maltz, currently sited at Lytton Plaza. ATTACHMENT
3. De-Accession of Artworks – Staff recommends the deaccession of Go Mama by Marta Thoma,
currently sited on California Avenue. ATTACHMENT
4. Bike Boulevards Pilot Project – Staff recommends that the Commission select and approve one of
two final proposals for artistic design for the Bike Boulevards / Art Crosswalks pilot project to be
integrated at the Louis / Fielding raised intersection.
5. Downtown Parking Garage – Staff recommends the approval of artist Amy Landesberg as the
project artist or the downtown parking garage project. ATTACHMENT
6. Junior Museum and Zoo – Staff recommends the approval of artwork design concept by artist
Charles Sowers for the JMZ project. ATTACHMENT
NON-ACTION:
7. Joint Meeting with Council – Brief discussion and strategy for the presentation to Council.
PUBLIC LETTERS: Public Comments in consideration of deaccessioning of Digital DNA by Adrianna
Varella and Nilton Maltz; and Go Mama by Marta Thoma. ATTACHMENT
ANNOUNCEMENTS
FOR YOUR CALENDAR:
Joint Meeting with Council – December 4, 2017 at 6 p.m.
Next PAC Regular Meeting – January 18, 2017 at 7 p.m.
MINUTES
PUBLIC ART COMMISSION
REGULAR MEETING
Thursday, October 19, 2017
City Hall Community Meeting Room
250 Hamilton Ave
7:00 p.m.
Commissioners Present: Jim Migdal, Hsinya Shen, Amanda Ross, Nia Taylor, Mila
Zelkha joined the meeting at 7:09
Commissioners Absent: Ben Miyaji, Loren Gordon
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 7:04 p.m.
AGENDA CHANGES, REQUESTS, DELETIONS – None.
ORAL COMMUNICATIONS – None.
APPROVAL OF MINUTES: September 21, 2017 PAC Regular Meeting Minutes Moved: Jim Migdal;
Second: Hsinya Shen. All in favor.
STAFF COMMENTS: Staff updated the Commissioners on the status of the de-accession evaluation
process for Digital DNA, Go Mama and California Avenue, California Native. DeMarzo reported that
staff is in the process of gathering public input and welcomed members of the public to submit comments
in relation to the mentioned above artworks. Staff also provided a status update on the artist application
process for the Public Safety Building public art project. Staff also announced an upcoming installation of
Toby Atticus Fraley’s Artwork Forge coming to King Plaza in November and invited the Commissioners
to join the Art Center Project Look Docent tour of the newly installed artwork.
ACTION:
1. Charleston-Arastradero Corridor – Elise DeMarzo introduced Joe Saxe, contract project
manager hired by the Public Art Program to oversee some public art projects in municipal
development on a contract basis, to the PAC. Saxe provided a summary of the artist selection process,
public art goals and placement opportunities, artist Susan Zoccola’s process behind her concept
development and presented images of five conceptual renderings to the commissioners. After meeting
with the design team in January and touring the corridor, Zoccola began exploring a number of
potential concepts. Due to the many constraints of trees, underground utilities, fire department access
needs, and rights of way, and a desire to spread the artwork elements throughout the corridor, the
final five sites were determined as the best for siting artworks. Informed by the intent of the project –
a heavily trafficked corridor in which the streetscape project is intended to enhance bike and
pedestrian safety, Zoccola set out to create wheel based compositions marking entrances and key
places along the corridor that would be dynamic for drivers, pedestrians and cyclists alike while
marking a few places along the corridor for drivers to pay extra attention looking for cyclists.
Commissioners reviewed the presented designs and clarified with staff on the choice of materials and
colors for the sculptures. Moved: Chair Migdal moved to approve artwork by Susan Zoccola for the
Charleston-Arastradero corridor. Second: Commissioner Taylor. All in favor.
2. California Avenue Parking Garage – Staff provided overall background information on the
development project of the new California Ave Parking Garage to be constructed in Spring 2019.
Staff utilized the prequalified pool of artists to select twenty artists that were brought to the panel for
consideration. The panel reviewed the artist pool and shortlisted five finalists to give presentations
detailing more about their previous work, their design development, and their interest in this
particular project. Ball-Nogues Studio was the highest ranked artist team. With more than twenty
years of experience, the studio has prominent public artworks in Santa Monica, Nashville, LAX, San
Francisco, Alberta, Canada, and even at the VA hospital in Palo Alto. Staff provided images to
highlight some of the previous projects completed by Ball-Nogues Studio. Member of the public and
Chair of California Ave Business Association Jack Morton addressed the Commissioners to provide
feedback on the architectural design development process for the new garage structure and shared that
the California Ave merchants are looking forward to meeting with the artist and providing input for
the design of the integrated artwork. Staff recommended that the Commissioners approve Ball-
Nogues Studio as the artist for the California Avenue Parking Garage project. Moved: Commissioner
Ross moved to approve Ball-Nogues Studio as the project. Second: Chair Migdal. All in Favor.
Chair Migdal left the meeting at 7:40 p.m.
NON-ACTION:
3. Joint Meeting with Council – Staff and Commissioners discussed an outline and strategy for the
presentation to Council scheduled to take place on December 4, 2017.
ANNOUNCEMENTS – None.
FOR YOUR CALENDAR:
Next PAC Regular Meeting – 7 PM, November 16, 2017
Joint Meeting with City Council - December 4, 2017.
MEETING ADJOURNED at 7:55 PM by Commissioner Ross
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KAMAU AMU PATTON
ART ELEMENTS
BOWMAN SCHOOL
11/17
ProPosal for Palo alto
Public art commission
Kamau amu Patton
artist
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Contents
Selection ProceSS
About the ArtiSt
cV
recent Work
ProPoSAl
DetAileD DrAWingS
Site PlAn and ADDitionAl eleMentS
tiMeline and buDget
MAintenAnce
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seleCtion ProCess
The bowman School has enlisted the services of Jim Ricks, a professional artist with a strong track record
of public art projects and curation. He is Montessori educated and has a robust knowledge of contempo-
rary art practice in the bay Area with a strong personal connection to the bowman School.
Jim ricks is an irish and American conceptual artist and received his bFA from the california college of
the Arts and his MFA from the national university of ireland, galway. He has had solo shows at casa
Maauad (Mexico city, Mexico), Pallas Projects (Dublin, irl), the Hugh lane gallery (Dublin, irl), ono-
matopee (eindhoven, nl), and shown in a number of group shows including at the imperial War Museum
(london, uk), Jack Shainman gallery (nYc, uSA), ulster Museum (belfast, ni), temple bar gallery &
Studios (Dublin, irl), royal Hibernian Academy (Dublin, irl), galway Arts Festival (galway, irl), Art
basel Miami Art Public (Miami), The limerick city gallery of Art (limerick, irl), Shunt (london, uk),
Stattbad (berlin, germany), and the cranbrook Art Museum (Detroit, uSA). residencies include lASA
(Havana, cuba), casa Maauad (Mexico city, Mexico), nerve centre Fab lab residency (Derry, ni), A.M.
Qattan Foundation (ramallah, Palestine), Heinrich böll residency, Achill island (irl). ricks has also cu-
rated projects with culture ireland, temple bar gallery & Studios, the Hugh lane gallery, Sluice Art Fair,
and Just Mad Art Fair.
After a period of research, ricks selected the artist Kamau Patton because of his track record of multi-dis-
ciplinary and theory based works, interest in pedagogy (he has led numerous workshops with schools and
teaches at the prestigious School of the Art institute of chicago), his utilization of neo-modernist forms in
sculptures and installations, and a connection with Palo Alto (MFA from Stanford university in 2007).
The basic requirements of the Public Art commission were described to Patton and he was given a period
for incubating an idea and strategy during the Autumn and Winter of 2016-17. His initial proposal was
well received by the bowman School in the Spring of 2017 and workshops with the students have since
taken place in September and october 2017 to give the project a fuller, more detailed form.
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about the artist
Kamau Amu Patton (Assistant Professor, Visual & critical Studies, School of the Art institute of chicago) is
an interdisciplinary artist and art educator. His work is an examination of history and culture through engage-
ment with archives, documents, stories and sites. Patton’s projects are dialogic constructs and take form as
expanded field conversations. temporary architectures made solid through attention, his work is always be-
coming, continuing and undergoing transformation.
Patton received his MFA from Stanford University in 2007 and is a graduate of the University of
Pennsylvania with a degree in Sociology. His work was shown in 2012 as part of the Pacific Standard time
Performance and Public Art Festival and in 2013 as part of the Machine Project Field guide to l.A.
Architecture.
Patton has completed projects in the area of soundscape studies through support provided by the State uni-
versity of new York at buffalo, the Mellon elemental Arts initiative at Pomona college and the tang teaching
Museum at Skidmore college. Patton presented research in 2016 at the AbF house in Stockholm, Sweden as
a part of The Shape of co- to come, a proposal, a symposium, an exhibition, a publication, a study circle, a
research based site. Patton will participate in a series of multidisciplinary performances as part of Projects 107:
lone Wolf recital corps, at the Museum of Modern Art in August of 2017.
http://www.kamaupatton.com/
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KAMAU AMU PATTON 3544 West Palmer Street, Chicago, IL 60647 PH:(917) 847-7749, E-MAIL: kpatto2@saic.edu Assistant Professor, School of The Art Institute of Chicago. Department of Visual and Critical Studies EDUCATION
Stanford University, Stanford, CA Masters, Fine Arts | June 2007 University of Pennsylvania, Philadelphia, PA Bachelor of Arts, Sociology | June 1995 London School of Economics & Political Science, London, England UK General Course, Sociology and Social Policy, 1993 - 1994
SOLO EXHIBITION
2017 Tell_X_ The Last Message, Public Access. Chicago, IL 2015 Open Archive, Hamilton NY, Colgate University
THEMED_NOMAD_NO_PLASTIC_FORM, Machine Project @ Tang Museum, Skidmore College Transmitter, Callicoon Fine Arts, New York, NY 2014 Elevator Music 27, The Tang Teaching Museum, Saratoga Springs, NY Proof of Concept, Pomona College, Claremont, CA 2013 If Then (Else) / Else If, SUNY at Buffalo, Buffalo, NY The Sky Above, The Getty/ Machine Project, Los Angeles, CA ` 2012 Memory and Data Storage: The Ampex Corporation. Machine Project, Los Angeles, CA. 2010 Kamau Amu Patton, Alphonse Berber Gallery, San Francisco, CA Icons of Attention, Yerba Buena Center for the Arts, San Francisco, CA 2008 Object Agency, Southern Exposure, San Francisco. CA ZEBULUN, Queen's Nails Projects, San Francisco, CA 2007 Arc, Tilton Gallery, New York, NY Kamau Patton at Machine Project, Machine Project, Los Angeles, CA In Advance, Thomas Welton Stanford Art Gallery. Stanford University, CA 2005 Musee Miniscule, New Langton Arts, San Francisco, CA 2004 The Wind of Evening, San Francisco Arts Commission, Grove Street Windows, San Francisco, CA 2003 It Is You Who Will Protect Us From The Sun, San Francisco Arts Commission Gallery, San Francisco, CA
CV
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KAMAU AMU PATTON 3544 West Palmer Street, Chicago, IL 60647 PH:(917) 847-7749, E-MAIL: kpatto2@saic.edu GROUP EXHIBITION
2016 The Shape of Co- To Come, ABF Huset, Stockholm, Sweden ONTOPO, Catskill Zendo, Summitville, NY 2015 OPEN SESSIONS 4, The Drawing Center, NewYork, NY Poetry Parade for Site & Sight, Whitney Museum of American Art, NewYork, NY ONTOPO, Outlier Inn, Woodridge, NY 2014 Didn’t Start The Fire, Taymour Grahne Gallery, NY, NY Eric’s Trip, Lisa Cooley Gallery, NY, NY The Possible, Berkeley Art Museum/ Pacific Film Archive, Berkeley, CA 2013 Dissident Futures, Yerba Buena Center for the Arts, SF, CA My Future Ex, UB Art Gallery, Buffalo, NY Drafts, The Drawing Center, NY, NY Video Slink Uganda, Republic of Uganda, Africa. Facets, Lone Wolf Recital Corps, Block Museum of Art, Northwestern University, Evanston, IL 2012 At the Edge: Recent Acquisitions, Berkeley Art Museum, Pacific Film Archive, Berkeley, CA Outer Spaces Part 1, The Highlights, http://thehighlights.org/#outer-spaces-part-i Facets, Lone Wolf Recital Corps, Tang Museum, Skidmore College, Saratoga Springs, NY 2011 SECA Art Award Exhibition, San Francisco Museum of Modern Art, SF, CA il gatto e sul tavolo / the cat is on the table, SpazioA Gallery, Pistoia, Italy Evidence of Accumulation, The Studio Museum in Harlem, NY, NY 2009 Forschungsbericht, COCO, Vienna, Austria Masters Collaborative Project, San Francisco Art Institute, SF, CA Leave the Capital, Root Division, San Francisco, CA 2008 A Machine Project Field Guide to LACMA, LA County Museum of Art, LA, CA Glow: Santa Monica, Santa Monica, CA The 1st International Media Art Forum for Youth, Cairo, Egypt Design and the Elastic Mind, Museum of Modern Art, New York, NY MFA Selections, DiRosa Preserve, Napa, CA 2007 Technebiotics, California College of the Arts, San Francisco, CA Wrong Number, Jack Hanley Gallery, San Francisco, CA Immediate Future, Murphy & Cadogan Fellowship,San Francisco, CA 2006 Unbecoming, Thomas Welton Stanford gallery, Stanford University, Stanford, CA Sound Clash, Stanford University, Stanford, CA 2005 Fix Box, RARE Gallery, N.Y., N.Y. Space is the Place, Berkeley Art Center, Berkeley, CA
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KAMAU AMU PATTON 3544 West Palmer Street, Chicago, IL 60647 PH:(917) 847-7749, E-MAIL: kpatto2@saic.edu 2003 No War, The Luggage Store Gallery, San Francisco, CA 2002 Bay Area Now 3, Yerba Buena Center for the Arts, San Francisco, CA
COMMUNITY PROJECTS / PUBLIC PROGRAMS
Perfect Strangers: Machine Project and the Hamiltonians, Open Archive, Colgate University My Future Ex: Float My Resident, workshop series. UB Art Gallery, Buffalo, NY. 2013 Memory and Data Storage: The Ampex Corporation. The Getty, Los Angeles, CA. 2012 Presented in conjunction with Pacific Standard Time. L@TE: Friday Nights @ BAM/PFA, Berkeley, CA, 2011 Four performances organized in conjunction with Kurt Schwitters: Color and Collage exhibition at Berkeley Art Museum. Icons of Attention. Yerba Buena Center for the Arts, San Francisco, CA, 2010 Multimedia Installation. Programmed five performances, in conjunction with exhibition. Southern Exposure, Youth Advisory Board, Nuestro Futuro, San Francisco, CA , 2009 City Studio / NextMap Partnership, Usernomics 1.0 - hacktivist workshop with artist, Stephanie Rothenberg. 2008 Richmond Art Center,/ Richmond History Museum, Neighborhood Public Art Grant: Iron Triangle, Richmond, CA, 2007 City Studio, Site: East Bay Asian Youth Center, Personal Narratives, Oakland, CA 2005-2006, Site, 155 Grove Street SFAC, San Francisco, CA, 2004-2005 Selected and managed a series of San Francisco Arts Commission projects for Grove street site. Projects presented in gallery were visible 24hrs a day, 7 days a week. LECTURES/ SPEAKER SERIES
SAIC, Received: The Black Panther, 1969-70 A Discussion with Akili Tommasino, December 2016 SAIC, Lunchtime Listening Sound Works from the JFABC, U-N-I-VERSE, November 2016 Parsons, AMT, Project Anywhere: Art at the Outermost Limits of Location-Specificity, November, 2014 Mellon Elemental Arts Initiative, Pomona College, Soundscapes: Keynote Sounds, 2014 Pomona College, Art Department, Technology and Performance, October 15, 2013
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KAMAU AMU PATTON 3544 West Palmer Street, Chicago, IL 60647 PH:(917) 847-7749, E-MAIL: kpatto2@saic.edu Institute of Contemporary Art, Philadelphia, ICA Salon, Sound/ Music, November 7, 2012 New Silent Series, New Museum, NY, NY, “ Fatima Al Qadiri, Genre Specific Xperience”. October 21, 2011 The Center for Jazz Studies, Columbia University, “Improvisation and Phantasmal Media”, April, 26 2011 University of New Mexico, Gale Memorial Lecture Series, March 2, 2010 Black Visual Culture Series, University of California, Berkeley, The Culture Game, March 18, 2009
PROFESSIONAL AWARDS
- 2015 Open Sessions, The Drawing Center - 2014 Cooper Union Summer Residency - 2014 Mellon Elemental Arts Initiative Grant, Pomona College - 2010 SECA Art Award, San Francisco Museum of Modern Art - 2010-2011 A.I.R., The Studio Museum in Harlem - 2008 Southern Exposure, Alternative Exposure Grant - 2007 Cantor Art Center Art Educator in Residence - 2006 Murphy & Cadogan Fellowship in the Fine Arts
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KAMAU AMU PATTON
Kamau Amu Patton is an interdisciplinary artist. He received his BA in Sociology from the the
University of Pennsylvania, and his MFA from Stanford University in 2007.
Elevator Music 27
Tang Museum
2015
reCent WorK
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LightBar, Daylight
2014
Metal, LED strip
Acrylic on reflective fabric
49 x 65.5 in.
Private collection, New York
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2014
8 channel video
11:40 minutes
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Transmitter 2015 video loop on monitor, sound, FM transmitter with antenna, FM receiver
Variable installed dimensions,
sound: 44 min 39 sec, video: 1 min 26 sec
Acoustic Ecology
Tang Museum
October 3, 2014
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PROOF OF CONCEPT
Mellon Elemental Arts Initiative
Pomona College
March, 2014
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Type to enter text
DISSIDENT FUTURES
Yerba Buena Center for the Arts
Oct 18, 2013 – Feb 2, 2014
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THE SKY ABOVE
Machine Project Field Guide to L.A. Architecture
May 26, 2013
SECA
SFMOMA
2010-2011
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Evidence of Accumulation
Studio Museum In Harlem
2011
Memory and Data Storage
Pacific Standard Time
2011-2012
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Icons of Attention
Yerba Buena Center for the
Arts
2010
Mutatis Mutandis
LACMA
2008
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ProPosal
to create shapes and symbols comprised of text, cut in stainless steel and embedded into the new sidewalks
leading up to and large circular concrete area in front of the buildings.
inspired by Maria Montessori’s 10 “human tendencies”, the designs include text and shapes developed through
workshops with the students.
The placement underfoot and at the entrance is important in the activation of the piece in years to come, as
students, teachers, and parents will touch upon these values everyday as the enter and exit the school.
CONCENTRATE WITH ENTHUSIAS
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ATTEND FULLY TO HERE AND NOW ATTEND FULLY TO HERE AND NOW
ATTEND FULLY TO HERE AND NOW ATTEND FULLY TO HERE AND NOW
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relAteD iMAgeS
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concePtS
Montessori education is fundamentally a model of human development, and an educational approach based
on that model. The model has two basic principles. First, children and developing adults engage in psychologi-
cal self-construction by means of interaction with their environments. Second, children, especially under the
age of six, have an innate path of psychological development. based on her observations, Montessori believed
that children who are at liberty to choose and act freely within an environment prepared according to her
model would act spontaneously for optimal development. Montessori saw universal, innate characteristics in
human psychology which her son and collaborator, Mario Montessori, identified as “human tendencies” in
1957.
exPlorAtion
orientAtion
orDer
AbilitY to AbStrAct iDeAS
Work
SelF-control/SelF-DiSciPline
rePetition
PerFection
exActneSS
coMMunicAtion
19
StuDent WorkSHoPS
community-driven public art is a central axis of Patton’s project, necessitating that the artist collaborate with
the community of students in a genuine way, creating a final work through dialogue that is enhanced by both
parties, yet unattainable by either alone.
in September and october Patton facilitated a series of student workshops exploring themes of public art,
environmental design and the core concepts of human tendencies that Dr. Montessori saw displayed in chil-
dren whom are set free to explore in prepared learning environments. Special focus was paid to the use of signs
and symbols in our built environments, as kamau worked closely with the students in the development of
symbols that contain text inspired by these values. The text was laid out into a large graphic or symbol, creat-
ing a ‘concrete poem’. literally.
The workshops were developed in partnership with classroom teachers and the administration at bowman.
The students were able to explore a variety media including drawing, drafting, printmaking, and digital de-
sign. Workshops will continue to be held during the production and installation process, creating a learning
experience for the students in all stages of the artistic process.
20
SYMboliSM
each symbol is of original design and derived from the students’s interpretations of the 10 human tendencies
and their introduction to a range of ancient and contemporary symbolic systems designed to generate respons-
es that could be representative of the broad spectrum of cultures which constitutes the school community.
FAbricAtion
The metalwork will be water jet cut steel symbols. A water jet cutter is an industrial tool capable of cutting a
wide variety of materials, including steel, using a very high-pressure jet of water, or a mixture of water and an
abrasive substance.
each letter is 3 in tall, 1/4 thick steel. There are a total of 1200 letters in the and they will be mounted on sup-
port plates – to keep the overall symbol shape when they are placed into the wet concrete.
The placement of the metal shapes and text symbols into the concrete and the concrete itself will be performed
by the contractor with the artist on-site. This is already under discussion with the architects and project man-
ager.
The cutting of the metal, mounting onto support frames, and delivery to the site is to be done by:
chambers Art & Design
1960 Mandela Parkway unit 3
oakland cA 94607
Phone 415-748-9730
license # 972895
21
ArcHitect’S noteS
22
10
f
e
e
t
DetaileD DraWings
Principle design elements that
correspond with numbers on
following map.
Please see attached PDF to zoom
in on details.
23
10 feet
24
10 feet
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10 feet
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10 feet
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10 feet
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10 feet
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10 feet
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10 feet
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10 feet
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site Plan & aDDitional elements
Please see attached PDF to
zoom in on details.
35
timeline & buDget
36
0
26,630
84,950
350
18,000
24,000
5,400
24,000
12,800
400
4,550
0
$116,130
buDget
independent Art consultant (Pro-bono)
Artist’s fee
Fabrication
Design drawing
1200 stainless steel letters
‘Standoffs’ (steel pegs for letters)
Mountings
Welding
16 Additional shapes with mounting
Delivery
Workshops and site visits (Accommodation and travel for 5 trips from chicago)
installation (integrated into main build)
TOTAL
37
WORKING ESTIMATE
FOR: Art Element at Bowman School
Contact: Jim Ricks
Chambers art & design
1960 Mandela parkway unit 3
Oakland ca. 94607
Phone 415-748-9730
License # 972895
INVOICE: 1209
DATE: 08/08/17
DESCRIPTION HOURS RATE AMOUNT
A series of laser jet cut letters to welded 3” off of 10
geometric shapes. Material prices are included.
All work to be done by Chambers Art & Design in a timely
orderly fashion.
Design drawing (can be used for Cnc laser cutting files)$350
Total of 100-300 -1/4” x 4” Stainless steel letters, San Serif
font, 60 grit matte finish.
$15/letter
100-300 $1500-$4500
Standoff’s
2-3” Stainless steel pegs cut and welded onto 100-300 letters 100-300 letters $2000-$6000
Geometric shapes
10 - Geometric shapes, laser cut with letter registration in ensure
accuracy. Shapes TBD
10 shapes to
fit in a 9’x9’ sq.$4500
The welding of 100-300 letters onto 10 Stainless steel Geometric
Shapes 100-300 letters $2,000-$6000
Delivery to Palo Alto $400
TOTAL $10,750 -
$20,750
50% DEPOSIT REQUIRED TO
START:
BALANCE:
Please allow 10-12 weeks from deposit for delivery.
Thank you for your business!
PreliMinArY Quote
(budget on previous page reflects additional shapes and text from latest design)
38
maintenanCe
The finished artwork will be permanently installed as part of the sidewalk in front of the building. it will be
viewable to the public at all times. it requires no lighting and can be cleaned with a standard power washer. it
requires no additional maintenance.
Preliminary design
ENGAGE FREED
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SKILLS INFORM INNATENESS OF LANGUAGE CONCENTRATION CONSTRUCTIVE CHOICES PRECOCIOUS INTELLIGENCE LIVE IN PEACE DISCIPLINE INTEREST ENGAGE FREEDOM CREATIVE ENERGY INTELLIGENCE EQ
UILIBRIUM ELASTICITY ADAPTABILITY
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ABSTRACTIO
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THE TASK IS TO FIX THE WANDERING MIND UPON
AN OBJECT THE TASK IS TO FIX
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KAMAU AMU PATTON
ART ELEMENTS
BOWMAN SCHOOL
11/17
City of Palo Alto Staff Report to Public Art Commission
November 16, 2017
Agenda Item 2
Recommendation:
Staff recommends that the Public Art Commission approves the deaccession of Digital DNA by Adrianna
Varella and Nilton Maltz, located in Lytton Plaza as outlined in the City’s Deaccession Policy.
Summary:
Staff recommends that the Public Art Commission approves deaccession for Adriana Varella and Nilton
Maltz’ Digital DNA, located at Lytton Plaza, based on the findings of the evaluation process and
conditions outlined in the City’s Deaccession of Artwork Policy 1-59/CSD (Attachment 1) adopted in
December 2016.
Background:
Digital DNA is a seven-foot-tall egg-shaped sculpture made of welded steel, polystyrene bead foam,
fiberglass, and salvaged computer silicon circuit boards that cover the surface of the sculpture. Sewn
and soldered onto into the surface of the boards are phrases relating to technology written in a variety
of languages. The artwork, sometimes referred to as the “egg” was meant to recognize Palo Alto as the
birthplace of Silicon Valley.
According to a 2005 press release, Adriana Varella (See Attachment 2 for Bio) and Nilton Maltz best
describe this site specific art project: as “Digital DNA sole intention is a momentary reflection about
what we have been building, researching and planning for our software and hardware thinkers. They are
the ones who determine what users will be extracting from their computers (except for the hackers
maybe). We hope the art piece could bring some reflection and consciousness elevation for people
passing by the square”. Varella’s primary medium is currently video based artwork which can be viewed
at http://www.adrianavarella.net/.
While the artwork has only been at Lytton Plaza since 2005, it has had a rather complicated history.
There is little information available regarding the selection process for the sculpture. However,
according to Public Art Commission records Digital DNA was commissioned in 2000 for $9,950, but the
specific site for installation was not yet determined. The commissioned amount did not include
installation or footings for the sculpture. Staff and the Public Art Commission explored sites on
California Avenue, King Plaza, and Lytton Plaza. Ultimately, Lytton Plaza was selected as the venue for
the sculpture. The purchase agreement did not address deaccession or Visual Artist Rights Act.
In 2001, Varella’s stored pieces for the sculpture were inadvertently mistaken for junk by a neighbor and
thrown away. Once Varella finished creating the artwork, there were delays in scheduling the
installation due to ongoing discussions regarding a potential redesign of Lytton Plaza. During those
delays, there was a warehouse fire in the San Bruno facility that Digital DNA was stored in, and the
sculpture was completely destroyed.
On August 19, 2004, the Commission voted to fund a second version of the artwork with the insurance
funds from the fire. Varella completed another version of the sculpture, and it was installed at Lytton
Plaza in June of 2005. Two weeks prior to the unveiling, Digital DNA was vandalized. Several circuit
boards were removed from the sculpture, but Varella was able to repair the damages before the event.
The Lytton Plaza redesign construction began in 2008, and Digital DNA was taken off-site and restored
by the artist and re-installed at the plaza in time for the ribbon cutting ceremony in December 2009.
Maintenance History:
The artwork has received multiple maintenance treatments that have included several new clear
coatings of the circuit boards, replacement of broken boards, and regular filling and replacement of
screws that have been popped out of the fiberglass shell. City of Palo Alto art crew maintenance is not
reflected below, but they inspected and replaced elements of the sculpture regularly.
Updated Records of All Associated costs for Digital DNA:
Original Commission Amount $ 9,950.00
Second Commission Amount $10,000.00
Total Costs Paid to Artists to fabricate the sculpture: $19,950.00
Identification Plaque: $541.00
Repairs/Maintenance by Varella:
Repair - 2005
$1,200.00
Repair - 2006
$2,200.00
Repair - 2009
$4,600.00
Total
$8,000.00
Paid to ShipArt for
Installation/Relocation
Original Installation - ShipArt - 2004
$7,805.00
Remove & Reinstall 2009 - ShipArt
$5,194.00
Total
$12,999.00
Repairs /Maintenance by Outside
Consultants:
Repairs and Restoration 2013/2014 $3,100.00
Total for Repairs and moving the sculpture since 2005 $24,099.00
Total Cost for Commission, Maintenance and Repairs $44,590.00
In 2011, the Adriana Varella and Alex Lage submitted a proposal to completely restore the sculpture for
$82,400, and believed that they may have found a Brazilian corporate sponsor to lead a crowdfunding
campaign to fund the restoration. The Public Art Commission was wary of taking on such an expensive
rehabilitation of an artwork that is relatively new to the collection and cost eight times the original
commission. It was also clear that if the restoration was completed, the artwork may very well be in a
similar state of deterioration in another five years if it remained at the Lytton Plaza site. Instead they
launched a subcommittee to search for alternative sites for Digital DNA that may help protect it from
the elements. Staff and Commissioners reached out to the Palo Alto History Museum and explored sites
at libraries, Community Centers, and City Hall for spaces that might be better suited for the protection
of the artwork. No suitable site was located. Staff hired a conservator to apply a new UV protective
coating to the circuit boards in 2013.
Discussion:
In 2015 staff hired ARG to evaluate the condition of the collection and make conservation
recommendations (Attachment 3). In that report, ARG notes the instability of the anchor system and the
losses to the surface treatment and details of the sculpture. During the Public Art Master Planning
process, consultants Barbara Goldstein and Gail Goldman also made recommendations regarding the
collection. About Digital DNA, they wrote:
Digital DNA: This artwork, constructed on a fiberglass base, is damaged and may be
structurally unstable. It is covered with small, flat computer components that w ere
screwed into the fiberglass shell. The coatings have peeled off and the existing boards are
faded and some are breaking. Some of these have been pried off or are in danger of
being removed. ARG has assessed it and recommended suitable repairs. However, the
artwork is not suitable for outdoor display due to the nature of the materials and, if
relocated to an indoor venue, will require substantial repair. Deaccession is
recommended unless repairs are completed and a suitable indoor location can be found.
Digital DNA’s coatings have peeled away again, likely due to the constant exposure to the elements at
the Lytton Plaza location. Unfortunately, each time the piece has been re-sealed, the coating has begun
peeling within 4-5 months.
Of the considerations for deaccession outlined in the policy, staff recommends deaccession for the
following considerations:
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.
No suitable site is available for relocation or exhibition.
Public Art staff has received several emails over the past two years from representatives of the Friends
of Lytton Plaza, who co-funded the redesign and reconstruction of Lytton Plaza that took place in 2009,
regarding the deteriorating condition of the sculpture. Staff has dispatched the in-house art handlers to
make minor repairs or to remove/replace broken panels. Staff has experimented with several different
coatings in cooperation with conservators, and has not found a durable UV coating that will withstand
the elements.
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.
Update since PAC August 2017 Meeting:
In August 2017, acting in accordance with the guidelines and procedures of the City’s Deaccession of
Artwork Policy 1-59/CSD, staff submitted a Deaccession Request Report (Attachment 4) to the PAC. The
staff report provided the background information for Digital DNA, description of maintenance and
repairs and associated costs, condition reports provided by ARG and Public Art Master Plan consultants,
and a list of considerations for deaccessioning.
With the Public Art Commission’s approval to proceed with the evaluation process, staff notified artists
Adrianna Varella and Nilton Maltz via email and post of the Commission’s decision on August 18, 2017.
Artist Adrianna Varella contacted staff to clarify on the condition of Digital DNA in order to identify a
way to keep the artwork at its current location and proposed to place the compromised sculpture in an
acrylic box on Lytton Plaza. Staff took this proposal in consideration and later informed the artist that
placing the sculpture inside a clear acrylic box is unfeasible as the acrylic vitrine will most likely attract
more vandalism, trap moisture inside, and not solve the underlying issue of the deteriorating sculpture
materials. Presently the surface of the sculpture is grossly deteriorated, with faded and brittle boards.
Any further repairs or partial replacements of the circuit boards are impractical since these materials are
not intended to be out in the elements, and ARG has also identified the instability of the anchoring
system as an issue. All previous attempts to restore the sculpture both by the artist and consultants
were ineffective as the piece began deteriorating just a few months afterward (see attached PAC
minutes).
Adrianna Varella initiated a crowdfunding campaign in response to the deaccession notification to
restore Digital DNA with an intention to raise $15,000 to restore the artwork. As part of the fundraising
campaign Varella provided two optional plans for the artwork: a) remove, restore and reinstall the
artwork on its current site on Lytton Plaza, provided that the artwork remains in the City collection; b) or
relocate the restored artwork to a new location, provided that the artwork is deaccessioned and no
longer remains in the City collection. However, Varella’s crowdfunding campaign failed to secure the
pledged amount of $15,000. As of November 7, 2017 the crowdfunding site has pledges in the amount
of $427.
Since the August meeting, staff undertook a more detailed summary of the maintenance history of
Digital DNA. The chronological chart (Attachment 5) outlines the Digital DNA commission history
including a summary of the costs associated with the initial and secondary installations, relocations, as
well as maintenance and conservation efforts. A summarized record of 67 Public Art Commission
meetings in which Digital DNA was agendized or discussed throughout years 2002 and 2017
(Attachment 6) provides a detailed overview of the ongoing discussion between the PAC, staff and the
artists addressing ongoing concerns about the condition of Digital DNA and efforts undertaken by City
staff and artists to repair and restore the sculpture. A list of public comments submitted to the PAC by
community members and local stakeholders are provided as an Attachment 7 for the Public Art
Commission’s consideration.
Staff and Public Art Commissioners made public announcements inviting the members of the public to
submit input regarding the City’s consideration to deaccession the artwork.
Timeline and Budget Considerations:
Should the Public Art Commission vote to approve the deaccession of Digital DNA, staff will coordinate
the removal of the artwork, in accordance with the City policy. The artists have the first right to take the
piece back at their own expense. There are no auction records available for the artists and no appraised
value. Should the artists choose not to take the piece back, the Public Art Program may sell the artwork
or need to allocate funds for the removal of the artwork in accordance with the policy.
Attachments:
1- Deaccession Policy
2- Adrianna Varella Bio
3- ARG Conservation Report- Digital DNA
4- Staff Report from August 2017: Deaccession Request Report
5- Chronological chart outlining the Digital DNA commission history
6- Minutes chart with records –PAC meetings 2002 and 2017
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.
Page 1 of 5
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
Page 5 of 5
Adriana Varella
Born in Rio/Brazil, lives and works in New York City.
Adriana Varella is a multi-disciplinary artist whose work draws upon anarchism/feminism/queer
(S/he) does audio-installations, photos, drawings, performance, video-art-experimental, computer installation, site
specific and public art.
Creates and organizes the Anarko Art Lab in NYC.
Education
1996/98 FAPERJ with Federal University of Rio de Janeiro / UNIARTE / Research in video art and video
installation - Rio/Brazil
1991/94 Parque Lage School of Visual Arts - Rio/Brazil
Permanent Public Art Project
2005
Digital DNA - (site specific) - Lytton Plaza, University Street with Emerson Ave - Palo Alto, California
Selected Solo Exhibitions
2010
Trans Project / Trans Pacific and Trans smalls sketches) - Oi Future Museum of Art and Technology - Rio /
Brazil
1994
Anthropophagous Banquet - 12 channels Video installation, Republic Museum, Rio / Brazil
Selected Group Exhibitions
2014
Aimlessly - Beyond Limits: Post Global Biennale/ San Diego Art Institute / CA
2013
Cracks in the civilized landscapes- Lesbian Herstory Archives, NYC
Resonance - Prism Breakup / Eyebeam -NYC
2012
Unlanguage - Mediations biennial - The Unknown - Poznan / Poland
Anarko Art Lab - Occupy Revolution here and now,Living Theater, NYC
Cracks - Performance and video –Dimanche Rouge, Paris, France
2011
Cracks/ 10 channels video installation / Mix Experimental Festival NYC
Spectacles in Flames ( Public Art Projects) /Flash: light Nuit Blanche/ New Museum, NYC
Chess- Anarko Art Festival – Deconstructing power; creating new routes – The Living Theater, NYC
Cracks drawings/Letters CATMChelsea Manhattan Art Gallery, NYC
NoTerritory - Lumen – Anarko Art Lab – Staten Island, NY
2010
Invented House - Endless Bridge (Manhattan Bridge), Leo Kuelbs Collections, Brooklyn and Berlin
2009
Meeting God - Mix Experimental Film Festival - Manhattan/NY
Transverse - The Map is not the territory - NYFA 2009 / Dumbo, Brooklyn, NY
Mirror Organism - Anarchist Art Lab / Living Theater, Manhattan, NY
Spur Brooklyn -The End. And...Latin Collector, Manhattan, NY
Transpiration - Other world resonances - Anarchist Art Lab / Living Theater, Manhattan, NY
Nuclei - Reproduction (Proposal) Anarchist Art Lab. / Living Theater , Manhattan, NY
Vein - Luminous Flux Video Art - Galapagos Art Space, Dumbo, NY
Meeting God - Future=Fertile - Leo Kuelbs Collection, Brooklyn, NY
Heliogabalus and Consciousness causes collapse-Anarchist Art Festival - Living Theater, Manhattan, NY
Transmutation Landscape - The Object is illuminated - Latin Collector Gallery, Manhattan, NY
2008
Invented House - Public Art Project - Streets of San Francisco- San Francisco, CA
Space within space - Leo Kuelbs Collection, Brooklyn, NY
Holy Holes: Absolute Stalls - "Consciousness causes collapse" - Dumbo Art Center, Brooklyn, NY
Manhattan FLOWER Bridge (Public Art Project Manhattan Bridge) DUMBO, NY
Staircase Public Art Project / Staircase Photo video Installation - Allied Kinetics - Leo Kuelbs Collection, Brooklyn,NY
2007
Action number 3 (Altar) / Exorcising the church - Public Art Project (entrance doors) - Judson Memorial Church -
Manhattan, NY
2006
Spur Brooklyn - Video Installation - D.U.M.B.O under the bridge project, Brooklyn, NY
2005
Adam/Soldier - Photo Video installation -Red Ink Studios, San Francisco, CA
Actions number 1,2,3 - Video Art - San Francisco County Fair Building on Golden Gate Park - San Francisco, CA
Video installations - and Video Art - Itau Cultural -Made in Brazil project -ZKM(Germany) WRO (Poland) Videoart
Center Tokyo (Japan),Triangle (France), SESC Sao Paulo and Videobrasil (Brazil)
2004
Possession - Photo Installation- Art Explosion, San Francisco, CA
2003
Identity - "Landing " - Southern Exposure, San Francisco, CAAriadne (project 3) - Video - Venus film festival - New
York City – NY
2002
DDNA1 - Anno Domini- Phantom Galleries - San Jose windows project - Temporary public art - San Jose, CA
Ariadne (project 1) - video installation and photos - Ballaco Gallery - San Francisco, CA
2001
Interference on Public TV broadcast - 24th International Biennial of Art, Ljubljana - Slovenia
Paradoxical Images - Video Installations - School of Visual Arts at Parque Lage - Rio de Janeiro, RJ, Brazil
Deviation of the feminine - Nomad extension (Constructed Identity) and Narcissus - video installation - CCCEF - Rio
de Janeiro - Brazil
Spur (Dialogs) - video installation "Rumos Visuais" Project / Itaú Cultural - Brazil / São Paulo / Recife / Minas Gerais -
Brazil
Seeing trough her eyes - video installation - FUNART National Foundation for the Arts - Rio de Janeiro- Brazil
1999
Random Field - Video Installation - Gallery for Contemporary Arts at the Telephone Museum - Rio de Janeiro - Brazil
Living in the randomness - Video Etchings - "Exposição Espaço gravado" Gallery for Contemporary Arts at the
Telephone Museum - Rio de Janeiro - Brazil
Ego Formula - Video Etchings - Bennett University - Rio de Janeiro - Brazil
1998
Circular Frequency - Video Installation - School of Visual Arts at Parque Lage - Rio de Janeiro - Brazil
Book -Video - Object " Borderline " - Video Installation, Paco das Artes - SP - Brazil
Zone 0 - Video Installation - Museum of Modern Art - Rio de Janeiro -Brazil
1997
Temporary Body- dance -video installation / Centro Cultural Itaú - SP- Brazil
In This is What is in This - video installation /DBKV Deutsch-Brasilianische Kulturelle in Berlin MAM Receiver of
screams- video installation -Exhibition
O Grito / National Museum of Fine Arts- RJ- Brazil
1996
Dodecaedro - Video Installation - Calouste Gulbekian Art Center- Rio de Janeiro - Brazil
Electronic Egg - Sculpture - Estácio de Sá University - Rio de Janeiro - Brazil
1995
Axis - Video Installation -Exhibition: Interdinamiótico - Fluminense Federal University- Rio de Janeiro
I.T.E.M. - Video Installation - Exhibition: A cor do Rio / CCC- RJCollect Machine - Video Installation- Exhibition:
Códigos Sincrônicos / CCC- Rio de Janeiro - Brazil
1994
Monad - video installation - Exhibition: Neural network / Parque Lage School of Visual Arts / RJ - Brazil
Khrónos - video installation - Parque Lage School of Visual Arts / Rio de Janeiro - Brazil
1991
Memory of the Hell - Dance video installation - Exhibition: "The Divine Comedy"/MAM Museum of Modern Art - Rio
de Janeiro - Brazil
Awards & Grants
2009
NYFA New York Foundation for the Arts - The Mentoring Program
1998
Prize - Zone 0 (No - Territory) - video installation, XVI Brazilian National Exhibit of Contemporary Art / Museum of
Modern Arts - RJ - Brazil
1997
Great Prize - Anthropophagous Banquet - video installation - ABRA Project Paço of Arts - SP - Brazil
1995
Prize - Filter / Fold and Point - video installation - XV Brazilian National Exhibit of Contemporary Art/National
Museum of Arts - RJ- Brazil
1994
Great Prize - Monad - video installation - II Exhibition MAM Bahia/Museum of Modern Art - BA- Brazil
Collection
Museum of Modern Art - Bahia - Brazil
FUNARTE National Museum of Fine Arts - Rio de Janeiro - Brazil
Gerald Brett - USA
Susan Diridon - USA
The City of Palo Alto - USA
Publications
TRANS - 300 pages book about Adriana Varella works by Oi Future Museum / Rio de Janeiro- Brazil
Made in Brazil - Three Decades of Brazilian Video by Arlindo Machado pages - 21,36,146,154,155,167
ARG Conservation Services Inc.
Project No. CS15021
Palo Alto Public Artwork Survey - August 2015
Description
Egg-shaped sculpture clad in recycled circuit
boards. Superstructure is fabricated from layers
of polystyrene foam, coated in fi berglas, with a
central threaded support rod for anchoring to
the plaza. Circuit boards are anchored to the
superstructure with galvanized fasteners. Several
boards are further treated with gilding, various
coatings, wiring, inscriptions and writing in
several languages.
Existing Conditions
Sculpture
•Not stable structural condition; one point of
attachment, can be pushed or rotated slightly.
• Translucent coating has been applied (2013
maintenance coating) Coating is peeling
throughout, with losses in some areas.
• Photochemical degradation of circuit boards and
exposed fi berglas.
• Mild corrosion noted at fasteners.
• Embrittlement and peeling of localized applied
coatings by artist.
• Loose wires and threads at localized areas of
circuit boards.
• Minor areas of graffi ti and scratches.
• Remnants of paper bills and adhesive at one side.
• Few voids or holes noted throughout into
superstructure.
Comments on Location
• Located in an open area with no vegetation
around. At a plaza with heavy traffi c.
Detail of coating failure at
circuit board.
Detail of circuit boards. Note
exposed fi berglas, coating
failure and mild corrosion at
fasteners.
Title: Digital DNA
Material: Fiberglas, circuit boards, misc.
materials
Dimensions: 7 ft . dia. x 5 ft h
Location: Lytton Plaza, 202 University Street
at Emerson Street
Artist: Adriana Varella and Nilton Malz
Year : 2005
Accession No: S.2005.01
Detail of remnants of applied
paper bills and adhesive.
Detail of possible dislodged/
rotated circuit board.
Detail of gilding loss at circuit
board.
Detail of circuit boards. Note
heavy color shift / fade.
ARG Conservation Services Inc.
Project No. CS15021
Palo Alto Public Artwork Survey - August 2015
Treatment Recommendations
Sculpture
• Consult with the artists regarding fabrication and
treatments, including applied coatings.
• Test solubility of existing coatings and treatments.
• Perform overall dry cleaning with conservation
sponges, and based on conservator testing
perform localized wet cleaning with a pH neutral
conservation-grade detergent and/or solvents.
• Stabilize loose wires/ threads, gilding, and artist-
applied coatings.
• Consider partial or complete removal of failed
maintenance coating.
• Test eff ectiveness and apply a new clear protective
water repellent with UV stabilizers.
Location
• Overall cleaning of plaza with low-pressure water
spray.
Title: Digital DNA
Artist: Adriana Varella and Nilton Malz
Treatment Priority:
HIGH
Photo comparison of circuit
board. Above photo from art-
ist’s website, below is current
condition.
Treatment Cost Estimate
Labor (two conservators x
8 hours x rate of $125/hr): $2,000
Materials: $250
Total: $2,250
Maintenance Recommendations
Routine maintenance aft er initial treatment to include the
following:
• Based on conservator recommendations, perform
overall cleaning on annual basis.
• Monitor for further UV degradation/damage and
coating failure. Reapply water repellent coating as
Sculpture in process. Note
signifi cant color diff erence.
Photo courtesy artist’s web-
site.
Treatment History
• First sculpture destroyed in fi re in 2004; current is
second version re-created from scratch.
• Vandalized just aft er installation, repaired by artist.
• Artist proposal for restoration included removal
to off -site studio, complete replacement of skin with
new circuit boards, etc., repairs to internal structure,
and coating in protective resin.
• 2013 Treatment by Fisher included soft brush/
vacuum to remove soiling and peeling coating,
additional mechanical removal of peeling coating,
and re-sealing with C-500 gloss water-based
polyurethane.
References
• Artist’s website, www.adrianavarella.net
• Restoration proposal from Adriana Varella and
Alex Lage, dated 12/5/11.
• Treatment summary, Jonathan S. Fisher, MFA,
dated 11/5/2013.
• Images: (1) at night, dated 11/16/2013, and (2)
condition photos from 2015.
City of Palo Alto Staff Report to Public Art Commission
August 17, 2019
Agenda Item 3
Recommendation:
Staff recommends that the Public Art Commission initiate deaccession proceedings as outlined in the
City’s Deaccession of Artwork Policy for Digital DNA by Adrianna Varella and Nilton Maltz, located in
Lytton Plaza.
Summary:
Staff recommends that the Public Art Commission initiate deaccession process for Adriana Varella and
Nilton Maltz’ Digital DNA, located at Lytton Plaza, 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:
Digital DNA is a seven-foot-tall egg-shaped sculpture made of welded steel, polystyrene bead foam,
fiberglass, and salvaged computer silicon circuit boards that cover the surface of the sculpture. Sewn
and soldered onto into the surface of the boards are phrases relating to technology written in a variety
of languages. The artwork, sometimes referred to as the “egg” was meant to recognize Palo Alto as the
birthplace of Silicon Valley.
According to a 2005 press release, Adriana Varella (Attachment 2 for bio) and Nilton Maltz best describe
this site specific art project: as “Digital DNA sole intention is a momentary reflection about what we have
been building, researching and planning for our software and hardware thinkers. They are the ones who
determine what users will be extracting from their computers (except for the hackers maybe). We hope
the art piece could bring some reflection and consciousness elevation for people passing by the square”.
Varella’s primary medium is currently video based artwork which can be viewed at
http://www.adrianavarella.net/.
While the artwork has only been at Lytton Plaza since 2005, it has had a rather complicated history.
There is little information available regarding the selection process for the sculpture. However,
according to Public Art Commission records Digital DNA was commissioned in 2000 for $9,950, but the
specific site for installation was not yet determined. The commissioned amount did not include
installation or footings for the sculpture. Staff and the Public Art Commission explored sites on
California Avenue, King Plaza, and Lytton Plaza. Ultimately, Lytton Plaza was selected as the venue for
the sculpture. The purchase agreement did not address deaccession or Visual Artist Rights Act.
In 2001, Varella’s stored pieces for the sculpture were inadvertently mistaken for junk by a neighbor and
thrown away. Once Varella finished creating the artwork, there were delays in scheduling the
installation due to ongoing discussions regarding a potential redesign of Lytton Plaza. During those
delays, there was a warehouse fire in the San Bruno facility that Digital DNA was stored in, and the
sculpture was completely destroyed.
On August 19, 2004, the Commission voted to fund a second version of the artwork with the insurance
funds from the fire. Varella completed another version of the sculpture, and it was installed at Lytton
Plaza in June of 2005. Two weeks prior to the unveiling, Digital DNA was vandalized. Several circuit
boards were removed from the sculpture, but Varella was able to repair the damages before the event.
The Lytton Plaza redesign construction began in 2008, and Digital DNA was taken off-site and restored
by the artist and re-installed at the plaza in time for the ribbon cutting ceremony in December 2009.
Maintenance History:
The artwork has received multiple maintenance treatments that have included several new clear
coatings of the circuit boards, replacement of broken boards, and regular filling and replacement of
screws that have been popped out of the fiberglass shell. City of Palo Alto art crew maintenance is not
reflected below, but they inspected and replaced elements of the sculpture regularly.
Repairs/Maintenance by Varella:
Repair - 2005
$1,200.00
Repair - 2006
$2,200.00
Repair - 2009
$4,600.00
Total
$8,000.00
Paid to ShipArt for Installation
Original Installation - ShipArt - 2004
$7,805.00
Remove & Reinstall 2009 - ShipArt
$2,247.00
Total
$10,052.00
Repairs /Maintenance by Outside Consultants:
Repair – 2013 $2,700.00
Total for Repairs and moving the sculpture since 2005 $20,752.00
In 2011, the Adriana Varella and Alex Lage submitted a proposal to completely restore the sculpture for
$82,400, and believed that they may have found a Brazilian corporate sponsor to fund the restoration.
The Public Art Commission was wary of taking on such an expensive rehabilitation of an artwork that is
relatively new to the collection and cost eight times the original commission. It was also clear that if the
restoration was completed, the artwork may very well be in a similar state of deterioration in another
five years if it remained at the Lytton Plaza site. Instead they launched a subcommittee to search for
alternative sites for Digital DNA that may help protect it from the elements. Staff and Commissioners
reached out to the Palo Alto History Museum and explored sites at libraries, Community Centers, and
City Hall for spaces that might be better suited for the protection of the artwork. No suitable site was
located. Staff hired a conservator to apply a new UV protective coating to the circuit boards in 2013.
Discussion:
In 2015 staff hired ARG to evaluate the condition of the collection and make conservation
recommendations (Attachment 3). In that report, ARG notes the instability of the anchor system and the
losses to the surface treatment and details of the sculpture. During the Public Art Master Planning
process, consultants Barbara Goldstein and Gail Goldman also made recommendations regarding the
collection. About Digital DNA, they wrote:
Digital DNA: This artwork, constructed on a fiberglass base, is damaged and may be
structurally unstable. It is covered with small, flat computer components that w ere
screwed into the fiberglass shell. The coatings have peeled off and the existing boards are
faded and some are breaking. Some of these have been pried off or are in d anger of
being removed. ARG has assessed it and recommended suitable repairs. However, the
artwork is not suitable for outdoor display due to the nature of the materials and, if
relocated to an indoor venue, will require substantial repair. Deaccession is
recommended unless repairs are completed and a suitable indoor location can be found.
Digital DNA’s coatings have peeled away again, likely due to the constant exposure to the elements at
the Lytton Plaza location.
Of the considerations for deaccession outlined in the policy, staff recommends deaccession for the
following considerations:
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.
No suitable site is available for relocation or exhibition.
Public Art staff has received several emails over the past two years from representatives of the Friends
of Lytton Plaza, who co-funded the redesign and reconstruction of Lytton Plaza that took place in 2009,
regarding the deteriorating condition of the sculpture. Staff has dispatched the in-house art handlers to
make minor repairs or to remove/replace broken panels. Staff has experimented with several different
coatings in cooperation with conservators, and has not found a durable UV coating that will withstand
the elements.
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 Digital DNA,
staff will immediately notify the artists of the deaccession proceedings. The final deaccession decision
will be calendared for the November 16, 2017 Public Art Commission meeting. Should the Commission
decide to deaccession the artwork at that time, then staff will coordinate the removal of the artwork, in
accordance with our policy. There are no auction records available for the artists and no appraised
value. Should the artists choose to take the artwork back, the policy states that the artwork may be
returned to the artist at their expense. Otherwise, the Public Art Program may sell the artwork or need
to allocate funds for the removal of the artwork in accordance with the policy.
Attachments:
1- Deaccession Policy
2- Adrianna Varella Bio
3- ARG Conservation Report- Digital DNA
Digital DNA Chronology
Feb 2002 PAPAC motion to purchase DDNA for $9,950. Estimated fabrication period 2 months
March, 2002 PAPAC motion on the site selection for DDNA (525 University Ave – Property owner
declines offer). Artists’ first choice was Cal Ave.
Nov 2002 PAPAC approved Installation site for DDNA: Lytton Plaza
May 2003 Artists makes alterations to the original proposal: no jagged edges; sculpture will not
be covered in resin.
June 2003 PAPAC motion to allocate $6,690 for the transportation and installation of DDNA.
Oct 2003 Artist Contract #S04100333. $4,975 payment #1 to Adriana Varella for the original
sculpture
Jan 2004 PAPAC report that the artwork is being in fabrication for 7 months and is not
complete yet.
June 2004 Warehouse fire destroys DDNA
July 2004 Payment to Adriana Varella of $4975 for the original sculpture
Sep 2004 New Contract #S04100333 for the replacement of destroyed artwork ($10,000)
Oct 2004 Payment to Adriana Varella of $5,000
Oct 2004 City receives $7,450 in insurance claim
March 2005 Craighead reported to PAPAC that artist believes that artwork will be complete by
mid-April.
May 2005 Installation on DDNA on Lytton plaza: $5,000 payment to Adriana Varella
$541 payment for the plaque
$7,805 payment to ShipArt for transportation
and installation of DDNA (additional funding needed for a crane)
Jun 2005 Vandalism of DDNA
Jul 2005 Restoration of DDNA by Adrian Varella $1,200
Jan 2006 Restoration of DDNA by Adriana Varella $2,200
Mar 2006 City receives Lera Glass Insurance money - $2,500
Nov 2007 Damage to DDNA reported.
Jul 2008 Lytton Plaza Renovation Project commences. Considerations to relocate Digital DNA
to another location on this site.
Oct 2008 Letter from PAPAC – considerations to relocate DDNA to a new site within Lytton
Plaza
Sep 2009 Adriana Varella emails PAP a maintenance proposal for DDNA and estimate of $4,600
(replacement of missing parts and coating the sculpture with resin). PAC approves
funding in the amount of $4,600 to refurbish DDNA by the artist.
Aug – Nov 2009 Relocation of DDNA from the storage at MSC to Lytton Plaza - $5,194
End of 2009 Restoration of DDNA by Adriana Varella $4,600
Jan 2010 PAPAC: sample of a gold coated circuit board presented to PAPAC. Commissioners
express concern about the source of funding for the project. Options for the artwork:
to re-site or deaccession.
Apr 2010 PAPAC report on recent maintenance works on DDNA performed by Varella and poor
current condition
Dec 2011 PAPAC reviews Adriana Varella’s proposal to redo the sculpture (proposal estimate
$82,400)
Jan 2012 Replacement of circuit boards by the PAAC art crew $500
Digital DNA Chronology
Jun 2012 PAP staff requests that the artist submits her concerns about the condition of DDNA
in writing.
Apr 2013 Condition report for DDNA by Jonathan Fisher $250
Nov 2013 Restoration and recoating of DDNA by Jonathan Fisher $2,850
Apr 2014 Restoration of DDNA by Jonathan Fisher
Jul-Aug 2015 Condition evaluation of DDNA by ARG. Conservation priority: High
Jan 2016 Condition evaluation of DDNA by PAMP Consultant Barbara Goldstein and Gail
Goldman
May 2017 PAP updates PAPAC on the list of artworks (inc. DDNA) identified as most in need of
restoration or de-accession. PAC supports staff development of deaccession report
for Digital DNA.
Aug 2017 PAPAC approves to initiate a deaccession review and public comment period for
Digital DNA.
Costs Summary
1st Commission: $9,950
2nd Commission: $10,000
Transportation and Installation: $7,805
Identification Plaque: $541
Relocation from storage to site: $5,194
Maintenance and Restoration to-date: $11,600 (Varella $8,000, Fisher $3,100; )
Total costs: $44,590
*Note that the costs outlined above do not include expenses associated with condition evaluations and
reports by ARG and PAMP consultants nor minor regular repairs by Art Center crew to replace boards,
putty holes and replace missing screws.
Date Meeting Agenda Minutes Video Discussion
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ORAL COMMUNICATIONS – 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. DEACCESSION 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.
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Collection Maintenance/Deaccession – Staff led a discussion regarding the seven artworks identified by ARG Conservation Report as most in need of
restoration or de-accession. Staff provided a detailed update on the current condition of each artwork including Digital DNA, Go Mama, California
Avenue, California Native, Greg Brown’s murals Lady Watering and Boy Fishing, and a mural by Christopher Johanson. Staff will return to the
Commission later in 2017 with specific de-accession or conservation recommendations for each artwork.
9.15.2016 PAC Regular Meeting
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Adoption of Two Year Work Plan – Staff presented a list of project priorities identified by the Public Art Commissioners at the PAC Annual Retreat:
Addressing artworks identified as high priority for conservation (conservation or deaccession).
9.9.2016 PAC Retreat
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PAC identified the following project priorities as part of the PAC two-year working plan: 3. Addressing artworks identified as high priority for
conservation either through conservation treatment or deaccession.
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Permanent Collection Condition Survey - Staff outlined the history of maintenance efforts for the collection and the plan to evaluate the condition of the
outdoor collection in order to formulate a long range plan and schedule for the care and keeping of the collection. Staff outlined the scope of work for
the evaluation of fifteen permanently sited artworks in the collection. Five conservators were contacted to submit qualifications and proposals for the
evaluation. Staff recommended the approval of ARG Conservation for a contract up to $7,200 for the evaluation reports on fifteen of the artworks.
9.19.2013 PAC Regular Meeting
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MAINTENANCE – Staff updated the commission on the status of maintenance and conservation efforts regarding Digital DNA by Adriana
Varella and Nilton Maltz.
DDNA - Public Records 2002 - 2017
8.15.2013 PAC Special Meeting
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MAINTENANCE – Elise DeMarzo provided an update on Digital DNA, the sculpture located on Lytton Plaza. The coating on the boards has failed and
further exposure may compromise the integrity of the piece. The artist will be in Palo Alto in late August to replace a couple of the panels and perform
any needed hardware work, and the conservator will be in Palo Alto in September to coat the piece.
4.18.2013
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MAINTENANCE OF COLLECTION – Commissioner Collins commented that the subcommittee isn’t ready to make a recommendation on Digital DNA. Vice
Chair Ross stressed maintenance on Digital DNA is time sensitive and recommends having a forum to achieve closure on this project.
3.21.2013 PAC Regular Meeting
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7 MINUTES ATTACHED MAINTENANCE OF COLLECTION – DeMarzo reported that a conservation report regarding Digital DNA will be completed by Jonathan Fisher.
10.18.2012 PAC Regular Meeting
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3 MINUTES ATTACHED DIGITAL DNA – No report.
4.19.2012 PAC Regular Meeting MINUTES ATTACHED DIGITAL DNA – No update.
3.15.2012 PAC Regular Meeting MINUTES ATTACHED
DIGITAL DNA - DeMarzo met with the subcommittee and they decided to move the piece to a site where it would be better protected. The
subcommittee thought it might work at the Downtown Library but after exploring the site determined the site wouldn’t work out. They have identified a
few other relocations that they will research.
2.13.2012 PAC Regular Meeting MINUTES ATTACHED
DIGITAL DNA – Commission reviewed requested approval of artist Adriana Varella’s proposal to maintain Digital DNA through an independent funder.
Commission discussed the possibility of re-siting the sculpture at the Downtown Library. DeMarzo commented that the artist doesn’t have issue with re-
siting. DeMarzo stated that a part of new agreement would be that artist would need to waive her VARA rights. Chair Richter questioned why Ringo
Films wants to spend funds on this artwork. Can maintenance funds be set aside for at least 10 years for this artwork? DeMarzo will research this.
12.15.2011 PAC Regular Meeting MINUTES ATTACHED
MAINTENANCE - DeMarzo reported that Digital DNA will have a few of the boards replaced this week. DIGITAL DNA – DeMarzo reported that she has
had discussions with artist Adriana Varella and she wants to redo the piece properly. Varella claims that she was working on the sculpture without access
to the entire piece. DeMarzo had asked Varella to send a written proposal for the Commission’s review. The Commission reviewed Varella’s proposal.
Varella is collaborating with Ringo Films who is willing to sponsor the refurbishment of Digital DNA in exchange for a plaque at the site recognizing their
support. DeMarzo ran it through the Attorney’s Department and they don’t at first blush see any have red flags or issues should the Commission decide
to proceed with this. Chair Richter is apprehensive about spending funds on this piece. If the funds aren’t in the bank she doesn’t want to begin this
project. She’s stated she’s back to thinking that she wants to finds another site for this artwork. Commissioner Ambrose wants to know what will change
to the artwork so that the problems will disappear. Commission asked staff for a full report on Digital DNA before making any recommendations.
Commissioners questioned whether the proposal is for creating a new sculpture or refurbishing the old sculpture. DeMarzo will question Varella on this.
The current proposal is not detailed enough. Chair Richter commented that the Commission needs to ask Varella more hard questions. DeMarzo will
research and asked commissioners to send her any questions they have for Varella. The Commission questioned what the future maintenance for the
artwork might be if they decide to move ahead with Varella’s request? Commissioner Collins suggested that the site committee needs to investigate a
new location for the sculpture, the costs associated with it, and whether the piece should be relocated inside. Commissioner Acebo-Davis recommended
that the Commission not enter into any future commissions without first reviewing potential maintenance issues for each installation.
9.15.2011 PAC Regular Meeting MINUTES ATTACHED
MAINTENANCE OF COLLECTION – Chair Richter introduced maintenance plan. The subcommittee met today to discuss the status of several maintenance
projects. DeMarzo asked the Commission to allocate $15,000 of the $50,000 to get started on maintenance needs. Updates on the maintenance for
these artworks will be made at each meeting. DeMarzo gave an update of maintenance needs for the following sculptures most in need of maintenance
and preventative maintenance:
After the Fire by Bruce Johnson
Digital DNA by Adriana Varella and Nilton Maltz
Homage to Silence by Jerome Kirk
Nude in Steel by Hans Wehrli
Albuquerque by Gale Wagner
California Avenue, California Native by Susan Leibowitz–Steinman
Movement IV by Steven Jay Rand
08.04.2011 PAC Special Meeting
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Digital DNA – Commissioner Coleman updated the Commission on the project. Nothing has met with the sites committee to come back with some ideas
to resite the artwork.
04.21.2011 PAC Regular Meeting
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DIGITAL DNA – Vice Chair Coleman is waiting to get another report from Adriana Varella and Alex Ringo answering the questions the City Attorneys
office has asked about how they will manage the site. Coleman hopes there will be a full report next month.
3.17.2011 PAC Regular Meeting
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DIGITAL DNA BY ADRIANA VARELLA – Vice Chair Coleman reported that if another group will be providing maintenance their identification will need to
be revealed. Artist Varella will be working with Rango Films, a Brazilian company. This company has put together a website to promote Digital DNA and
Palo Alto. Their intention is to get donations from the public through the website and also to pitch a number of Brazilian companies and have
advertising on the website. They have an interesting strategic plan which promotes these other groups which include oil companies, etc. Coleman will
send the url to the Commission. The website supports Palo Alto tourism and businesses. Coleman has additional questions for Varella. Commissioner
Richter stated that she is leery of these other groups. DeMarzo said that there is a lot of homework to be done on this proposal. She said that the
contract for the maintenance of Digital DNA is currently the responsibility of the City. There would need to be an addendum to the contract for another
party to takeover the maintenance.
1.20.2011 PAC Regular Meeting
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5 MINUTES ATTACHED DIGITAL DNA – No update.
11.18.2010 PAC Regular Meeting
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DIGITAL DNA - Vice-Chair Coleman gave an update on the current condition of the sculpture. Resin has continued to flake off the sculpture. She reported
that the following options for the sculpture have been discussed: 1. Gilding (which Commission did not approve at earlier meeting), 2. Deaccession
artwork, 3. Move Digital DNA off Lytton Plaza (leaves artwork gap at Lytton), 4. Leave Digital DNA as it is., or 5. Refurbish and re-resin sculpture and
leave there. Artist Adriana Varella was present at the meeting to discuss the condition of the sculpture. She has published a book about her artwork
which features Digital DNA. Varella said that the sculpture is now almost resin free and the inner structure of the sculpture is sound. Coleman has
spoken with Varella that one possible solution for the sculpture is allowing the artist the next three months to find a sponsor who would agree to
remove sculpture from Lytton Plaza, restore and re-resin sculpture, and re-install the sculpture at the plaza. The refurbishment of the sculpture would
be at no cost to the Commission. The refurbished sculpture should be structurally sound for approximately 5 to 7 years. The sculpture would receive all
new boards that would be coated with a better quality resin, with the sponsor agreeing to refurbish the sculpture every five to six years. Varella asked
the Commission for a letter giving her permission to approach sponsors for the maintenance of Digital DNA. Commissioner Smit asked Varella if there is
a timeframe before the current condition of Digital DNA becomes problematic. Varella responded that the current condition of sculpture should be good
for an additional six months to one year. Varella stated that if she can’t find a sponsor who is willing to continue to refurbish the sculpture in future then
the sculpture should be refurbished once and then resited indoors. Commission took a straw poll resulting in unanimous Commission approval for
allowing Varella to identify a sponsor for the artwork. Next steps: Commission to provide letter to Varella.
10.21.2010 PAC Regular Meeting
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DIGITAL DNA – Commissioner Coleman announced that the artists were not available to attend this meeting. She has asked them to prepare something
in writing regarding the condition of the artwork. Coleman commented that the artists may be present at the November meeting. Next steps: Coleman
to determine artist’s availability to attend meeting in November.
09.15.2010 PAC Regular Meeting
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DIGITAL DNA – Commissioner Coleman announced that she is waiting for the artist to attend this meeting or conference call in to discuss the condition
of artwork and next steps. Artist was not available for this meeting. Coleman asked that this topic be tabled until next month.
07.15.2010 PAC Regular Meeting
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DIGITAL DNA – Commissioner Coleman reported on her discussion with Nilton Maltz regarding the condition of the artwork and next steps. Maltz came
out to Palo Alto and looked at Digital DNA and said the inner structure is Styrofoam and covered with fiberglass so it’s impervious to water. Maltz had
informed Coleman that when Varella worked on the refurbishment she believed that all she needed to do was recoat the boards she replaced. Maltz
recommends that the sculpture remain sited on Lytton Plaza. He believes the sculpture doesn’t need the coating which will continue to flake off until all
the coating is off. The boards will fade a little bit more. Coleman said that according to Maltz’s recommendation that maybe the Commission should
leave the sculpture there. The damage is the flaking of the original coating. We need to be really explicit with the artists in future. Maltz will be in Palo
Alto in September and may be available to attend a PAC meeting. Coleman spoke about approaching the Downtown District Group with this new
information about the sculpture. The Commission wants to have Maltz come to the commission meeting in September. Morariu recommended that a
representative of the Downtown Business Group be invited as well. Morariu asked Coleman to draft up a written statement about the condition of
Digital DNA and she will forward to the group. Commissioner Usich recommended that Nilton Maltz write up a statement on the condition of Digital DNA
as well.
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DIGITAL DNA – Commissioner Coleman reported that the downtown business group is happy to have Digital DNA moved off the plaza. The downtown
business group is interested in the Commission’s idea of having temporary art sited there. At the site meeting on May 26 the group reviewed the
condition of the artwork. Commissioner Coleman stated that Digital DNA is continuing to deteriorate. She commented that that it is better to leave
Digital DNA sited until another artwork is ready to replace it. Commissioner Coleman reported that they talked about budget with the Downtown group
and they don’t have any funds for the art. She asked that temporary art and fundraising be placed on next month’s agenda. Morariu agreed with
Commissioner Coleman that the PAC needs to move ahead with planning to replace the sculpture and that temporary art and fundraising should be
added to next month’s agenda. Commissioner Smit reported that the Downtown Business Group want a clear idea about what temporary art will be
placed and what the footprint will be. Commissioner Coleman stated that time is of the essence before approvals for vendors carts are in place for
Lytton Plaza. Barbara Gross, Chop Keenan and Sunny Dykwel want to be kept in the information loop about what the Commission plans for this site.
Commissioner Richter asked that the Commission review and prioritize their projects.
05.20.2010 PAC Regular Meeting
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DIGITAL DNA – Commissioner Richter agreed that the condition of Digital DNA is poor. Morariu announced that a meeting with the Downtown Business
Group is scheduled for May 26 at 3:30. The attorney says we can pursue the Digital DNA issues with the artist but will need an expert to prove damages.
Commissioner Richter asked if Morariu has heard back from the artist who was offering his artwork for the site. Morariu has not but will follow up again.
Commissioner Acebo-Davis stated that she may know of a replacement artwork.
04.15.2010 PAC Regular Meeting
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DIGITAL DNA – Commissioner Coleman commented that Digital DNA is in horrible condition and wants the Commission to get rid of the sculpture.
Morariu has spoken with the Attorney and he says that an expert needs to prove damages to Digital DNA. If damage can be proven, then the artist is
responsible for rectifying the damage to the sculpture. Attorney is doing a little more research on this issue. Coleman stated that the Commission can
refurbish the sculpture but would have to expend funds every few years to do so. Morariu stated that there was never a scope of work issued for this
project in conjunction with the purchase order issued to the artist for the restoration. Commissioner Coleman stated that the options for this sculpture
are to sink money into it every few years to refurbish, relocate sculpture inside to a new site, or deaccess the sculpture. Morariu recommends that the
subcommittee meet with the business district committee prior to making any decisions on this sculpture.
03.18.2010 PAC Regular Meeting
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DIGITAL DNA – Commissioner DeMarzo reported on the poor condition of the sculpture. The replacement computer boards aren’t affixed to the
sculpture properly and the coating is flaking off. Morariu stated that she hasn’t heard back from the Attorney on this issue. Council liaison Espinosa
suggested that if the Commission decides to relocate Digital DNA that they should notify the Downtown Business District. Espinosa suggested that the
Chamber of Commerce may be able to identify some funds for the relocating of this artwork.
02.18.2010 PAC Regular Meeting
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DIGITAL DNA –Commissioner Coleman reported on her conversation with artist Adriana Varella about siting options for sculpture. Varella is okay with
the sculpture being moved off Lytton Plaza to another site indoors. She believes it can’t stay where it is now. Varella has requested an official letter from
the Commission to show her patron. Coleman stated that she intends to ask Varella to send her a list of what the letter needs to state. Commissioner
DeMarzo is frustrated with the poor condition of the recent repairs made by Varella to Digital DNA. A lot of funds have already been contributed to this
project. Morariu will be asked to talk with the attorney about the condition of the sculpture after the recent repairs.
01.09.2010 PAC Retreat
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Commissioner Coleman presented a sample of a gold coated circuit board received from artist Adriana Varella for preserving Digital DNA. Coleman
reported that the artist stated that the gold treatment on the circuit boards will be at no cost to the Commission and would have a greater longevity
than a resin sealant. The Commission’s consensus is that they prefer the original artist concept without the gilding. Commissioner Acebo-Davis
commented that the Commission has two options for this sculpture – resite or deaccession. Commissioner DeMarzo queried how would the addition of
gold topped by resin on these circuit boards be any different than standard longevity issues with resin coatings?
12.01.2009 PAC Special Meeting AGENDA ATTACHED MINUTES ATTACHED
Digital DNA – Morariu asked the Commission to approve $2247 for funds expended for the reinstall of Digital DNA on Lytton Plaza. Morariu reported
that due to tight construction deadlines for Lytton Plaza the sculpture needed to be returned and reinstalled on the plaza by ShipArt prior to the
Commission approving the funds. Commissioner Coleman called the motion.
Motion: Move to allocate $2247 for moving and reinstalling Digital DNA on Lytton Plaza.
MOVED: Coleman; Seconded: Huo: Ayes: Unanimous.
11.19.2009 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA - Coleman reported that she spoke with artist Varella who wants to work on preserving sculpture. A few possibilities to discuss are to
relocate artwork indoors, overlay sculpture with gold leaf, re-resin every 3 years, or bronze artwork. Talk with experts re protestant resin coating.
Subcommittee agreed to keep Friends of Lytton Plaza and other stake holders in informational loop. Commissioner Smit agreed to join subcommittee.
Morariu wants PAPAC to be aware of monies that have expended-to-date on Digital DNA. Agreed to approve funds for return of sculpture to Lytton
Plaza at 12/1 mtg.
09.17.2009 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
Commissioner DeMarzo asked for $4,600.00 for artist Adriana Varella to refurbish Digital DNA. Commissioner Acebo-Davis agreed that this
refurbishment needs to occur because it is the Commission’s goal to maintain the City collection.
Motion: Move that $4,600 be allocated for the refurbishment of Digital DNA by Adriana Varella. MOVED: Richter, Seconded: DeMarzo: Ayes:
Unanimous.
08.20.2009 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
LYTTON PLAZA - Craighead announced that Digital DNA has been relocated to the Municipal Service Center for the duration of the renovation of Lytton
Plaza.
11.20.2008 PAC Special Meeting AGENDA ATTACHED MINUTES ATTACHED
LYTTON PLAZA - Barbara Gross spoke about the repositioning of Digital DNA. The current plan is to site the sculpture closer to Emerson Street in a more
obvious location. Commissioner Acebo-Davis brought up the plaque or donor board. Gross stated that a plan for a donor board has not been identified
yet. Commissioner Bakke and Chair Sunde questioned whether the Commission wants an opportunity for an additional public art treatment on this plaza
by creating an RFP to solicit an artist to suggest creative options to enhance the plaza now or at a possible future date. There is an approximately
$3,000.00 in funds from the Percent for Art in City Projects budget that the Commission may want to add to. Le Levy recommended waiting to see how
the plaza is built before assessing this. Commissioner Acebo-Davis questioned how the sculpture will be moved. She would like to be present at that
time to assure that the sculpture is handled properly. Commission questioned who will pay for the move, storage and reinstall of Digital DNA? Gross
stated that she thought it wasn’t their responsibility. The Public Art Commission believes that these costs should not come from their budget. Bakke
reported that he had spoken with artist Adriana Varella and she prefers that the sculpture not be installed on a pedestal. Craighead queried whether
the Commission would consider moving the sculpture to another site. Commissioner Bakke wants to keep the Digital DNA on the plaza and commented
that the sculpture is part of the community. Commissioners Acebo-Davis and Coleman like the new proposed location for the sculpture. The general
consensus of the Commission is that the new location is preferred to the previous location in the back of the plaza.
10.16.2008 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
Craighead stated that the subcommittee met with Claire Campbell, Le Levy and Barbara Gross and that the subcommittee will make this report. Coleman
shared a new drawing she received at that meeting. The main change to the project is that the circular fountain has shifted to a corner fountain element.
The subcommittee intends to write a letter to the ARB and other parties with their comments. The subcommittee is unhappy about how Digital DNA has
been moved to the back of the plaza. The artwork deserves a better location on the plaza. Commissioner Bakke stated that he wants Digital DNA moved
to the center of the plaza or closer to the sidewalk along University Avenue or Emerson Street. Craighead stated that she believes the new intention of
the plaza is to have it set up to act as a stage area for speeches, music performances, and to serve as a gathering place. Subcommittee would like to
explore having an artist involved in the fountain, and/or a having a mural that incorporates a dedication plaque. The Commission still does not know
what the art dollars for this project will be. Acebo-Davis suggested that the art budget could be used to embellish pavers. The question was raised on
who is responsible for paying for moving Digital DNA. Craighead stated that she will look into this. Katsanes will research how much it cost to install the
sculpture. Bakke volunteered to write a letter to the ARB with the Commission’s comments and concerns about Lytton Plaza. Craighead wants to review
the letter and wants the chair or vice-chair to sign it. Craighead stated that this item will return to the ARB on December 6.
9.18.2008 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
LYTTON PLAZA - Craighead reported that the subcommittee will meet with staff Clare Campbell, and the private side of project Le Levy and Barbara
Gross to discuss the proposed project and where they are with everything. Chair Sunde queried when the Commission should deliver their comments on
this project. Commission concerned about where Digital DNA will be sited on the plaza. They question whether the fountain is the best solution for the
plaza. Commission Usich said that the first step would be to become part of the team and sit at the table and get the facts before making
recommendations. Craighead said that after the subcommittee meets they can then send a letter to the Architectural Review Board with their
recommendations.
8.21.2008 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
LYTTON PLAZA - Craighead reported that she spoke with Clare Campbell, Planning Department, and Campbell has agreed to keep the Commission
updated on this project. Commissioner Bakke provided comments on the Lytton Plaza project. He recommends that the Commission seek input from
artists Varella and Maltz on the proposed relocation of Digital DNA. He is not pleased with the current recommendation to move Digital DNA into the
back corner of the site close to the refuse and parking area. He stated there could be a youth art project of some sort on Lytton Plaza. There is a
question on who would monitor the proposed plaza seating. It would be unfortunate to have this plaza resemble a restaurant seating area.
Council liaison Barton recommended that the Commission be sensitive to the political issues of this public-private project. The subcommittee could
speak with the ARB chairs. Ask the designer of the Lytton Plaza project to a Commission meting to discuss the project and priorities.
Next step: Craighead will set up a meeting between subcommittee and Clare Campbell and others involved in the public private project. Craighead will
follow-up with staff to find out what the percent in city projects will be for Lytton Plaza.
7.17.2008 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
Craighead reported that she attended the Architecture Review Board (ARB) meeting where the proposed public private partnership to redo Lytton Plaza
was on the agenda for the first time. There are plans to relocate Digital DNA to another location on this site. The proposed artwork for this site has a
water feature. Craighead stated that she will keep the Commission updated on when this project returns to the ARB. There will be a percent for art in
city projects attached to this project. The percentage for art will be determined when more is known about the construction budget. The format for call
for artists for art in city projects is open call. Barton stated that it would be wise for the Commission to move quickly with reviewing the staff report in
their packets to prepare feedback for the ARB feedback on the project. Craighead stated that it might be good for a commissioner to be appointed as a
liaison to the Friends of Lytton Plaza project.
Next steps: Commissioners asked to review the Lytton Plaza material, visit the site, and be prepared to comment on the project at their next meeting.
02.21.2008 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
ART IN CIVIC CENTER - Kirkeby reported that she is working with Gerald Brett and they will want to submit proposals for Lytton Plaza from artists.
Craighead said there is a proposed public-private partnership for Lytton Plaza. Council may be looking at this in 2008-2009. Digital DNA will remain on
the plaza but may be repositioned.
11.15.2007 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
MAINTENANCE OF PERMANENT COLLECTION - The Commission discussed maintenance of Digital DNA. Craighead stated that the artist is living out of
state but plans to visit the Bay Area in the New Year. The damage to the artwork is currently minor but the Commission is concerned that the area of
damage could increase in size. Cooper asked staff to follow up with the artist for her advice on continued sculpture maintenance. Commissioner Frankel
volunteered that she has spare circuit board pieces if the Commission needs them for repairs.
12.19.2006 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA - Chair Cooper reported that the repairs on Digital DNA are complete. He stated that the artwork looks better than ever. The artist
recommends installing a surveillance camera at this site. Staff has some initial research on surveillance cameras and will make the material available to
the Commission.
11.03.2005 PAC Special Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA Chair Cooper reported on the condition of the artwork. Cooper, Kirkeby and Craighead have met recently to discuss the vandalism to
Digital DNA. Commission wants to notify the artist regarding the damage. Kirkeby wants the Commission to discuss alternate sites for Digital DNA. She
recommended moving the artwork near the Art Center. Kishimoto wants to know if staff has made contact with staff from Design within Reach as a
potential site.
07.21.2005 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA SCULPTURE, ADRIANNA VARELLA AND NILTON MALTZ - Commission reported on the success of the June 10 celebration. Craighead
reported on safety measures options for Digital DNA on Lytton Plaza. A surveillance camera can be setup but would be very expensive. Craighead stated
that since the artwork seems to have settled into the plaza without any further disturbances the surveillance cameras may not be necessary. Negrin
shared an article on Digital DNA that was published in the July, 2005 National Edition of IEEE Spectrum. Brett announced that artists Varella and Maltz
intend to write a book on their experiences with creating Digitals DNA.
05.19.2005 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA SCULPTURE, ADRIANNA VARELLA AND NILTON MALTZ
Chair Brett withdrew this item.
Craighead stated that Council Liaison Kishimoto asked her to express to the Commission how pleased she is with this artwork. Craighead praised the
artwork and commented that many people are engaged by Digital DNA.
04.21.2005 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA SCULPTURE, ADRIANNA VARELLA AND NILTON MALTZ - Commissioner Brett requested a motion to allocate monies to commission poster
for Digital DNA ceremony. Brett is looking into options to find donor for printing poster. Commission will ask various designers to come up with a poster
design. A sub-committee was formed to make poster selection. Sub-committee: Brett, Kirkeby, Cooper. Katsanes reported that she has contacted the
artists to ask them to plan where a plaque can be placed near artwork. Artist has communicated that installation will occur on May 4.
Motion: Move to allocate $340 for Digital DNA poster.
MOVED: Brett; Seconded: Langevin: Ayes: Unanimous.
3.17.2005 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED DIGITAL DNA SCULPTURE, ADRIANNA VARELLA AND NILTON MALTZ - Craighead reported that artist believes that artwork will be complete by mid-April.
1.20.2005 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA SCULPTURE, ADRIANNA VARELLA AND NILTON MALTZ - Staff had no report on project. Council liaison Kishomoto stated that a recent
Council packet contains a colleague’s memo regarding Lytton Plaza.
11.03.2004 PAC Special Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA SCULPTURE, ADRIANNA VARELLA AND NILTON MALTZ - Craighead reported that we have received money from insurance and that the
contract process with Ship Art for art installation has begun.
9.09.2004 PAC Special Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA SCULPTURE, ADRIANNA VARELLA AND NILTON MALTZ - Craighead reported that staff is ready to move forward with new artist contract but
this process was interrupted when the artists requested that an addendum be added to contract regarding an insurance issue. This addendum has been
forwarded to attorney for approval.
08.19.2004 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA SCULPTURE, ADRIANNA VARELLA AND NILTON MALTZ - Craighead reported that the City would be reimbursed for the full amount minus
$2,500 for the deductible. Artwork has been removed from warehouse and recycled. Artist has been fully paid for first artwork. Craighead reported that
artist is willing to recreate Digital DNA for $10,000. Varella has asked staff’s permission to hang a two-dimensional exhibit in the Civic Center Lobby in
March, which will coincide with completed installation of Digital DNA. The artist believes that artwork could be ready by year-end.
Motion – Move that the artist recreate Digital DNA for $10,000.00.
MOVED: Langevin: Seconded: Cooper: Ayes: Unanimous.
Motion – To install Digital DNA and have exhibition in Civic Center Lobby in March 2005.
MOVED: Kirkeby: Seconded: Frankel: Ayes: Unanimous.
Discussion: Cooper asked how the proposed redesign process discussion for Lytton Plaza currently impacts siting Digital DNA at Lytton Plaza.
Chair Langevin left meeting at 7:18 p.m. due to a conflict of interest.
Digital DNA has previously been approved by Commission to be installed at Lytton Plaza and Commission will continue with plans to site Digital DNA at
Lytton Plaza. Craighead commented that Lytton Plaza might be agendized at a Council meeting sometime in September for a discussion regarding public-
private partnership. Commission asked again to be kept in the loop by Staff about any future discussions regarding Lytton Plaza.
06.17.2004 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA - Chair Langevin left meeting at 7:01 p.m. Commission considered various options for the installation of Digital DNA at Lytton Plaza.
Leland Levy of Palo Alto presented a conceptual proposal for an interactive water fountain at Lytton Plaza. A number of years back he had spoke, in confidence, with
former Public Art Commission Chair, David Levin and staff and was encouraged that these plans would move forward. Since project did not move forward as he had
hoped he has gotten together with developer Roxy Rapp to move forward with this conceptual proposal. Levy concerned that if Digital DNA is placed and removed from
Lytton Plaza it may cause a disturbance with the community. Herb Borock of Palo Alto, CA stated he was surprised about proposal by Leland Levy and Roxy Rapp.
Borock stated his opinion that this proposal is really a use of the Cities real estate. He spoke about how the City process requires Request for Proposals for competitive
purposes. Any redesign of the plaza by a unique group for a unique purpose is really an intent to issue an Option to Lease and then this gives other parties an
opportunity to make competitive proposals. Seems like any redesign for this plaza falls into this category instead of what the Commission is doing with siting a specific
piece of art. He wants the Commission to consider the following: (1) When the City purchased plaza in 1975 there were four plaques at this site which read “Private
Property” which should be removed. And, (2) Plaza has unique history as a political gathering place. He wants to see that history honored in any redesign of the plaza.
Tom Richmond of Menlo Park, Landscape Architect and Urban Designer supports conclusion that Lytton Plaza should be remodeled. He stated his belief that Lytton
Plaza is the most valuable and most visible public place in the City of Palo Alto on a square foot basis. He feels this discussion should be focused on the purpose of
space.
Roxy Rapp of Palo Alto spoke about his long history with Palo Alto. He stated that he and Leland Levy have already met with Parks and Recreation, Steve Emsley, and
Public Works about this conceptual idea. Rapp and Levy have been working on this concept for the last eight to twelve months. He would like this project to be a
public/private partnership. They did not know about the siting of Digital DNA on Lytton Plaza until just recently. He is willing to work together with Commission to bring
Digital DNA into the landscaping with the fountain (uses recycled water). RECOMMENDATIONS: Vice Chair Brett asked that that the Commission consider Option (e)
along with Options (a) through (d). Commissioner Kirkeby believes that Option (e) is the more democratic option. Lytton Plaza is a key public space in downtown that is
also a gateway. Commission willing to cooperate with the redesign of Lytton Plaza, which would incorporate Digital DNA into the design. Commission recommends that
the developers use an artist to create the water and the original game board feature of the plaza instead of buying a pre-fabricated fountain. Both Commission and
developers did not know about the others plans for Lytton Plaza. Commission urged that there will better communication in future. Staff and Commission Liaison
Ojakian advised the Commission to more forward for siting Digital DNA at Lytton Plaza as previously intended.
Motion: To form a sub-committee to review proposed Options (a) through (e) for installation of Digital DNA at Lytton Plaza and report back at next months meeting
with a proposed direction for this project.
MOVED: Brett; Seconded: Frankel: Ayes: Unanimous.
Next steps: Sub-committee to report back to Commission at next months’ meeting. Brett asked that the role and responsibilities of the Commission be clarified. Sub-
committee was formed: Brett, Kirkeby, and Mortkowitz.
Kaplan reported that Ship Art has won the bid for the installation of artwork. Kaplan reported the bad news that Digital DNA has recently been damaged in a warehouse
fire. More information on the condition of Digital DNA will become known on Sunday, June 20. Chair Langevin rejoined meeting at 8:03 p.m.
05.27.2004 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA - Kaplan reported that staff is waiting for bids to come in for the installation of Digital DNA. Kaplan stated that he believes Digital DNA will
be sited at Lytton Plaza.
04.29.2004 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA - Kaplan reported that a local developer and financier have laid claim to the Lytton Plaza site. If they got their approvals it would be two
years out. Kaplan believes that Digital DNA will be sited on Lytton Plaza. Another challenge is that the installation of the artwork will have to be bid out to
more than one vendor.
03.18.2004 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA - Kaplan reported on the recent site visit with City staff and Ship Art. The vendor will need an additional $870.00 for the use of a crane to
install artwork.
Motion: To allocate the $870.00 for the crane.
MOVED: Frankel; Seconded: Mortkowitz: Ayes: Unanimous.
03.04.2004 PAC Special Meeting AGENDA ATTACHED MINUTES ATTACHED DIGITAL DNA - Kaplan reported that the artist has not yet completed artwork. Meeting with staff regarding site has been set.
01.15.2004 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA - Brett reported artists would complete that artwork in late January. Staff to arrange for Shipart International to meet with artists and that
a site meeting occur with city staff.
11.20.2003 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED DIGITAL DNA - Kaplan reported that the contract with the installer has been signed.
10.16.2003 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED DIGITAL DNA- Staff reported that the artist has received the contract, and will receive their first payment after they execute the contract.
09.24.2003 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED DIGITAL DNA - Staff reported that contract has been mailed to artist.
06.19.2003 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA - Brett reported that he has contacted a few companies regarding moving and installation of Digital DNA. He has a bid of $6,690 for this
work. Brett suggested that the Commission could attempt fundraising for the installation fee. Motion: Move that the Commission approve, not to
exceed $6,690, to get Digital DNA moved and installed at Lytton Plaza.
MOVED: Langevin; Seconded: Brett: Ayes: Unanimous.
Next step: Freeman suggested that construction plans for the redesign on Lytton Plaza might impact the installation of Digital DNA. Kaplan to check into
this matter further.
05.15.2003 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA - Brett reported on status of project. Artwork has been altered so that it will no longer have jagged edges, and will not need to be covered
in resin. Artists will embed little bits of wording throughout object. It will be the Commission’s responsibility to pay for the transport and installation of
artwork at the site. Recommendation: Brett and Kirkeby will explore the transport of the item. Commission discussed the revamping of proposals to ask
artists about installation and maintenance of artwork.
3.20.2003 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED DIGITAL DNA - Staff reported that artist is working on engineering specifications.
1.16.2003 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED DIGITAL DNA - Staff reported that contract is in progress. Need additional information from artist.
11.21.2002 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA - Staff reported that the Lytton Plaza site (Emerson at University) is approved for the artwork.
Next step: Staff to set meeting between artists and staff to address installation issues for this artwork.
07.18.2002 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA - Kaplan reported that Lytton Plaza is classified as a park, and any change to site will need a Park Improvement Ordinance. Kaplan reported
that ex-Commissioner Brett wants to know if there is an opportunity to approach artists about siting artwork on California Avenue. Recommendation:
Commission prefers to proceed with siting work on Lytton Plaza.
Next Step: Kaplan will proceed with Lytton Plaza.
06.20.2002 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
DIGITAL DNA - Kaplan gave status report on project. Artists Maltz and Varella recommended two sites for artwork. Their first choice is Lytton Plaza and
their second is the Civic Center Plaza. Art element will be sited so that Digital DNA almost touches the ground. Recommendation: Commission preferred
Lytton Plaza site. Dunlevie would like artwork to be sited where it is accessible to the public.
Motion: To accept the Lytton Plaza as the next attempted site for this artwork, subject to a site visit by a few Commissioners and artists to determine
optimum siting, and pending staff’s input from property owners and stakeholders.
MOVED: Dunlevie; Seconded: Langevin: Ayes: Unanimous.
Next steps: Kaplan will research who the stakeholders are at this site. Lytton Plaza may be a dedicated park site. If this were the case it would then take a
park improvement ordinance to site an artwork there. A wind calculation study may also be necessary for this installation.
2.21.2002 PAC Regular Meeting AGENDA ATTACHED MINUTES ATTACHED
ACQUISITION - Brett requested a motion that the Commission purchase the artwork “Egg” by artists Adriana Varella and Nilton Maltz for $9,950. Egg-
shaped artwork is covered with miscellaneous computer parts, stands six-feet tall. Computer parts will be sealed in resin. Artist can complete project in
two months and believes base will not be a great expense.
Recommendations: Brett recommended that the artwork be sited on Civic Center Plaza. Brett would like the Commission to start siting art works on Civic
Center Plaza. Levin has artist, Sam Yates, in mind for an installation on the plaza. Kaplan reminded the Commission to pay attention to engineering
concerns since weight is an issue on the Plaza. Additional funds will be needed for installation. Commission discussed visiting the project with nearby
businesses.
Motion: That the Commission purchase the art work “Egg” by artists Adriana Varella and Nilton Maltz, with final refinement as to siting to follow.
MOVED: Levin: Seconded: Barton: Ayes: Unanimous.
Next step: Acquisition to be a standing item on agenda. Brett will approach businesses nearby the plaza to inform them about the art work.
City of Palo Alto Staff Report to Public Art Commission
November 16, 2017
Agenda Item 3
Recommendation:
Staff recommends that the Public Art Commission approves deaccession of Go Mama by Marta Thoma,
located at the corner of California Avenue and Ash street.
Summary:
Staff recommends that the Public Art Commission approves deaccession for Marta Thoma’s Go Mama,
located on California Avenue and Ash, based on the findings of the evaluation process and 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 1999 Marta Thoma was commissioned by the City to prepare, construct and install a sculpture titled
Go Mama for $15,000. This commission funding included generous donations from California Avenue
merchants. Among the contributors to the sculpture were Leaf & Petal, Country Sun, Language Pacifica,
Alhouse King Realty, Hotel California, Alhouse-Denton, and Keeble and Shuchat. The California Avenue
business group known as CAADA at the time participated in the artwork selection process and supported
the transformation of California Avenue into the “Avenue of the Arts”.
The artwork on California Avenue and Ash street was sited on a former planter that the Public Art
Program filled with concrete to make the foundation for the artwork. At the time that the artwork was
installed, there were low bushes and plants around the base that prevented visitors from accessing the
base of the sculpture and touching it. When the new California Avenue streetscape project was
completed in 2015 and the pedestrian sidewalk widened, the sidewalk area was shifted to surround the
artwork, removing the plantings and making the sculpture more accessible to the public.
Marta Thoma (now Marta Thoma Hall) has several other public artworks on long term display. Thoma’s
“Brain Works,” a 30-foot tall sculpture at Bestor Art Park in San Jose was installed in 2014. Thoma Hall’s
“Brain Works” is only one of her works that uses recycled materials. Other Thoma Hall installations
include: “Cosmos Clock” for Florida State University, “Water Source” for the Water Park in Goodyear,
Arizona, “Inside Out,” at Vertigo Gallery in London, “Stretch” at the Costa Rica Museum of Art, and
“Journey of a Bottle” in the Walnut Creek Main Library. The artist was in residence at Recology 1994 and
was part of the Cubberley Artist Studio Program. She has had two temporary installations in Palo Alto
and has one other permanently sited artwork, Rrrun, which was installed in 2005. Thoma Hall served on
the Public Art Commission in 2001-2002. Staff has requested an updated biography from the artist.
Maintenance History:
The artwork has received fairly regular waxing treatments over the years. However, the increased
physical interaction from the public touching and pushing the piece has deteriorated the surface quite a
bit and the artwork is in need of another cleaning and wax protective coating. The base has constant
food stains on it due to people eating on the base, especially during the farmer’s market. The small cast
leaves have detached from the base. Staff has received calls of concern from the public regarding the
stability of the piece once every six to nine months. Because the piece has only one attachment point
and has the bulk of the weight and massing up high, the piece has always wiggled. Staff has sent art
handlers out there to fill in the material around the base of the foot to help stabilize her, but it has not
done as much to stabilize the piece.
2000 – Installation of Footing (concrete base and rebar) for the sculpture: $1,050
2001 – Fabrication and installation of a plaque - $220
2006 - Wax and general cleaning by the art crew
2011 – Hired Marta Thoma to treat and repaint the face $500
2013 – Wax and general cleaning by the art crew
2015 - Wax and general cleaning by the art crew
Discussion:
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 2) calls out a lot of staining and discoloration, with a
treatment estimate of $3,250 to stabilize the surface of the sculpture, but that will not address the
overall stability of the sculpture. During farmers markets in particular, there are groups of people
seated on the base, and frequently children are standing on the base and interacting with the sculpture.
The artwork is not stable enough in the current location to withstand so much physical contact. In
conversations with ARG, they asked if fencing the sculpture might be an option to keep the public away
from it.
Our Public Art Master Planning consultants had the following to write about “Go Mama”:
Go Mama: This artwork is a figure balanced on one foot. Artworks of this type should not be
displayed in an outdoor location because of their structural vulnerability. This specific artwork is
top-heavy and balanced on one point on a low pedestal. Its condition has been assessed by
ARG, which has proposed conservation and fencing surrounding the sculpture. Because fencing
the sculpture will compromise both the streetscape and the work; and because the artwork is
poorly fabricated, it should be considered for deaccession.
Of the considerations for deaccession outlined in the policy, staff recommends 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 would like to highlight that Go Mama is one of the most often discussed works of art in the
collection, both with positive and negative comments. Reasons for deaccession do not include aesthetic
taste or public opinion.
Updates since the PAC August 2017 Meeting:
In August 2017, acting in accordance with the guidelines and procedures of the City’s Deaccession of
Artwork Policy 1-59/CSD, staff submitted a Deaccession Request Report (Attachment 4) to the PAC. The
staff report provided the background information for Go Mama, description of maintenance and repairs
and associated costs, condition reports provided by ARG and Public Art Master Plan consultants, and a
list of considerations for deaccessioning. Public Art Commission unanimously approved that staff
proceed with a deaccession evaluation process.
Guided by the process specified in the Deaccession of Artwork Policy, staff reached out to artist Marta
Thoma Hall about the Commission’s decision and asked the artist to provide further information on the
footing details to further evaluate the structural integrity of Goo Mama in order to identify potential
retrofitting options which would inform Commission’s decision to either retrofit the sculpture to
withstand the amount of physical interaction it receives, or remove the artwork from its current site on
California Avenue.
Thoma Hall contacted staff with a proposal to refurbish the sculpture and enhance its stability
(Attachment 5). In the initial proposal, submitted in October 2017, the artist made preliminary
suggestions to “add one or more steel bars, drilled and welded to the foot and base, to buttress the
sculpture and prevent side to side motion” and, once the sculpture is bolstered, pave the “pedestal
surface with a river rock treatment”. As provided in the initial proposal, the artist is in the process of
preparing a final report and recommendations in consultation with Berkeley-based Artworks Foundry
where the artwork had been created in 2000. Staff reviewed the submitted proposal in consultation
with the City’s structural engineering team. It was, however, determined that further structural details
are needed in order to fully evaluate the current structural condition of the piece and identify a feasible
solution to reinforce the footing of the sculpture. In particular, the foundry was unable to provide
further information on the structural stability and vulnerabilities of Go Mama’s back leg, a plan and cost
estimates for the potential stabilization of the piece, as well as an estimate on the value of the bronze.
These details are necessary to understand the cost implications and feasibility of potential retrofitting
work for the sculpture. The foundry also informed staff that no original structural plans or details are
retained on file.
Staff and Public Art Commissioners made public announcements inviting the members of the public to
submit input regarding the City’s consideration to deaccession the artwork.
Updated Timeline and Considerations:
Should the Public Art Commission vote to approve the deaccession of Go Mama, staff will coordinate
the removal of the artwork, in accordance with the City policy. There are no formal appraisals for the
artwork and staff could not locate any auction records for the artist. Should the artist choose to take
the artwork back, the policy states that the artwork may be returned to the artist at their expense.
Otherwise, the Public Art Program may sell the artwork or need to allocate funds for the removal of the
artwork in accordance with the policy.
Attachments:
1- Deaccession policy
2- ARG report on Go Mama
3- Marta Thoma’s CV
4- Deaccession Request Report
5- Refurbishing proposal by Marta Thoma Hall
6- Minutes chart with records –PAC meetings 1999 - 2017
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.
Page 1 of 5
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).
Page 2 of 5
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
Page 5 of 5
ARG Conservation Services Inc.
Project No. CS15021
Palo Alto Public Artwork Survey - August 2015
Description
Surrealistic fi gural sculpture of a child’s doll,
running in place, with the depiction of a child’s
face on the doll’s stomach. Th e sculpture is
cast bronze with some areas overpainted, such
as the doll’s face and feet. Th e sculpture is
anchored to a large round concrete base, most
likely with a concealed support within the
leg. Th e concrete base has exposed aggregate
sides, and a smooth fi nish top surface. Th e top
features bronze leaf ornaments and inscribed
bilingual lettering: “Go, Mama! / Andale, Mama!
/ Mylostoryourstoryherstory / Mi cuento esta
saliando en tu corazon.”
Existing Conditions
Sculpture
• Unstable structural condition when horizontal
force is applied.
• Concrete splatter at planted foot, outstretched
foot and leg, and back of skirt. Reportedly recent
damage from sidewalk construction.
• Fine scratches at back of skirt.
• Bronze surfaces soiled throughout; water stains/
drip marks at arms.
• Grease marks/ fi ngerprints at skirt and foot.
• Wax coating is blanched and deteriorated.
Possible color shift to patina (see artist’s photo on
following page.)
• Irregular color/ imperfections in patina at top of
proper left shoulder.
• Localized paint fl aking at back of head and
proper left eye.
Detail of doll’s back. Note
blanched wax coating.
Detail of concrete splatter at
doll’s proper left foot.
Title: Go Mama
Material: Bronze, paint, concrete
Dimensions: 42” x 72” x 54”, 84” dia. base
Location: California Avenue at Ash Street
Artist: Marta Th oma
Year : 1999
Accession No: S.2000.01
Base
• Built-up mortar around foot anchored to base; hairline
cracks, separations, and water stains.
• One of two leaf ornaments loose at base; removed and
given to Palo Alto Art Center for safekeeping until it can
be reinstalled.
• Concrete surfaces soiled throughout; stains at top
surface.
• Minor localized biological growth.
• Top surface relatively fl at, no slope for drainage.
Comments on Location
• Sited in an open area at a public sidewalk.
• No spotlights observed; street lighting.
ARG Conservation Services Inc.
Project No. CS15021
Palo Alto Public Artwork Survey - August 2015
Treatment Recommendations
Sculpture
• Consult the artist regarding original/intended paint
colors and patina fi nishes.
• Mechanical removal of concrete splatter.
• Test solubility of paint coatings.
• Clean surfaces with a pH neutral conservation-
grade detergent.
• Stabilize fl aking paint with appropriate adhesive
based on conservator testing.
• As needed, perform in-painting to visually
integrate losses.
• Apply protective hot wax coating at bronze
surfaces.
• Visually integrate irregularites in patina with
pigmented wax (reversible).
• Test eff ectiveness and apply cold wax coating at
painted surfaces.
Base
• Overall cleaning with low-pressure water spray.
• Localized cleaning to remove stains.
• Reinforce mortar mound at foot for increased
structural stability.
• Reset removed bronze leaf ornament in epoxy.
• Clean bronze ornament surfaces with a pH neutral
conservation-grade detergent.
• Apply protective hot wax coating at bronze
ornament surfaces.
Title: Go Mama
Artist: Marta Th oma
Treatment Priority:
HIGH
Treatment Cost Estimate
Labor (two conservators x
12 hours x rate of $125/hr): $3,000
Materials: $250
Total: $3,250
Maintenance Recommendations
Routine maintenance aft er initial treatment to include the
following:
• Perform overall cleaning with conservation-grade
detergent, and reapply wax coating on annual basis.
• Monitor for further paint loss or damage.
Photo courtesy artist’s website. Note overall
bright golden patina color at doll’s face and
dress. Also note diff erences in paint color at
doll’s face (duller/more subtle hues), and lack
of inscriptions or leaf ornament at base. Photo
taken in process of installation? Was the face
repainted?
Detail of doll’s skirt. Note
fi ngerprints and blanched wax.
Detail of irregular patina at
proper left shoulder.
Treatment History
No information provided.
References
• Artist’s website, www.mthoma.com/gomama3.html
Marta Thoma Hall
EDUCATION: University of California, Berkeley, B.A. M.A. Fine Arts
SOLO FINE ART EXHIBITIONS, AWARDS, and INSTALLATIONS
2010 City of Goodyear, Arizona, Public Art Commission Sculpture installed
City of Miami, FL, Public Art Installation for City Center
City of Blaine, WA, Public Art Commission Award Sculpture Installed
City of Santa Cruz, CA, National Finalist, Mural Wall 15’ x 75’
City of Walnut Creek, CA, Public Art Commission Award Sculpture Installed
2009 Kimberly Saari Gallery, Steamboat, Colorado, solo exhibition
City of Santa Cruz, CA, National Finalist, Traffic Roundabout
2008 Metropolitan Museum of Art Fresno, “Two Tears,”
Convention Center 3rd Street Plaza, Double Wave, San Francisco
San Francisco Museum of Modern Art Gallery Solo Exhibition
William Havu Gallery, solo sculpture exhibition, Denver, Colorado
2007 Anita Seipp Gallery, solo sculpture exhibition, Palo Alto, CA
Brick Tear RFP Award to Team Thoma installed for SPUR,
San Francisco, CA
2006 City of Palo Alto and the Arts Commission: Installation: Rrrun, Palo Alto
California Regional Center for the Arts: "Childhood Revisited," Walnut Creek
2005 Vertigo Gallery: "Inside Out," London, United Kingdom
Lowe Gallery, "New Work by Marta Thoma," Los Angeles, CA
2004 Triton Museum of Art, Award Exhibition, Santa Clara, CA
Lowe Gallery, Stretch , Atlanta Georgia
2003 Oakland Museum of California, Stretch, Oakland City Center, Oakland, CA.
Peninsula Community Foundation Grant: "Portraits of Youth," Palo Alto
2000 A.I.R. Gallery, New York, NY
1999 National Museum of Costa Rica, Installations in San Jose, Costa Rica
1998 San Francisco Museum of Art Gallery, San Francisco, CA
1995 Earth Tear Installation, South San Francisco, CA
City of Palo Alto Staff Report to Public Art Commission
August 17, 2019
Agenda Item 4
Recommendation:
Staff Recommends that the Public Art Commission initiate deaccession proceedings as outlined in the
City’s Deaccession of Artwork Policy for Go Mama by Marta Thoma, located at the corner of California
Avenue and Ash street.
Summary:
Staff recommends that the Public Art Commission initiate deaccession process for Marta Thoma’s Go
Mama, located on California Avenue and Ash, 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 1999 Marta Thoma was commissioned by the City to prepare, construct and install a sculpture titled
Go Mama for $15,000. This commission funding included generous donations from California Avenue
merchants. Among the contributors to the sculpture were Leaf & Petal, Country Sun, Language Pacifica,
Alhouse King Realty, Hotel California, Alhouse-Denton, and Keeble and Shuchat. The California Avenue
business group known as CAADA at the time participated in the artwork selection process and supported
the transformation of California Avenue into the “Avenue of the Arts”.
The artwork on California Avenue and Ash street was sited on a former planter that the Public Art
Program filled with concrete to make the foundation for the artwork. At the time that the artwork was
installed, there were low bushes and plants around the base that prevented visitors from accessing the
base of the sculpture and touching it. When the new California Avenue streetscape project was
completed in 2015 and the pedestrian sidewalk widened, the sidewalk area was shifted to surround the
artwork, removing the plantings and making the sculpture more accessible to the public.
Marta Thoma (now Marta Thoma Hall) has several other public artworks on long term display. Thoma’s
“Brain Works,” a 30-foot tall sculpture at Bestor Art Park in San Jose was installed in 2014. Thoma Hall’s
“Brain Works” is only one of her works that uses recycled materials. Other Thoma Hall installations
include: “Cosmos Clock” for Florida State University, “Water Source” for the Water Park in Goodyear,
Arizona, “Inside Out,” at Vertigo Gallery in London, “Stretch” at the Costa Rica Museum of Art, and
“Journey of a Bottle” in the Walnut Creek Main Library. The artist was in residence at Recology 1994 and
was part of the Cubberley Artist Studio Program. She has had two temporary installations in Palo Alto
and has one other permanently sited artwork, Rrrun, which was installed in 2005. Thoma Hall served on
the Public Art Commission in 2001-2002. Staff has requested an updated biography from the artist.
Maintenance History:
The artwork has received fairly regular waxing treatments over the years. However, the increased
physical interaction from the public touching and pushing the piece has deteriorated the surface quite a
bit and the artwork is in need of another cleaning and wax protective coating. The base has constant
food stains on it due to people eating on the base, especially during the farmer’s market. The small cast
leaves have detached from the base. Staff has received calls of concern from the public regarding the
stability of the piece once every six to nine months. Because the piece has only one attachment point
and has the bulk of the weight and massing up high, the piece has always wiggled. Staff has sent art
handlers out there to fill in the material around the base of the foot to help stabilize her, but it has not
done as much to stabilize the piece.
2000 – Installation of Footing (concrete base and rebar) for the sculpture: $1,050
2001 – Fabrication and installation of a plaque - $220
2011 – Hired Marta Thoma to treat and repaint the face $500
2013 – Wax and general cleaning by the art crew
2015- Wax and general cleaning by the art crew
Discussion:
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 2) calls out a lot of staining and discoloration, with a
treatment estimate of $3,250 to stabilize the surface of the sculpture, but that will not address the
overall stability of the sculpture. During farmers markets in particular, there are groups of people
seated on the base, and frequently children are standing on the base and interacting with the sculpture.
The artwork is not stable enough in the current location to withstand so much physical contact. In
conversations with ARG, they asked if fencing the sculpture might be an option to keep the public away
from it.
Our Public Art Master Planning consultants had the following to write about “Go Mama”:
Go Mama: This artwork is a figure balanced on one foot. Artworks of this type should not be
displayed in an outdoor location because of their structural vulnerability. This specific artwork is
top-heavy and balanced on one point on a low pedestal. Its condition has been assessed by
ARG, which has proposed conservation and fencing surrounding the sculpture. Because fencing
the sculpture will compromise both the streetscape and the work; and because the artwork is
poorly fabricated, it should be considered for deaccession.
Of the considerations for deaccession outlined in the policy, staff recommends 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.
While we expect to gather a lot of public comment on the artwork, staff would like to highlight that Go
Mama is one of the most often discussed works of art in the collection, both with positive and negative
comments. Reasons for deaccession do not include aesthetic taste or public opinion. There are no
formal appraisals for the artwork and staff could not locate any auction records for the artist.
Attachments:
1- Deaccession policy
2- ARG report on Go Mama
3- Marta Thoma’s CV
Refurbishing of the sculpture, Go Mama, for enhanced safety and aesthetic considerations.
Submitted by the Artist, Marta Thoma Hall, Oct 2, 2017
Given the update of the California Avenue shopping street, Go Mama needs attention to address safety
concerns which includes frequent climbing on the sculpture and attempt to sit and bend the sculpture,
causing lateral and horizontal motion.
At this time, Artworks Foundry is finalizing a report and recommendation. Here are preliminary findings.
1) Original installation was contracted and completed by Artworks Foundry in Berkeley. Pierro
Mussi, Owner and Manager, installed the sculpture and will now make specific
recommendations for an upgrade.
2) The original installation included 1 ¼” diameter steel bar into the cement pedestal, welded into
the body of the sculture. The steel was inserted after drilling into the cement, 12” deep, and
epoxied into place.
3) Likely suggestion will be to add one or more steel bars, drilled and welded to the foot and base,
to buttress the sculpture and prevent side to side motion. See drawing of proposal.
4) After the sculpture is bolstered, it is recommended that the pedestal surface be paved with a
river rock treatment which:
It has a natural, beautiful surface, evening out the current discolored pedestal
This treatment is uncomfortable to sit on, due to its bumpy surface,
discouraging sitting and climbing on the sculpture
5) A new bronze sign with the poetry, artist, date, and title should be fabricated and mounted on
the side of the sculpture pedestal. Currently, it is flat, on the base.
Go Mama - Public Record
Date PAC Meeting Minutes Discussion
1/22/1999 PAC Regular Meeting
CALIFORNIA AVENUE PROPOSAL
The scale and project dollar amount of the Marta Thoma sculpture, Go Mama,
was discussed by the Commission. Three sizes and prices were discussed: 5' -
$10,700; 5'6" - $12,500; and 6' - $15,000. Brett withdrew 6' option.
Commission decided to focus on 5'6" sculpture for $12,500. Commission not
certain that scale of work would be appropriate to site. Brett proposed that
Commission contribute one-half funds of 5'6" work. Commission not convinced
that 50/50 split is appropriate here. Motion: To approve the 5'6" work on a
50/50 split between CAADA and PAC.
Brett: Moved;
Amendment by Dunlevie: Reserve the right to increase the scale and the Public
Brett accepted amendment. Motion restated by Levin: To approve the 5'6"
work and a split of $6,200/$5,800, preserving the right to increase the scale
and PAC commitment financially.
Moved: Brett; Wasserman seconded: Ayes: Unanimous.
2/18/99 PAC Regular Meeting
Report on Marta Thoma sculpture - Dunlevie reported that Thoma wants a six-
foot sculpture. Because of the added cost this item to be agendized for the
March meeting.
3/18/1999 PAC Regular Meeting
CALIFORNIA AVENUE PROPOSAL
Brett reported that Dunlevie and artist, Marta Thoma, conducted a site visit to
determine appropriate scale of artwork. Artist recommends the largest scale of
this sculpture for this site. Commission asked to increase dollar amount of
work from $6,250.00 to $8,750.00. Total work will cost $15,000.
Recommendation: A 50/50 split should be baseline for Commission in future
projects.
Motion: Commission to add $2,500.00 for a total of $8,750.00 to commission a
six-foot artwork by artist Marta Thoma to be installed on California Avenue.
Moved: Wasserman/Wells: Ayes: Unanimous.
7/15/1999 PAC Regular Meeting
CALIFORNIA AVE - Levin reported that artist Marta Thoma has not yet received
City funds. Staff pointed out that Thoma has not met the City’s insurance
requirements, and City funds cannot be released until requirements are met.
Dunlevie volunteered to call Thoma.
10/13/99 PAC Regular Meeting
ANNOUNCEMENTS - Dunlevie has visited Marta Thoma’s studio. Thoma is
making progress on Go Mama.
11/18/1999 PAC Regular Meeting
MARTA THOMA PROPOSAL - Artist Marta Thoma is moving ahead on this
project. Marta Thoma has spent time lately at the foundry.
1/20/2000 PAC Regular Meeting
CALIFORNIA AVENUE PROJECTS - Recommendation: Commission is concerned
that additional artwork on base for sculpture be related thematically tied in
with Go Mama. Motion: To approve this addition as long as the bronze and
wording on base are related thematically with the sculpture.
MOVED: Eppstein; Seconded: Barton: Ayes: Unanimous.
2/17/2000 PAC Regular Meeting
Marta Thoma – Kaplan suggested that Thoma return to Commission with text
for base.
3/16/2000 PAC Regular Meeting
CALIFORNIA AVENUE PROJECT - Marta Thoma installation – Brett reported on
his fundraising efforts. To date he has raised $5500 towards the goal of $6200
for Go Mama. Brett asked Commission to contribute the remaining $700 that
is short. Recommendation: Increase the Commission’s funds for this project
from $8,800.00 to $9,500.00. Motion: Move that the Commission increase the
increase the Go Mama budget by $700.00.
MOVED: Barton; seconded: Wasserman: Ayes: Unanimous.
Thoma arrived at 9:10 p.m. to speak to this item. Thoma clarified the origins of
the text.
4/20/2000 PAC Regular Meeting
CALIFORNIA AVENUE PROJECT - Marta Thoma Installation – Concrete base
needs to be poured
2/27/2001 PAC Regular Meeting
SPECIAL ORDER OF THE DAY - Commission welcomed new Commissioner,
Marta Thoma. *Thoma left the commission in early 2002
9/23/2003 PAC Regular Meeting
ANNOUNCEMENTS
Frankel announced that Marta Thoma’s reception for her installation of Rrun
is scheduled for September 25.
3/15/2006 PAC Regular Meeting
MAINTENANCE OF PERMANENT COLLECTION - Kirkeby reported that the
sculpture Go Mama by Marta Thoma needs polishing.
2/18/2010 PAC Regular Meeting
CALIFORNIA AVENUE TREES – Elizabeth Ames, Public Works Department, and
Barbara Lundburg with Royston Hanamoto Alley & Abey gave a presentation
on Phase 2 and the overall tree planting plans for California Avenue.
Commissioner DeMarzo reported on behalf of Morariu that Morariu has
contacted and spoken with three of the four artists whose artworks are
impacted by the proposed tree planting plan. Morariu has received permission
from artists Wang Po Shu for Ropepole and Marta Thoma for Go Mama to
move ahead with the tree planting plans.
11/17/2011 PAC Regular Meeting
MAINTENANCE OF COLLECTION – DeMarzo reported on sculpture
maintenance. The final item is $500 for Marta Thoma to refurbish the Go
Mama sculpture on California Avenue.
4.16.2015 PAC Regular Meeting
Permanent Collection Condition Survey - Staff outlined the history of
maintenance efforts for the collection and the plan to evaluate the condition
of the outdoor collection in order to formulate a long range plan and schedule
for the care and keeping of the collection. Staff outlined the scope of work for
the evaluation of fifteen permanently sited artworks in the collection. Five
conservators were contacted to submit qualifications and proposals for the
evaluation. Staff recommended the approval of ARG Conservation for a
contract up to $7,200 for the evaluation reports on fifteen of the artworks.
9.15.2016 PAC Regular Meeting
Adoption of Two Year Work Plan – Staff presented a list of project priorities
identified by the Public Art Commissioners at the PAC Annual Retreat:
Addressing artworks identified as high priority for conservation (conservation
or deaccession).
5.18.2017 PAC Regular Meeting
Collection Maintenance/Deaccession – Staff led a discussion regarding the
seven artworks identified by ARG Conservation Report as most in need of
restoration or de-accession. Staff provided a detailed update on the current
condition of each artwork including Digital DNA, Go Mama, California Avenue,
California Native, Greg Brown’s murals Lady Watering and Boy Fishing, and a
mural by Christopher Johanson. Staff will return to the Commission later in
2017 with specific de-accession or conservation recommendations for each
artwork.
8/21/2017 PAC Regular Meeting
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.
City of Palo Alto Staff Report to Public Art Commission
November 16, 2017
RE: Agenda Item 5, Downtown Parking Garage
Recommendation:
Staff recommends that the Public Art Commission approve artist Amy Landesberg as the project
artist for the downtown parking garage.
Background:
The City of Palo Alto intends to construct a new parking garage on an existing City -owned
surface Parking Lot D located at 375 Hamilton Avenue on the corner of Hamilton Avenue and
Waverley Street in the Downtown Business District. T he project is part of the 2014 Council
Infrastructure Plan, and is intended to supplement parking inventory as part of the City’s multi -
pronged approach to addressing parking and traffic congestion.
In April 2017, Council directed staff to proceed with the schematic design of a new parking
garage with five above ground levels with one below ground level and retail frontage along
Waverley Street. The primary stair and elevator circulation features are positioned at the
corner of Hamilton Avenue and Waverley Street creating a creating a pedestrian court with
access to the stair and elevator, as well as an entrance to the ground floor retail space. The
main vehicle entry / exit is located on Hamilton Avenue with a secondary vehicular entry / exit
at Lane 21.
There are multiple opportunities for the integration of artwork at the site, including the main
pedestrian court on the corner of Hamilton and Waverley, the perforated metal stairwell façade
over the court, the pedestrian alleys between the garage and the adjacent buildings, and the
perforated metal façade over the main vehicular entrance/exit on Hamilton.
Artist Selection Process:
Staff utilized the 35 qualified artists in our prequalified pool for this project. Staff assembled a
selection panel of key stakeholders and arts professionals for the project. Representatives on
the selection panel were:
Ken Hayes-Project Architect
Ben Miyaji – Vice-Chair, Public Art Commission
Jon Graves – Pacific Art League Director
Justine Chaussen – Pace Gallery Director
Holly Boyd – Public Works Project Manager
Christopher Jette – Stanford Sound Artist
Mila Zelkha – Palo Alto Downtown Board Member and Public Art Commissioner
The first selection panel meeting took place October 18, 2017, and the panel selected 5 artist
finalists. Those finalists made more detailed presentations to the panel about their previous
work and their design development process. After the second selection panel meeting, Amy
Landesberg was selected as the primary project artist to recommend to the Public Art
Commission. The artist may enter into a design development contract with the City only after
the approval of the Public Art Commission. Once the artist and the design team have a design
concept ready, that design concept is presented to the Public Art Commission for approval prior
to initiating detailed design drawings and fabrication.
About the Artist:
Amy Landesberg is an Atlanta based artist and architect (see Attachment A). Landesberg
studied art at Georgia State University and architecture at Yale. She has taught design in art and
architecture schools throughout the US including Princeton, Columbia, Tulane and Geo rgia
State. She is actively creating artworks on two extremes: small, intimate gallery based artworks,
and very large public artworks. Her most recently completed public project at this scale
is AUTOPLAST, a 2-part installation for the San Diego Airport rental car facility.
Landesberg has participated in the design of a wide array of projects: galleries and art
complexes; civic and educational buildings; rapid rail; historic preservation; residences; theater
environments; retail spaces; café’s. Landesberg approached architecture from a career in the
arts with 20 solo exhibitions to her credit as well as numerous group shows in gallery and
museum settings. Her efforts have been recognized with awards and grants in both art and
architecture including Fellowships in painting and sculpture from the Southern Arts Federation,
the Young Architects Award from the Architectural League of New York, several Merit Awards
from the Georgia Chapter of the American Institute of Architects, an Honor Award from the
Southern Atlantic Region of the American Institute of Architects, an Award of Excellence from
the Atlanta Urban Design Commission, and a Year-In-Review award from the Americans for the
Arts Public Art Program.
Budget and Timeline:
The estimated construction budget is $19.0 Million, with construction forecasted for fiscal years
FY 2019- FY 2020, creating an estimated public art budget of $190,000. Once construction at
the site commences, it is anticipated to take 12 months to complete the construction.
City of Palo Alto Staff Report to Public Art Commission
November 16, 2017
RE: Agenda Item 6
Recommendation:
Staff recommends that the Public Art Commission approve the conceptual proposal by artist
Charles Sowers for the Junior Museum and Zoo.
Background:
As the Bay Area’s only children’s science center and zoo, the Palo Alto Junior Museum & Zoo
(JMZ) is a place where children, ages 0-9 years old, and families explore, wonder and make
discoveries about the natural world. Their mission is to engage a child’s curiosity for science and
nature. As the Junior Museum and Zoo approaches its 83rd year, the museum and zoo are
constrained by a facility that no longer reflects the needs of its visitors, collections, and
operations. A new facility will be built to “right size” the Junior Museum and Zoo to better serve
their audience.
The proposed new JMZ construction project would demolish the existing 9,000 square foot (S F)
Junior Museum and 13,000 SF Zoo, except the existing 500 SF bobcat exhibit, which would be
preserved. The proposed design for the JMZ includes constructing a new museum and
education building, outdoor zoo with netted enclosure, and perimeter site improv ements on
the site of the current facilities. The proposed museum and zoo project scope has been
developed in coordination with the Draft Rinconada Master Plan for the surrounding park,
parking lot, and adjacent public facilities. The design of the new JMZ was recently revised from
a two-story building to a single story building, due to the escalation of costs over the last three
years. The result has been a decrease in size of 4,422 square feet. The updated overall project
square footage is following: Museum/Ed Building: 15,085 SF; Zoo + Outdoor Animal
Management Area + Back of House: 17,278 (Gross SF); Loose in the Zoo: 13,350 (Net SF);
Outdoor Animal Management/Back of House: 3,553 (Net SF ). The proposed project scope has
been developed in coordination with the Rinconada Park Master Plan for the surrounding park,
parking lot and adjacent public facilities.
There were multiple opportunities called out for an artist to integrate into the project. Among
the spaces identified for the integration of art are: the Entry Plaza area; the 450 foot wall
facing Rinconada Park; the Tunnel from Middlefield Road to the entry plaza; and the building
façade of the ticketing area. The goals for the artwork include:
Support the mission of the JMZ programming
Engage the public (families and children)
Accessibility
The Art Selection Process:
An open call to artists launched in December 2016 yielded over 250 applications. Of the 181
qualifying artists, staff conducted three pre-panels that narrowed the list to the final 20 artists
to be considered by the selection panel.
The selection panel was made up of:
1. Steven Huss – Public Art Manager, City of Walnut Creek
2. Shelly Willis – Former Executive Director, Sacramento Metropolitan Arts Commission
3. Sarah Vaccaro – CAW Architects
4. Loren Gordon – Commissioner, Public Art Commission
5. Lauren Angelo – Community Member, Friends of JMZ Board Member
6. Tina Keegan – Director of Exhibitions, Junior Museum and Zoo
7. Rhyena Halpern – Director, Arts & Sciences Division / Assistant Director, CSD
The selection panel chose four artists and artist teams to give presentations about their
previous work and design development process to the panel April 27, 2017. Panelists were
asked to score the artists in three categories: 1- Strength of previous work in similar
environments; 2- Suitability to the Junior Museum and Zoo; 3- Durability of Materials; and 4-
High degree of audience engagement. After the interviews, the panelists scored the artists, and
Charles Sowers was the highest ranked artist.
Sowers was approved by the Public Art Commission as the project artist May 18, 2017. He met
with the design team, toured the JMZ facility, held a public information meeting at the JMZ, and
has been hard at work exploring various concepts for the site. On October 20, 2017, Sowers
met with the design team and key stakeholders to discuss three potential concepts to develop
for the Junior Museum and Zoo project. The team agreed that his “pendulum swings” concept
was the best, and should be developed further. The pendulum swings are large slow moving
pendulums that can be “ridden” by adults or children, activating the sails above the roofline of
the Junior Museum and Zoo. The design team and stakeholders felt strongly that this concept
meets and exceeds the goals set for the public art element.
Artist Statement on Pendulum Swings:
Untitled (pendulum swings)
Swinging back and forth in a slow graceful motion, a group of 5, 40-foot tall
counterbalanced pendulums extend high above the roofline through a hole in the roof
of the JMZ. Graceful yet whimsical, the pattern of motion is ever-changing as the
pendulums are activated differently by children below who push and ride them, their
weight subtly changing each pendulums natural frequency. The pendulums are both
visually arresting from afar and kinetically exciting up close in the opportunity to ride
the slow giants.
This conceptual design will likely see some revisions as we move into detailed design and
engineering. Should the initial conceptual design shift significantly, staff will report back to the
Public Art Commission on the changes.
Timeline:
The project construction will begin in 2018 the new facility which is expected to open in May
2020 pending permitting and available funding.
Pendulum Swings Concept Renderings:
From: Shimizu, Tim
Sent: Tuesday, November 07, 2017 9:13 AM
To: Horowitz, Nicole
Subject: RE: Attn: Jim Migdal re: Digital DNA
Dear Nicole,
The Director of Arts & Sciences, Rhyena Halpern and Director of Public Art, Elise DeMarzo met with
Chair Jim Migdal and Vice-Chair Ben Miyaji to set the November 16 agenda yesterday afternoon. They
discussed your client’s request for a postponement of the deaccession of Digital DNA item. The Chair
and Vice-Chair asked staff about when the artist was notified and if this conflict was raised
previously. Staff clarified that after a dozen communications via email and phone since the artist was
first notified August 18th, there was no mention of a scheduling conflict from Ms. Varella or her previous
attorney, Linda Joy Kattwinkel. The last communication from that attorney was October 11, and there
was never any mention of a gallery opening until you raised it last week. The artist was notified of this
action three months prior to the hearing date, which was more than sufficient for her to begin making
plans for the removal of the piece.
City staff and the Chair and Vice-Chair are all aligned in giving the artist 90 days from the decision date
to deaccess (if such is decided) to remove the sculpture from Lytton Plaza. Ms. Varella is welcome to
send an email to the Commission, or you may appear on her behalf during the public comment period
next Thursday, November 16th at 7:00pm at the City Hall of Palo Alto. I believe this is the second item on
the agenda.
Sincerely,
Tim Shimizu
Deputy City Attorney
FRIENDS
of tie
PALO ALTO
PARKS
425 GRANT AVENUE
SUITE Z7
PALO ALTO, CA 94306
650.327.7323
W W W. FRIENDSOFPAPARKS.ORG
November 6, 2017
Dear Members of the Public Arts Commission,
Friends of the Palo Alto Parks concurs with staffs
recommendation to deaccession Digital DNA which has suffered
significant deterioration due, in part, to sunlight exposure. If the
Commission retains the sculpture, we suggest it be relocated where it is
not subject to direct sunlight and fading.
Because Lytton Plaza is so heavily visited, and by children as
well as adults, we urge the Commission to make it an Art -in -Public -
Places downtown showplace, and to maintain artwork in the Plaza in a
way that would be particularly attractive to families with children.
Additionally, because the Plaza is active during evening hours, it
would be exciting to include lighting as part of all considerations for a
replacement piece.
We are aware that the Friends of Lytton Plaza concur with the
above comments.
Parks.
Please feel free to call on us if there is anything we can do.
Sincerely,
Le Levy and Board Members of the Friends of the Palo Alto
From: Shannon McEntee [mailto:shannonrmcentee@gmail.com]
Sent: Wednesday, November 01, 2017 4:03 PM
To: PAC
Subject: Deaccessioning
I’d like to see apalanque Alto keep Go Mama. I live three blocks from Cal Ave and I really enjoy the spirit
of this sculpture, its originality, and its ability to prompt interest and discussion. It would be a shame to
lose it.
Thank you for considering my opinion.
Shannon Rose McEntee
BFA and MA
From: Clark Akatiff [mailto:cakatiff@yahoo.com]
Sent: Monday, October 16, 2017 3:07 PM
To: DeMarzo, Elise
Subject: Go Mama art
Glad to see that the arts department is seeking opinions on this piece. I have learned to avert my eyes so
that it does not enter my consciousness, but it is still out there, lurking. Swedish couple: was fine, but
what ever that woman does disturbs me.... the one at Bowden park too. I have never thought to ask for
their retirement before, but now I will. Please retire these unpleasant sculptures!
Thank you
Kathy Akatiff
Rinconada Ave resident in Palo Alto
From: Eric Bredo [mailto:eric.bredo@utoronto.ca]
Sent: Monday, October 16, 2017 9:32 AM
To: PAC
Subject: Decommissioning PA Art
Dear Commissioners,
As a resident of Los Altos Hills, and only a former resident of Palo Alto, I realize I have little or no
standing to comment on your plans, but do so as a daily visitor who cares about art.
First, I could. It be more supportive of your idea of removing that abhorrent circuitboard egg. It has
been an embarrassment to the city for years. One would hope we could grow beyond tech/geek “art.”
“Go mama” is also a largely incoherent mess. I’ve also no brief for the emitter or whatever it is at Page
Mill and El Camino. On the other hand, the wooden spiral unicorn horn on California is at least
whimsical (if aging). Portland has, of course, done a much better job. Charlottesville Virginia also has a
hanging set of welded sculptures that are fun and imaginative. For my money (or not, in this case) I also
like the humanity of sculptures in Norway and Sweden. Is it too much to ask for something humane
rather than geekish for Palo Alto?
Hope you can bring us some joy, comfort, or whimsy, or even mere decoration, rather than something
mechanical or confused.
Sincerely,
Eric Bredo
13820 Page Mill Rd.
From: Marilyn Gildea [mailto:marilyn@gildea.com]
Sent: Monday, October 16, 2017 8:44 AM
To: PAC
Subject: "Egg, 'Go Mama' face retirement"
I was heartened to read in today's Daily Post that some of Palo Alto's ugliest public art may be removed.
The grotesque "Go Mama" has frightened several of my six grandchildren when they were very young.
"Rrrun" should be on the removal list, too. Visitors always ask, "What the #@$# is that about?" when we
drive by it on Alma.
There are many pieces around town that all ages in my family love, including the owls at the Mitchell
Park Library, the sculpture at the entrance driveway to the Junior Museum and Zoo, and Patrick
Dougherty's "branch" creations at the Art Center.
Marilyn Gildea
From: Drew Jones [mailto:drew.jones@altschool.com]
Sent: Monday, November 06, 2017 9:38 AM
To: PAC
Cc: Emma Sameroynina
Subject: Digital Egg Vote
Hello,
We are Altschool in Palo Alto on Emerson street. We are in the lower elementary classroom
which is first and second grade. We voted to either keep the Digital Egg or not keep it. We
walked from our school to the Digital Egg and voted while we sketched the beautiful egg. Please
click on the attachments 2 and 3 to see our votes. Could you please respond to us when you
know what your vote is on November 16th.
(This email was written with the help of our class. Please excuse the child friendly writing.)
From,
Altschool
From: Wayne Martin [mailto:wmartin46@yahoo.com]
Sent: Thursday, November 02, 2017 6:49 PM
To: PAC; Council, City
Subject: Input About Public Statues--Egg and Mama
City of Palo Alto Art Commission
City of Palo Alto
Palo Alto, CA 94301
Cc: City Council
Selected Art Commission Members:
This communication is in response to your request for public input relative to the two statues being
considered for replacement. I have never been happy with the egg in the downtown area. It would
be fine with me if it were to “disappear” and never return. As to the statue in the California Avenue
Business district—I have over time come to see it as interesting and worthy of continued occupation
of its current, or some other, location.
I would like to add that perhaps smaller pieces of art could be put on a rotation around town, and
perhaps other local communities, on say, a five-year cycle. It would also be a good idea to create a
program to allow local, or even non-local, artists to donate, or loan, art to the City without
compensation. This suggestion is aimed at the artists who are being subsidized by the taxpayers at
the Cubberley Center.
Wayne Martin
Palo Alto, CA
From: mickie winkler [mailto:mickie650@gmail.com]
Sent: Tuesday, October 17, 2017 10:17 AM
To: PAC
Subject: pls remove egg and mama
Esp Mama, and Car on Alma street.
Mickie Winkler
From: doug hohbach [mailto:dougisadude@yahoo.com]
Sent: Saturday, October 21, 2017 12:06 PM
To: PAC
Subject: Digital DNA and Go Mama
Both Digital DNA and Go Mama are among the most recognizable and accessible works of art in
Palo Alto, in constant with the many pieces that the average citizen has no relationship with
since they cannot remember ever having seen them. As an example, the large new installation at
the corner of Page Mill and El Camino is invisible to virtually everybody I've queried about it. I
encourage the Public Arts Commission to include additional criteria in its decision making
process related to the interaction of typical citizens of Palo Alto with the art works, which seem
to be lacking currently.
Doug Hohbach
1253 Byron Street
Palo Alto
From: karlette46@sbcglobal.net [mailto:karlette46@sbcglobal.net]
Sent: Wednesday, October 18, 2017 2:52 PM
To: PAC
Subject: "Digital Data" and "Go Mama"
I just read that you are planning to get rid of these two “sculptures.” Yes!! The sooner the
better, IMHO.
Karlette Warner
College Ave
Palo Alto
From: Lance R. Vick [mailto:lance@lrvick.net]
Sent: Tuesday, October 17, 2017 11:14 PM
To: PAC
Subject: Egg removal
The egg sculpture is in all seriousness my favorite thing to visit and take friends to see in Palo
Alto.
It symbolizes how technology has empowered humanity and the role our area has played in that.
It would be deeply saddening to see it taken down or destroyed.
I totally respect that upkeep for this sort of structure is an engineering challenge in and of itself
but I would happily donate towards that effort and I am certain others would as well.
If budget is the primary concern would suggest creation of a crowdfunding campaign for the
needed upkeep cost and let people vote with their wallets in true Silicon Valley fashion.
--
Lance R. Vick
From: Nat Fisher [mailto:sukiroo@hotmail.com]
Sent: Monday, October 16, 2017 12:35 PM
To: PAC
Subject: removing art
I agree with your decision to remove The Egg at Lytton Plaza and Go Mama on
California Avenue. I've considered them to be ugly all these years.
Natalie Fisher
Palo Alto
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