HomeMy WebLinkAbout2018-01-18 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 Program Coordinator
Rhyena Halpern: CSD Assistant Director
http://www.cityofpaloalto.org/publicart
Thursday, January 18, 2018
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 – November 16, 2017 ATTACHMENT
STAFF COMMENTS
ACTION:
1. Election of Officers- Election of Chair and Vice Chair of the Public Art Commission.
2. De-Accession of Artwork – Staff recommends the deaccession of California Avenue, California
Native by Susan Leibovitz Steinman, currently sited on California Avenue. ATTACHMENT
3. Allocation of funds for Baylands AIR - Staff recommends the allocation of funds in the amount of
$10,000 for Artist-in-Residence at the Baylands. ATTACHMENT
NON-ACTION:
4. Joint Meeting with Council – Brief discussion and summary of the presentation to Council.
PUBLIC LETTERS
ANNOUNCEMENTS
FOR YOUR CALENDAR:
Next PAC Regular Meeting – February 15, 2018 at 7 p.m.
MINUTES
PUBLIC ART COMMISSION
REGULAR MEETING
Thursday, November 16, 2017
City Hall Community Meeting Room
250 Hamilton Ave
7:00 p.m.
Commissioners Present: Jim Migdal, Ben Miyaji, Loren Gordon, Hsinya Shen, Nia
Taylor
Commissioners Absent: Amanda Ross, Mila Zelkha
Staff Present: Elise DeMarzo, Public Art Program Director
Rhyena Halpern, CSD Assistant Director
Nadya Chuprina, Public Art Program Coordinator
CALL TO ORDER: Chair Migdal called the meeting to order at 7:00 p.m.
AGENDA CHANGES, REQUESTS, DELETIONS – None.
ORAL COMMUNICATIONS – None.
APPROVAL OF MINUTES: October 19, 2017 PAC Regular Meeting Minutes Moved: Ben Miyaji;
Second: Jim Migdal. All in favor.
STAFF COMMENTS: Staff announced that Toby Atticus Fraley’s Artwork Forge temporary project was
successfully installed on King Plaza earlier in November. The opening event attracted a number of the Art
Center Project Look Docents and members of the public who enjoyed interacting with the newly installed
artwork. The project is averaging 150 artworks dispensed per week.
ACTION:
1. 693/689 Arastradero Road – Final Review for art in private development project associated with the
Bowman School project. Mary Beth Ricks of Bowman School and Jon W. Daseking of Pacific
Peninsular Architecture presented the project background, its goals, initial input from the
Commission, and spoke about the artist selection process. Ricks then presented the art proposal by
artist Kamau Amu Patton, 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. The
project architect presented the plan of the new school buildings and talked about the placement and
installation method of the artwork onsite and addressed Commissioners’ questions about accessibility,
durability and maintenance requirements. Moved: Vice Chair Miyaji moved to approve the art plan
for the Bowman School. Second: Commissioner Gordon. All in favor.
2. De-Accession of Artworks – Staff recommended 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. Staff provided an updated report with the detailed overview
of the artwork commissioning and maintenance history and associated costs, 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 then updated the
Commissioners on the communications with the artists and prospects of removal the artwork from its
current location. Staff provided summary of the public input that was gathered since the
Commission’s approval to proceed with the deaccession evaluation process in August 2017.
Community members Ruth Robinson and Barbara Berman from the Raging Grannies community
group addressed the Commission asking to consider keeping Digital DNA in in the City Collection
despite its deteriorated condition and shared with the PAC a public letter from the artist told from the
point of view of the sculpture. Adrianna Varella’s attorney addressed the PAC putting a request to
postpone the decision about deaccessioning the artwork until the artist could be in Palo Alto. Friends
of Lytton Plaza Le Levi addressed the PAC expressing concerns about the degree of deterioration of
the artwork caused by its unsuitable placement outdoors and encouraged the PAC to remove the
artwork from its current location. After taking into consideration staff report and public input, the
Commissioners thanked the community for contributing to this decision making process, and clarified
with staff on the art removal process ensuring that the artist has the first right to backer-acquire the
piece. Moved: Vice Chair Miyaji moved to approve the deaccession of Digital DNA by Adrianna
Varella and Nilton Maltz, located in Lytton Plaza as outlined in the City’s Deaccession Policy.
Second: Chair Migdal. All in favor.
3. De-Accession of Artworks - Staff recommended the deaccession of Go Mama by Marta Thoma,
currently sited on California Avenue. Staff presented an updated detailed report outlining the updated
maintenance and conservation history and costs, and provided a list of criteria considerations for
deaccession of the artwork, including: 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; and no suitable site is available for relocation or
exhibition. Staff reported on its ongoing discussion with the artist and her fabricator to refurbish the
sculpture and enhance its stability. The artist submitted a stabilization proposal which was reviewed
in consultation with the City’s engineering team. It was 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. Staff provided a compilation of public input
gathered in consideration of the deaccession evaluation process. Moved: Commissioner Taylor
moved to approve the deaccession of Go Mama located on California Avenue. Second:
Commissioner Gordon. All in favor.
4. Bike Boulevards Pilot Project – Staff provided an overview of the project scope, selection process
and presented renderings of the two final proposals shortlisted by the selection panel for the Bike
Boulevards / Art Crosswalks pilot project to be integrated at the Louis / Fielding raised intersection.
Commissioners reviewed conceptual design proposals by Damon Belanger and Tiffany Stakem
discussed their artistic merit, safety and appropriateness to the site. Moved: Chair Migdal moved to
select and approve conceptual design titled Go With the Flow for four intersections by artist Damon
Belanger. Second: Commissioner Shen. All in favor.
5. Downtown Parking Garage – Staff recommended the approval of artist Amy Landesberg as the
project artist for the downtown parking garage project. Staff provided overall background information
on the development project of the new Downtown Parking Garage to be constructed in Fall 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 four finalists to give presentations
detailing their previous work, approach to design development, and their interest in this particular
project. Artist Amy Landesberg was the highest ranked artist. Moved: Chair Migdal moved to
approve artist Amy Landesberg as the project artist for the downtown parking garage. Second:
Commissioner Taylor. All in favor.
6. Junior Museum and Zoo - Staff recommended the approval of artwork design concept by artist
Charles Sowers for the JMZ project. Staff updated the Commissioners on the project background,
artist selection process, community and stakeholder outreach and provided input. Artist Charles
Sowers worked in consultation with the design team to develop a conceptual proposal and design for
the project. Sowers’ proposal for pendulum swings that activate sails or fins above the roofline of the
building was strongly supported by the design team. The project construction of the new facility is
scheduled to begin in 2018 with the expected opening in May 2020 pending permitting and available
funding. Moved: Chair Migdal moved to approve conceptual proposal by artist Charles Sowers for
the Junior Museum and Zoo. Second: Commissioner Shen. All in favor.
NON-ACTION:
7. 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:
Joint Meeting with Council – December 4, 2017 at 6 p.m.
Next PAC Regular Meeting – January 18, 2017 at 7 p.m.
MEETING ADJOURNED at 8:57 PM by Chair Migdal.
City of Palo Alto Staff Report to Public Art Commission
January 11, 2018
Agenda Item 2
Recommendation:
Staff recommends that the Public Art Commission approves the deaccession of California Avenue,
California Native by Susan Leibovitz Steinman, located at the 400 block of California Avenue in Palo Alto,
CA, as outlined in the City’s Deaccession Policy.
Summary:
Staff recommends that the Public Art Commission approves the deaccession of Susan Leibovitz
Steinman’s California Avenue, California Native, located on California Avenue, 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:
In 1996, the Public Art Commission in collaboration with the California Avenue Area Development
Association (CAADA) conducted a design competition to design a gateway feature for California Ave. at
the intersection of El Camino Real. Susan Leibovitz Steinman’s site specific proposal was consistent with
the objectives of the 1995 Palo Alto Comprehensive Plan, and she selected as the finalist. In 1996,
Steinman entered into an agreement with the City of Palo Alto to prepare, construct and install artwork
entitled “California Avenue, California Native” for $15,000. The site specific artwork was to enhance the
quality of California Avenue by providing a unifying theme for the streetscape. The artwork was installed
in early 1997. The key elements of the original artwork included:
Landscape along the entry median at El Camino Real with California native grasses and
wildflowers. A series of eight rectangular white granite boulders along the median and at
pedestrian intersections across California Ave near the entry median. An existing California
Avenue concrete sign, spruce tree and three flagpoles remained, and were incorporated into the
artwork. The top portion of the entry sign was outlined in golden yellow to match the banner
backgrounds. New drip irrigation system was installed by contractor (Schwartz and Associates)
as part of their landscaping scope of work.
A series of seven banners with printed drawings of California indigenous flora and fauna
including golden trout, horn snail, tiger salamander, blue-eyed grass, brown pelican, bighorn
sheep, and blacktailed jackrabbit. Vertical banners were installed on three flagpoles within the
median; and four other lamp posts along both sides of California Ave.
Engraved bricks in a herringbone pattern that were incorporated into the pedestrian approach
to the crosswalk adjacent to the entry median. One hundred bricks were engraved with three
lines of text, sourced from the local community groups and relevant to the California theme.
In addition to California Avenue, California Native, Susan Leibovitz Steinman has a number of other
public installations with the focus on ecological, social and economic concerns and community-voiced
needs. Based in Oakland CA, she is an “itinerant social sculptor,” who creates street front, temporal,
improvisational, performative artworks. Most of her site specific installations and community-driven
projects are of temporary nature. Artist’s resume (Attachment 2) provides further details.
Maintenance History:
The artwork received several maintenance and replacement treatments, including previous
maintenance by Schwartz and Associates, a landscape firm that worked with the artist to plant the
original landscape in 1996 and ongoing landscape maintenance conducted by the City’s Parks
department., The seven banners have been replaced three times and all 100 engraved bricks were
refabricated during the streetscape project.
Out of respect to the artist’s rights the City staff has been in consultation with the artist throughout the
years regarding any changes into the streetscape of California Avenue that would affect the overall
integrity of the artwork. On most occasions, the artist and City were able to find solutions that when
implemented did not impact the integrity of the art work. In some instances, the City would not pursue
its initiatives if the artist expressed concerns about the negative impact they might cause to the
character of the environmental installation. For example, in 2010 the City did not pursue the
replacement of the street signage and planting of an oak tree in the entry median after the artist
expressed concerns that the selected tree was not appropriate for the site and changed the character of
her artwork.
TIMELINE AND EXPENSES
1996 – Evaluation of the landscape design and key elements by the City’s Parks Department. Key
concerns and recommendations: longevity and long-term ongoing maintenance of indigenous
wildflowers, which would require additional maintenance funding, or consider substituting some of the
plants with other perennials that would require less maintenance. T artist’s original proposal called for
an annual planting of additional pots of plants to replace the failed ones.
1997 – Installation of original artwork by artist.
1997 – Landscape maintenance by contractor (Schwartz and Associates) - $500
1998 – Landscape maintenance by contractor (Schwartz and Associates) - $500
1998 – Condition report by Lesley Bone. Main areas of concern: plants not flourishing due to inadequate
irrigation in place and many worn pedestrian pathways through the planting area.
1999 – 2013 – City-managed on-going landscape maintenance - $500 per year. (In 2009 the City stopped
planting annual flowers and only maintained native grasses from the artist’s suggested list of plants).
2006 – Replacement of banners - $2,000.46
2008 – Reported damage of engraved bricks. Fabrication and installation of 45 bricks - $1,734
2011 – Replacement of banners - $2,000.46
2015 – Replacement of banners - $2,241.50
2015 – Replacement of 100 engraved bricks (as part of the California Avenue streetscape
redevelopment project all the engraved bricks had to be replaced) – $2,200
2015 – Replanting of native grasses and wildflowers in the new median by the City’s Parks Department.
2015 – Purchase of new Banner hardware - $800
2016 – New signage - $450
Total maintenance: $9,692.42 excluding costs associated with landscape maintenance efforts by the
City’s Parks Department.
Discussion:
With the new California Avenue streetscape project completed in 2015, many changes to the
streetscape affected the integrity of the artwork. New improvements along California Avenue included
new wider sidewalks, intersection bulb-outs, decorative sidewalks with embedded tumbled glass, trench
drain facilities, curb & gutter work, underground irrigation, and streetlight facilities. As a result, many of
the art elements of Steinman’s California Avenue; California Native had to be shifted and / or replaced in
consultation with the artist. Changes to the artwork included:
the boulders in the median and sidewalks were relocated to new sites;
the three banners in the entry median remain displayed, but now on a single flagpole (instead of
three flagpoles);
all of the one hundred bricks were re-fabricated and installed in a different orientation as part of
the new slightly shifted crosswalks that are ADA compliant;
the median landscape includes California native plants as recommended by the artist, however
the new narrower median and the new irrigation boxes installed within the median severely
impacted the amount of space available for plants and grasses.
The shifted traffic lane positions required dramatic changes to the setting of the artwork. The new
streetscape changed the layout of light posts along California Avenue which proved impossible to
install the four banners along both sides of the street: only three out of four light posts were
reinstalled. The configuration and low height of three of the newly installed posts cannot
accommodate the banners.
ARG evaluated the artwork in 2015 and identified it as one of the high priority artworks for the Public
Art Program to address. Their report (Attachment 3) specifies that some of the elements of this artwork
has been damaged or currently are not on display.
The Public Art Master Plan consultants observed the artwork and made the following recommendations
regarding its disposition:
This environmental artwork has been severely compromised by retrofits to the streetscape that
have taken place since its original 1997 installation. Because the work is subject to the Visual Artists
Rights Act, it is imperative that the City of Palo Alto continue to discuss the status of the artwork
with the artist and determine whether it should be removed.
When the City of Palo Alto issued an RFQ for the sculptural artwork for California Avenue in 1996, Susan
Leibovitz Steinman’s proposal was selected as it was consistent with the Comprehensive Plan of the
decade and met a number of Urban Design Element objectives specified in the Plan. Unfortunately, two
decades later, as the California Avenue Redevelopment Project took place in 2015, the character, use
and design of the streetscape has significantly changed and compromised the original artwork. In sight
of the many alternations to the original artwork and changed streetscape many members of the public
fail to notice or recognize the environmental artwork as a cohesive installation.
Of the considerations for deaccession outlined in the policy, staff recommends deaccession for the
following considerations:
The condition or security of the Artwork cannot be reasonably guaranteed;
The Artwork is not, or is only rarely on display because the City lacks location for its display;
No suitable site is available for relocation or exhibition, or significant changes in the use,
character, or design of the site have occurred which affect the integrity of the Artwork;
Staff waited until the new deaccession policy was in place to bring forward the deaccession request so
that the Public Art Commission has time to adequately weigh the pros and cons to deaccessioning the
artwork and has time to gather community input prior to taking a final action.
Update since PAC September 21, 2017 Meeting:
In September 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 California Avenue, California Native, description of
landscape maintenance, banner and brick repairs and associated costs, condition reports provided by
ARG and Public Art Master Plan consultants, and a list of considerations for deaccessioning.
Upon the Public Art Commission’s approval to proceed with the evaluation process, staff notified artist
Susan Leibovitz Steinman via email and phone of the Commission’s decision on September 22, 2017. In
discussion with the artist, staff determined that since most of the artwork elements are integrated into
the streetscape of California Ave., the City does not seek to remove the integrated elements, such as the
boulders, engraved bricks and remaining native grasses and plants in the median planter. The three
banners currently displayed on the pole in the median and the identification plaque would be removed
should the Commission make the decision to deaccession the artwork from the City Public Art
Collection.
Since the September 21 meeting, PAP staff consulted with City’s Public Works teams responsible for the
greenspace and streetscape maintenance to determine feasibility of replanting and maintaining the
original landscape as designed by the artist along the reconfigured median. However, it was advised that
given the present narrow footprint of the median and high volume of newly installed utilities along the
median, reintroducing the original landscape which is an integral element of the original artwork is
unfeasible. In addition, in collaboration with the California Ave Merchants Association, the City
determined the need to update the California Avenue gateway signage. The replacement sign may not
include gold color incorporated by the artist.
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 California Avenue; California
Native, staff will notify the artist of the PAC’s decision and coordinate the removal of existing banners
and art plaque.
Attachments:
1- Deaccession Policy
2- Susan Leibovitz Steinman Resume
3- ARG Conservation Report - California Avenue; California Native
4- Images of the streetscape taken in 1997, 2009, 2014 and 2016 (demonstrating the changes into the
streetscape over the time and how it affected the artwork).
5- Minutes chart with records –PAC meetings 20014 – 2017
6- Deaccession Request Report from September 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.
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POLICY AND PROCEDURES 1-59/CSD
February 2017
The following are not considered Artwork:
1. Reproductions, by mechanical or other means of original Artwork, except in cases of Film, video, photography,
printmaking, theater, or other media arts;
2. Art objects that are mass produced (excluding artist -created, signed limited -edition works), ordered from a catalog,
or of a standard design, such as playground sculpture or fountains; and
3. Directional or other functional elements such as signage, supergraphics, color coding, or maps unless specifically
designed as artworks.
DEACCESSION: The procedure for the removal of an Artwork owned by the City and the determination of its future
disposition.
DEACCESSION NOTIFICATION: A written letter to the artist or donor referencing the applicable condition(s) of the
Artwork and describing reasons why the deaccession review needs to be undertaken.
GUIDELINES
Any Artwork owned by the City shall be eligible for deaccession with the exception of an Artwork that is accompanied by
verified legal stipulations that the Artwork may not be deaccessioned. During the review process, the Artwork shall
remain accessible to the public in its existing location unless it poses a threat to public safety.
Artwork may be considered for review toward deaccession if one or more of the following conditions apply:
1. The condition or security of the Artwork cannot be reasonably guaranteed;
2. The Artwork requires excessive maintenance or has faults of design, materials or workmanship, and repair or
remedy is impractical or unfeasible;
3. The Artwork has been damaged or has deteriorated, and repair or remedy is impractical or unfeasible;
4. The Artwork's physical or structural condition poses a threat to public safety;
5. The Artwork is proved to be inauthentic or in violation of existing copyright laws;
6. The Artwork is not, or is only rarely, on display because the City lacks a location for its display;
7. The Artwork has exceeded its expected lifespan;
8. No suitable site is available for relocation or exhibition, or significant changes in the use, character, or design of the
site have occurred which affect the integrity of the Artwork;
9. Changes to the site have significantly limited or prevented the public's access to the Artwork;
10. The site where the work is located is undergoing privatization;
11. Deaccession is requested by the Artist;
12. If there are more than six works (excluding editions of prints) by the same artist in the portable collection, or more
than three permanently installed works on public display in the City or in Private Development, PAP staff may
recommend to PAC that the City retain only a representative selection of that artist's work.
13. If the Artwork has been lost, stolen, or is missing, the PAC may approve formally deaccessioning it from the
collection while retaining a record in the collection database showing that the work has been deaccessioned.
Artwork may be reviewed for deaccession at any time at the initiative of PAP staff or PAC members. Review also may be
initiated by the Artist regarding the Artwork she/he created, by that Artist's designated heir(s), or by legally recognized
representative(s).
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POLICY AND PROCEDURES 1-59/CSD
February 2017
PROCEDURES
Deaccession shall begin with a formal Deaccession Request which can be initiated by the PAC, by PAP staff, the Artist,
the Artist's designated heirs or legally -appointed representative. The Deaccession Request shall be submitted to PAP
staff and shall describe the applicable condition(s) outlined in the Guidelines above, and the reasons why the
deaccession review should be undertaken. A Deaccession Request must also contain information about the requestor's
relationship to the Artwork and stake in deaccessioning the Artwork.
Deaccession Requests shall be reviewed by PAP staff, who shall make every reasonable effort to contact the Artist who
created the Artwork named in the Deaccession Request, and any other known parties with a vested interest in the
artwork, and shall comply with any applicable state or federal notice requirements. When Artworks are proposed for
deaccession, staff shall place the matter on the PAC agenda for an initial review of the reasons deaccessioning is being
considered and to gather comments on the deaccession proposal. At a subsequent PAC meeting, staff shall then present
a deaccession recommendation to the PAC.
In presenting the Deaccession Request, PAP staff will provide all available relevant corresponding materials to the PAC,
including, but not limited to:
1. Artist's name, biographical information, samples of past artwork, and resume.
2. A written description and images of the Artwork.
3. Artist's statement about the Artwork named in the Deaccession Request.
4. A description of the selection/acquisition process and related costs that was implemented at the time the Artwork
was selected.
5. If available, a formal appraisal of the Artwork provided by a qualified art appraiser.
6. Information about the origin, derivation, history, and past ownership of the Artwork.
7. A warranty of originality of the Artwork.
8. Information about the condition of the Artwork and the estimated cost of its conservation provided by a qualified
visual arts conservator.
9. Information about and images of the Artwork's site.
10. For permanently -sited Artwork: information about how community feedback about the Artwork was collected and
the outcome of that feedback.
11. Feedback from the Director of the City department responsible for operating and maintaining the Artwork site.
12. A detailed budget for all aspects of conservation, maintenance, repair, installation, operation, insurance, storage,
and City staff support.
13. The Artist's contract with Donor or comparable legally binding document with Proof of Title.
14. Deed of gift restrictions, if any.
The PAC shall approve, with or without conditions, or reject the Deaccession Request based on the Deaccession Criteria
described in this policy.
DEACCESSION CRITERIA
In addition to the condition and security of the Artwork as stated above, the review criteria for Deaccession Requests
include, but are not limited to:
1. ARTISTIC EXCELLENCE: Qualifications and professional reputation of the Artist; craftsmanship, conceptual content,
style, form.
2. VALUE OF ARTWORK as determined by a professional appraiser, if available.
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POLICY AND PROCEDURES 1-59/CSD
February 2017
3. RELATIONSHIP TO EXISTING COLLECTION OF ARTWORK: Style, form, scale, diversity, quantity, quality, longevity, and
compatibility with the existing collection of Artwork and goals of the Public Art Program.
4. AVAILABILITY OF CITY SUPPORT: The availability of necessary funding for conservation, maintenance, and/or repair;
exhibition and storage space; real property for siting Artwork; and staff support.
5. RELATIONSHIP TO SITE: Accessibility, public safety, and social, cultural, historical, ecological, physical, and functional
context of the Artwork in relation to the site, both existing and planned.
6. LEGAL CONSIDERATIONS: Issues related to liability, insurance, copyright, warranties, ownership, theft, vandalism,
loss, indemnification, and public safety. The City Attorney shall review the recommendation of the PAP staff and
PAC to determine whether there are any known legal restrictions that would prevent deaccessioning the object. The
City Attorney's approval must be obtained prior to deaccessioning an object.
7. TIMING: Safety or hazard emergencies, relevant construction schedules, and the allowance of sufficient time for a
normal review process.
8. ACQUISITION PROCESS: Method by which the Artwork was acquired and accessioned into the collection of artwork
(i.e. donation, loan, commission).
9. COMMUNITY FEEDBACK: Community feedback about the Artwork, its site, and its condition solicited via a publicly -
noticed meeting or placed on the agenda of the Public Art Commission.
10. RESTRICTIONS: Any recognized restrictions associated with the Artwork.
IMPLEMENTATION
The deaccessioned Artwork shall be removed from the collection of Artwork through methods administered by the PAP.
In all cases, the Artist or the Artist's designated heir(s), or legally recognized representative(s) shall be given, when
possible and within a reasonable time frame, the opportunity to purchase the Artwork for the fair market value (as
determined by a qualified art appraiser), or, if the Artwork is determined to be of negligible value, the Artist shall be
given the opportunity to claim the Artwork at the Artist's own cost.
When the Artist does not purchase or claim the deaccessioned Artwork, the City, at its discretion, may use any of the
following methods to remove the Artwork:
1. Sale. Proceeds from the sale shall be deposited into the Public Art CIP Budget. Written acknowledgement by Budget
to place revenues from the sale of deaccessioned Artwork into the Public Art CIP Budget, must be obtained. Public
notice regarding the sale shall be provided on the City website, at a publicly -noticed meeting and in any other
manner required by law.
a. The Artist/donor shall be given the right of first refusal to reacquire the work at fair market value, original price,
or nominal value, depending on the recommendation of the PAC. The cost of removal of the work may be
reflected in the amount set.
b. Sell the work through a dealer.
c. Sell the work through sealed bidding or public auction.
2. Trade or exchange of a deaccessioned Artwork for another by the same Artist.
3. Donation of deaccessioned Artwork to a non-profit organization, institution, or agency.
4. Destruction. This method is appropriate in the following instances:
a. The entire Artwork has been damaged or has deteriorated, and repair or remedy is impractical or unfeasible.
Page4of5
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
SUSAN LEIBOVITZ STEINMAN
SL Steinman Studio, 4227 ML King Jr. Way, Oakland, CA 94609
Phone: (510) 205.9033 SteinmanStudio@gmail.com www.SteinmanStudio.com
EDUCATION M.F.A. High Distinction, Sculpture, California College of Arts, Oakland/San Francisco, CA
Undergraduate art, non-degree, California College of Arts, Oakland/San Francisco, CA
B.A., Journalism, University of Maryland, College Park, MD
COMMUNITY ECO ARTSCAPES
2013 STRAW BALE FARM, Arlington (VA) Arts Center, with Arlington Public Art Comm. For Green Acres.
2009 URBAN DEFENSE, temporary Permaculture pentagon beds, SCEE, Amy Lipton, Philadelphia PA
2008 GARDENS FOR ALL, Train station community garden & gallery installation, Kultur-Natur, Hamburg, Germany
2006-08 SWEET SURVIVAL: Urban Apple Orchard II, Sonoma County Museum, Santa Rosa, CA Outdoor installation.
2005 BENEATH LAND & WATER: Project for Elkhorn City, KY. 5 year community collaboration with Suzanne Lacy &
Yutaka Kobayashi. Includes: Blue Line Trail, River Heritage Murals, Waterfront revitalization, Habitat sculpture
garden. Sponsor: Elkhorn City Heritage Council. Funded by: Appalshop, Creative Capital, KY Women’s Art
Foundation, and numerous local individual donations in cash and in kind. Started in 2000.
2002-03 ART & COMMUNITY LANDSCAPES residency, National Park Service, Rivers & Trails Conservation Assistance
Program. With Jackie Brookner. 3 waterfront revitalization projects : Tillamook, OR; Puyallup, WA; Caldwell, ID.
Sponsoring partners: the National Endowment for the Arts, NPS, and the New England Foundation for the Arts.
2002 ONE STRAW REVOLUTION, Demonstration biointensive garden in downtown Federal Reserve Bank Plaza, for
Cincinnati Contemporary Art Center, Eco-Vention exhibit, Cincinnati, OH
2001 GARDENS TO GO, prototype portable community garden, 2000 Potrero Nuevo Fund Prize, Oakland, CA
2000 MARKING THE MILLENIUM, community participatory bench art project, Friends of Oakland Parks, Oakland, CA
1999 ST. ANDREW’S PLAZA, park remodel, City Economic Developoment Agency, Oakland, CA
1998-2001 MANDELA ARTSCAPE, 2 acre revitalization prototype with recycle freeway materials & 3,000 native plants.
Community participation. Multi-agency and grassroots sponsorship. Private grants . Oakland, CA
1997 CALIFORNIA AVE., CALIFORNIA NATIVE recreates CA native grassland/wildflower meadow in shopping street
median strip. Permanent commission for City of Palo Alto Public Art Commision, Palo Alto, CA
1995 URBAN APPLE ORCHARD, demonstration varietal antique apple orchard, with community participation.
San Francisco Art Commission's Market Street Art in Transit Program, SF, CA
1991-92 RIVER OF HOPES AND DREAMS, permanent 3 acre sculpture garden. Educational model of reclamation,
recycling & resource conservation. Student & staff participation. NORCAL Sanitary Fill Co, San Francisco, CA
SITE SPECIFIC ECO ART
2009 URBAN DEFENSE, Permaculture Forest, Down to Earth: Artists Create Edible Landscapes, SCEE, Philadelphia
WILD APPLES FOR JO, Permanent Memorial Apple Orchard, NORCAL Eco-art Garden, San Francisco, CA
2006 !VIVE VERDE! (Fruit Fence), Art on San Pablo Avenue, Public Art Program, Emeryville, CA
2004 NURTURE NATURE (FOREST KITCHEN), Geumgang Nature Art Biennale, KOREA
2001 ODE TO LIVING SYSTEMS (I), Berkeley Art Center, Berkeley, CA
1997 NATURE SEEING NATURE (46 DOORS), Connemara Land Conservancy, Plano, TX
LOOKING FOR THE CREEK ON STEVENS CREEK BLVD., Euphrat Museum, Cupertino, CA
SEEING NATURE (FRUIT), Paradise Ridge Sculpture Park, Santa Rosa, CA
1996 GARDEN FOR ROSE DR, sited at tract home built on toxic fill. Arts Benicia, Benicia, CA
POWER TOWERS II, Empire Fulton Ferry State Park, Brooklyn, NY
1995 FOR THE BIRDS, City of Concord Public Art Program, Todos Santos Plaza, At-risk youth participation.
Concord, CA
1994-97 EARTH ARK, Chavez Waterfront Park, Berkeley Art Commission, Berkeley, CA
1994 POWER TOWERS I, for Spatial Politics: A Garden, 600 Townsend Sculpture Court, SF, CA
1993 BACK TO THE GARDEN, interactive collaborative public installation, City Recycle Depot, Berkeley, CA
1992 RECYCLE TOTEM, Garbage Reincarnation, Inc., Sonoma County Landfill, Sonoma, CA
GALLERY INSTALLATIONS
2013 EOE: Equal Opportunity Eating. American U. Museum, Washington DC, for Green Acres (below)
2012 DIY POP UP FARMS, installation, Green Fields, Cincinnati Museum Contemporary Art. Sue Spaid curator.
Sculpture and photos, Beyond Landscape, Marin County. Patricia Watts curator.
2011 JOHN MUIR, multisculpture installation re Muir’s life of place, J. Gardner, Napa Valley Museum, Yountville CA
2009 LAND(E)SCAPE 10x30’ temp painting with topsoil re topsoil, Terroir exhibit, curator Tricia Watts, Marin Co, CA
BENEATH LAND & WATER photographic panoramas/music, with Lacy & Kobayashi, original design for
GROUNDWORKS, Regina Miller Gallery, Carnegie Mellon University, Pittsburg, PA. Curator Grant Kester
2004 FOR THE BIRDS II, US Dept of Interior Museum, For National Migratory Bird Month. Washington, DC
VON GRUND AUF: DAS WILDAPFEL PROJECT (proposal artwork), Grossenhain, GERMANY
2003 HOPE IS A BIRD, Gallery 555, Oakland Museum, Oakland, CA
2002 EKOS, Oakland Museum, (for 45 Oakland Artists) Oakland, CA
1999 COMPOST & STORIES, Project Space/With the Earth, Gallery Rt One, Pt. Reyes Station, CA
1997 BIRDS, Jack London Square Art Window, Oakland Chamber of Commerce honoree, Oakland, CA
REFOUND, San Francisco Museum of Modern Art Artists Gallery, SF, CA
1995 POWER TOWER, Oakland Museum sculpture garden , Oakland, CA
1996 WORLD WEB, "REcycle" Festivals, Jack London Square, Oakland, CA
1994 TRASH, 3 part installation, Southern Exposure Gallery, SF, CA
WORLD WEB, (1) Stanford University, Palo Alto; (2) Festival of the Lake, Oakland, CA
CLEAN SWEEP, Exploratorium, SF, CA
ARCH, World Health Organization International Conference, SF, CA
1995 J CURVE, Eco-Nation, Bedford Art Gallery, Regional Center for Arts, Walnut Creek, CA
1992 BIG MOUNTAIN, “For the Earth” Program, Gallery Route One, With S. Girot. Pt. Reyes, CA
MENORAH, San Francisco City Hall, Sponsored by City Recycling Program, SF, CA
1991 SUCCAH/SEEKING SHELTER, Judah Magnes Museum, Berkeley, CA
INSIDE THE WAVE, San Jose State University Gallery. With Suzanne Girot. San Jose, CA
1990 MARKING TIME, "Seeing Time" Program, KALA Institute. With Judith Foosner, Berkeley, CA
THE TREE MUSEUM, Addison Street Public Window Site, Berkeley Art Commission, Berkeley, CA
GROUP EXHIBITS
2013 GREEN ACRES (continued), American Univ Art Museum, Washington DC. Sue Spaid and Jack Rassmuseum
2013 GREEN ACRES—Artists Farming Fields etc., Arlington Arts Center (VA) Sue Spaid and Stephanie Fedor.
2012 GREEN ACRES, Cincinnati Contemporary Art Center (OH), Sue Spaid curator.
2009 DOWN TO EARTH—Artists create Edible Landscapes, Curator Amy Lipton, SCEE Philadelphia PA
DOWN TO EARTH—Selections, Curator Amy Lipton, Ecoartspace Gallery, NYC, NY
2006 HYBRID FIELDS, Sonoma County Museum, Santa Rosa, CA. Curator Patricia Watts.
2005 ECO VISIONS, P. Sanders, curator, Thoreau Center Gallery, The Presidio, SF, CA
2004 CULTURA 21, Kunst & Zukunftsfahigkeit im landlichen Raum, Grossenhain, Germany
2003 CREATIVE INTERVENTIONS, University of Oregon, Eugene, OR
SHAPING POSSIBILITY, Gallery 555, Oakland Museum @ City Center, Oakland, CA
2002 ECOVENTION, The Contemporary Art Center, Cincinnati, OH
BEING THERE: 45 OAKLAND ARTISTS, Phil Linhares, Oakland Museum of CA, Oakland, CA
NO THEME, Rene di Rosa, curator; Contract Design Center, SF, CA
2002 ECOART = RADICAL APPROACHES TO RESTORING THE EARTH, Ecoartspace Gallery, Beacon, NY
2001 WHAT WE DO & WHY WE DO IT, Gallery Route One, Point Reyes Station, CA
ECO-ART=ECO-ACTIVISM, JFK, University Arts & Consciousness Gallery, Berkeley, CA.
2000 SCULPTURE/USF/2000, Richard Kamler, Curator; site-specific installation, U. of San Francisco, SF, CA
ENVIRONMENTAL PERSPECTIVES: BEAUTY & THE BEAST, Koret Gallery, Palo Alto, CA
1999 MONUMENTS, Terri Cohn, curator; Contract Design Center, SF, CA
WHAT IS ART? curators Wm. T. Wiley & Mary Hull Webster; Oakland Museum of CA
1998 WINTER SHOW, Michael Schwager, curator; Contract Design Center, SF, CA
PASSING THE FLAME--Artists Who Teach, Museum of Children’s Art, Oakland, CA
WATER SHED EXHIBIT, Santa Clara Art Center, Cupertino, CA
1997 ECLECTIC ECOLOGIES, Terri Cohn, curator; new SF Main Public Library's Stegner Env. Center, SF, CA
MAKING WAVES, André Thompson, curator. Richmond Art Center, Richmond, CA
1996 POSTWASTE: IMPERATIVE FOR NEAR FUTURE, Arts Benicia, Benicia, CA
SCULPTURE, Central Sierra Arts Council Gallery, Sonora, CA
PAST, PRESENT, FUTURE, Oliver Art Center, California College Arts & Crafts, Oakland, CA
1995 LEFTOVERS, Works Gallery, San Jose, CA
WEATHER WORKS, Contract Design Center, Phil Linhares, curator, SF, CA
THROUGH THE DOOR, Contract Design Center, Marian Parmenter, curator, SF, CA
1994 IMPROMPTU SCULPTURE SHOW, Oakland Museum, Oakland, CA
PUBLIC ART EXHIBITION: A MINDFUL GEOGRAPHY, SF Art Commission Gallery, SF, CA
LIVING IN BALANCE, Richmond Art Center, Richmond, CA
WOMEN MENTORS SHOW, SF Art Commission Gallery, SF, CA
LIVING IN BALANCE, International terminal, San Francisco International Airport, SF, CA
1993 NATURAL DIALOGUE, Baile Oakes, curator; California Crafts Museum, SF, CA
EARTH DAY EXHIBIT, The Gap Co. Headquarters, SF, CA
1992 RESIDUE IMMORTALIZED, Linda Evans, curator; Security Pacific Bank, SF, CA
SOURCES, faculty exhibit, CA. State University Hayward Art Gallery
ARTISTS USING REFUSE AS THEIR PALETTE, Student Union Gallery, S.F. State University, SF, CA
ART FROM THE WASTE STREAM, NORCAL Sanitary Fill Co., SF, CA
1991 ISSUE: EARTHART, Brandstater Gallery, Loma Linda University, Riverside, CA
1990 SCULPTURE, U.O.P. Gallery, University of the Pacific, Stockton, CA
ENVIRONMENTAL CRISIS, Marian Parmenter, juror; Gallery Rt., One, Pt. Reyes, CA
CURATORS CHOICE--East Bay Open Studios tour; sponsored by Art House & Pro Arts, Oakland, CA
SMALL SCULPTURE, Terry St. John, juror; Mendocino Art Center, Mendocino, CA
1989 WOMEN ARTISTS '89, national juried show, Matrix Gallery, Sacramento, CA
NEW WORK, Peter Selz, juror; Modesto Lanzone, Opera Plaza, SF, CA
CHASM, Gallery 44, Oakland, CA
OTHER PROJECTS
1997 Connemara Land Conservancy, Residency, Plano (Dallas), TX
1995-97 Headlands Center for the Arts, Ft. Barry, Affiliate Resident, Sausalito, CA
1994 3 permanent elementary school "recycle" sculpture gardens,
§ Oakland, CA: for MOCHA, Oakland School District and CALARTS
§ Pt. Reyes, CA: for West Marin Arts grant & Gallery Rt. One art in schools program
1993-94 LIVING IN BALANCE, environmental art exhibit originating at San Francisco International Airport, and traveling
to Richmond Art Center, Co-curator, SF and Richmond, CA
1993 CELEBRATION OF THE ENVIRONMENT THRU ART, Dublin Fine Arts Foundation, Dublin, CA
1992 NORCAL Sanitary Fill Co. waste transfer & recycling facility, Artist in Residence, SF, CA
1991 MAPPING THE TERRAIN: New Public Art; artists & critics forum and symposium on public interest art.
Planning team & site coordinator for director Suzanne Lacy, SF MOMA, SF, CA & Napa, CA,
1990 ACROSS TIME & SPACE, international radio art performance by 3 older women from Finland, Russia & USA.
Project coordinator for director Suzanne Lacy, Joensuu, FINLAND
1989 CITY SITES--Artists & Urban Strategies, public art lecture/event series sited at relevant community settings
Planning assistant & coordinator for director Suzanne Lacy, Oakland, CA
AWARDS & HONORS
2000 Potrero Nuevo Fund Prize, SF, CA
1998 Grants, LEF Foundation and Nancy Gray Foundation. For environmental public art project, Oakland, CA
1996 Eureka Fellowship nominee, Fleishhacker Foundation, SF, CA
1994 Arts Education Advocate Award, Oakland Chamber of Commerce, Oakland, CA, Nominee.
1989 High Merit Award, "Women Artists '89," national juried show, Sacramento, CA
SELECTED TEACHING
1995-96 Visual & Public Art Institute, California State University Monterey Bay, Monterey, CA
1992-95 Art Department, California State University at Hayward, Hayward, CA
SELECTED PUBLIC COLLECTIONS
NORCAL Sanitary Fill Co., SF, CA
City of Palo Alto, CA
City of Oakland, CA
Garbage Reincarnation, Sonoma County, Sonoma, CA
The di Rosa Preserve Collection, Napa, CA
BIBLIOGRAPHY
2012 Sue Spaid, GREEN ACRES—Artists Farming Fields, Greenhouses & Abandoned Lots, CAC, Contemporary Arts
Center, Rosenthal Center for Contemporary Art, Cincinnati OH
2009 Anke Haarmann, Harald Lemke (ed), CULTURE/NATURE:Art & Philosophy in…Urban Development, Jovis Pub, Berlin.
2009 Hamburg Newspaper Article
2006 Stephanie Smith, “Suzanne Lacy & Susan Leibovitz Steinman—The Confluence of Conservation Ecology and
Community Economics,” In Art Journal, Spring 06 published by College Art Assn, NY.
2005 Grant Kester, GROUNDWORKS—Environmental Collaboration in Contemporary Art, Miller Gallery, CMU, Pittsburgh,
PA.
Ann Rosenthal , “Imagination Can Save US.” In New Practices/New Pedagogies, Malcolm Miles ed., pp 79-80,
Netherlands: Swets & Zeitlinger Publishers.
Reiko Goto with Tim Collins, “Eco-art Practices.” In New Practices/New Pedagogies, Malcolm Miles ed., pp 93,
Netherlands: Swets & Zeitlinger Publishers.
2004 Ecological Aesthetics: Art in Environmental Design: Theory and Practice, Heike Strelow (Ed.), pp 101-103, Berlin,
Germany : Birkhauser - Publishers for Architecture.
Geumgang Nature Art Biennale 2004 Catalogue, essay by Heike Strelow, pp 144, 213, 216, Chungnam, Korea:
The Organizational Committee of the Geumgang Nature Art Biennale 2004.
2003 Heike Strelow , “Kunst im öffentlichen Interesse– Partizipation, Intervention und
Kommunikation als ästhetische Kategorien,”, In Die Kunst der Zukunftsfähigkeit, Hildegard Kurt, ed.,
Agenda –Transfer.
Susan R. Ressler, Women Artists of the American West, McFarland & Co., Inc.
“Caldwell will get public art,” Idaho Press Tribune, (January 15 )
Alice Leonhardt, Trash with Dash, Steck-Vaugh Company.
2002 Sue Spaid, ECOVENTION, pp 18-19, 56-61, 79,143, co-publishers: Cincinnati Contemporary Art Center,
ecoartspace &greenmuseum.org.
Tilda Chadwick Jones , “Trail gets artistic touch,” Headlight-Herald, (September 4)
Donna Brookman , “Terms of Engagement,” Sculpture Magazine, (July/August)
Kris, Carber, Ben Marks, Chiori Santiago, “ Tips &Trips,” Sunset Magazine, (August)
Marilyn Bauer , “ Art of a new nature: CAC’s Ecovention’s highlights 40 projects that
transformed ecologies throughout the world,” The Cincinnati Enquirer, (June 27)
Debra Koppman, “Being There: 45 Oakland Artists,” Artweek, (February, vol. 33, #1)
Deborah Frizzell, “Dimensions of Ecofeminist Art: A New Form of Epic Poetry,” unpublished paper,
presented at the CAA Conference, Philadelphia, PA
Ann Rosenthal n, “Bridging the Binaries: Assessing Ecoart Practices within the Context of
Environmental Activism,” n.paradoxa, (vol.9)
2001 Ellen Wilson, “the Art of Ecology,” Pittsburgh Post-Gazette, (Nov 7)
Vicky Elliot, “Planting a Seed,” San Francisco Chronicle, (Sept 28)
“Oakland Features ‘Gardens to Go’ an Environmental Art Project,” Bay Area Business Woman, (vol. 8, #12)
Monique Beeler , “Anything Grows,” Oakland Tribune, (Aug 25)
Alicia Miller, “The Growing Impact of Environmental Art,” Artweek, (April vol.32, #4)
2000 Amy M. Lambert & Maya R.Khosla, “Environmental Art and Restoration,” Ecological Restoration, (vol. 18 #2)
“Potrero Nuevo Prize Recipients Named,” Artweek, (April vol 31, #4)
1999 Dorothy Nissen & Oakland Museum of CA, What Good is Art, StudioDotWiz, 1999
“ Mandela: Temporary Artscape to Permanent Parkway, ” Cypress Link, (winter / spring Issue # 29)
Brian Block , “Project Focus: The Art of Community Development,” Green City, (1999, vol. 34)
David Chazz Cartwright , “Grassroots Effort Turns Parkway Strip into Art,” Eastbay Express, (Feb 26)
Dennis J.Oliver , “Junk Pile Becomes Ecological Artscape,” Oakland Tribune, (Feb 1)
1998 Patricia B. Sanders , “A Conversation with Susan Leibovitz Steinman,” Artweek, (November, Vol. 29)
Kimberly Chun , Inventive Mandela Art Project Graces Parkway in Oakland,” SF Chronicle, “ (December 18)
Catherine Bowman , “ Planting a Dream,” SF Chronicle, (November 28)
1997 Gretchen Giles , “Domestic Bliss,” The Sonoma County Independent, (Sept ember 4-10, pp.1B)
Meg McConahey , “Furnishing Nature with Art,” Santa Rosa Press Democrat, (May 18, pp 1;15-16)
Deborah Kong , “Curbist Art,” San Jose Mercury News, (March 31, P.22)
Catherine Cuellar , “There’s a message in the meadow about preserving the environment,” Dallas Morning news,
(March 14)
Lori Fairchild , “Wide Open Canvas,” The Dallas Morning News, (March 15, pp 1H, 5H)
Jerry Kasten , “Encroachment on the land,” Allen (Tx.) American, (March 15)
“Art That’s More Than Bricks and Mortar,” Palo Alto Weekly, (February 7)
1996 Zahid Sardar , “Salvage Connoisseur,” Renovation Style, (Fall, P.28)
Heather Rock Woods , What’s Happening Here,” Palo Alto Weekly, “ (November 20, pp 17)
“What a Waste” SF Bay Guardian, (June 19)
Barbara Fisher , “Eco Nation: Patriots of the Earth at Bedford Gallery,” Artweek, (May, Vol. 26, #5)
“Postwaste Culture,” Benicia Herald, (May 16, pp 1)
“Sculpture: Facing the Elements,” Weatherwise Magazine, (December ‘95/January ‘96, Vol. 48, No. 6, pp 9)
1995 “Artists Writing in Public,” Public Art Review, (Spring/Summer, pp 15)
“Mapping the Terrain: New Genre Public Art , Book Review,” Artweek, (April, Vol. 26 #4)
1994 “Women of Design,” Showplace (SF) Square News, (Winter, pp 18)
Chin Hyong Park, “New Sculptures Mark Waterfront,” Daily Californian, (September 20, pp 5)
Carol Fowler, “Biennial Event A Fine Platform for Sculpture,” Contra Costa Times, (August 12)
“Power Tower,” Berkeley Voice, (August 11)
Susan Kuchinskas , ‘Food for Thought’ Project Bears Fruit Under Downtown Freeway,” SF Examiner, “ (July 6, pp 3)
Bruno Fazzolari , “Reduce Reuse Recycle,” Artweek, (June 9, vol.25, #11)
“Apples as Art,” SF Examiner, (April 27, pp A-5)
Mary Hull Webster , “Raven’s Nest,” Artweek, (March 10, Vol. 25 #5)
1993 Susan Kuchinskas, “For the Individuals, It’s Garbage In, Art Out,” SF Examiner, (December 22, pp 3)
“San Francisco Art Commission,” West (SF Art Institute Journal), (Winter , pp 13)
Terri Cohn , “Fixing the Earth,” Artweek, (September 9, pp 2 )
Clara-Rae Genser , “Local Artist Recreates with Recyclables,” The (Albany) Journal, (September 2)
Carol Fowler, “Women Artists Show their Wood Works,” Contra Costa Times, (July 2, pp 21)
Karen Hershenson , “He Works with a Sticky Subject,” Contra Costa Times, (January 29-February 4)
Glen Helfand , “Art,” SF Weekly, (January 27, pp 19)
David Bonetti , “Down in the Dumps: Uplifting Art,” SF Examiner, (January 27)
“Garbage Stories,” Suzanne Girot, San Jose, CA. “ Video: (Shown in numerous film festivals)
1992 Amanda Dowd , “Make it Shiny, Make it New: Susan Leibovitz Steinman’s Reusable Art,” Equinox Journal, (Fall, Vol 1)
1991 Lydia Matthews, “Out in the Open,” Artweek, (April 30, pp 11)
Tamar Kaufman, “Three Artists Seeking Shelter atJudah L.Magnus Museum,” The Northern California Jewish Bulletin,
(August 9, pp 31)
Ralph Rugoff & David Levi Strauss, “The Best of California Art,” California Magazine, (July, pp 3)
Jennifer Crohn, “Art Au Lait,” East Bay Guardian, (February, pp 25)
1990 Video: “The Tree Museum: An Interview with Susan Leibovitz Steinman,” Elizabeth Sher,
I.V. Studios, Berkeley, CA. (Library collection, CA College of Arts & Crafts, Oakland)
“Art and Ecology,” Ecocity Conference Report, Urban Ecology, Berkeley, CA (April, pp 74-75)
1989 Ann Powers, “Street Talk,” SF Weekly, (December, 20, V.8 , #49 pp 14)
Victoria Dalkey, “Making Statements, Women artists create images…” The Sacramento Bee, (October 15)
WEB ARTICLES
2008 Web pod cast interview, Arts & Healing Network, www.artheals.org
2005 Michael Gant, “Around the Rim,” www.metroactive.com/papers/metro/01.26.05/exhibits-0504.html
Patricia Watts, “Ecoartists: Engaging Communities in a New Metaphor,
http://communityarts.net//readingroom/archive/66watts.php , Community Arts Network/Art in the Public Interest.
2003 Patricia Watts, “Ecoartists: Engaging Communities in a New Metaphor,” www.landviews.org/articles/metaphor-pw.html
LAND: Online Journal of Landscape, Art and Design, (summer 2003)
2002 The Idaho Statesman, www.idahostatesman.com/News/story.asp?ID=16974, (Aug 5)
The Cincinnati Enquirer, www.enquirer.com/editions/2002/06/27/tem_art_of_new_nature.html
Amy Lipton , “The Alchemical Garden,” http://greenmuseum.org/c/alch_gard/
Greenmuseum.org, www.greenmuseum.org /c/ecovention/
2001 ecoartspace, www.ecoartspace.org
Vicky Elliot, “Planting a Seed,” SF Gate, San Francisco Chronicle, www.sfgate.com, (Sept 28)
Arts & Healing Network, www.artheals.org
Terri Cohn, curator, Women Artists of the American West, www.sla.purdue/waaw/
2000 International Sculpture Center, www.sculpture.com, article on Bay Area Sculptors
Teresa Hauge Giovanzana, “Making a Difference: Community Outreach in the Arts Symposium,”
www.sbawca.org/outreach/outreach01.html, SBAWCA-Outreach
2012 Jo Anna Isaak, “Taking Out the Trash: Public Art Projects by The Garbage Girls,”
Public Space-Gesprachsreiche 2, www.public-space.at/gespr/gespr2.htm, (Aug 18)
Ann Elliot Sherman, “Bound to the Earth,” Metroactive, www.metroactive.com/papers/metro/04.03.97/art-9714.html, (Apr 3)
PUBLISHED WRITING
2009 “Manifesto” in CULTURE/NATURE, Haarman & Lemke (ed), Jovis Pub., Berlin Germany
1996-current WEAD- Women Environmental Artists Directory, editor/cofounder & director, San Francisco,CA
1998 “The Unbearableness of Being Without Light,” (detail) A Journal of Art Criticism,
So. Bay Area Women’s Caucus for Art, San Jose (Vol. 6 #1)
1997 “We Honor You, Jo Hanson,” National Women’s Caucus for Art Honor Awards 1997, catalog,
co-authors Suzanne Lacy and Mierle L. Ukeles (pp 8-11)
1995 “Directional Signs: A Compendium of Artists’ Works,” Mapping the Terrain: New Genre Public Art”,
Suzanne Lacy, editor, Bay Press, Seattle (pp 187-285)
1994 Living in Balance, editor/author, exhibition catalog, Richmond Art Center
1993 The Art of Recycle, school teacher manual; City of SF Recycling Program, S.C.R.A.P. , et al
1992 “The Crime of Candor: Feminist Art Criticism,” Studio Potter (art journal) V.20 #1
Encounters on the Road of Poems and Borders, contributor, Suzanne Lacy, ed., Posit-Tele, FINLAND
Selected LECTURE/PANELS
2013 ECOtistical Art, chair Linda Weintraub, College Art Assoc. Conf., Atlanta, GA
Ecoart Summit, World Earth Day, The Exploratorium, SF, CA
GROUNDWORKS Symposium, Miller Gallery, Carnegie Mellon Univ., Pittsburgh, PA
2004 Strategic Partnering Case Study: Art & Community Landscapes, Americans for Arts Conf. Portland, OR
2002 Art for Life’s Sake, The New Aesthetics of Participation, the Open Center, NYC, NY
The Art & Science of Restoration, BIONEERS Conference, San Rafael, CA
2001 “Art for Life’s Sake: The New Aesthetics of Participation,” NYC Open Center, NY
New School/Parsons College, NYC, NY
“Bridging the Binaries,” WASTE Summit, Chatham College, Pittsburgh, PA
“Eco-Art=Eco-Activism” Symposium/Exhibit, JFK University, Berkeley, CA
Society of Teachers of Family Medicine, Charleston, SC, Plenary speaker
“Taking Nature Seriously” Conference, U. of Oregon, Eugene, OR,
Art/Nature/Culture conference, Flagstaff, AZ
1999 College Art Assn. Conf. panel Co-Chair, “Out of the Mainstream, Into the Mainstream.” Los Angeles, CA
1997 “Re-Viewing Our Environment,” SECAC/MACAA College Art Conf, Richmond, VA
1996 SFSU symposium: Public Artists Working in Non-Traditional Ways in Civic Spaces
Arts & Healing Network, Sausalito, CA
1995 Earth Day, Wayne State College & Northeast Community College, NE
"Reclaiming the Landscape," de Young Museum, SF, CA
"Urbanism & Transformation," 2AES/Center for Critical Architecture, Capp St Arts, SF, CA
Discussion of Recent SF Public Art Projects, SF Art Commission Gallery, SF, CA
1993 "Environmental Imperative for Art," San Jose State University, CA
1992 "Nature, Culture & Crisis" Symposium, Pt. Reyes, CA, Speaker
” Art & Ecology," 2nd International Conference of Visual Artists, SFSU, SF, CA
1991 "The Crime of Candor", critical paper presented at the Annual Feminist Conf., U.C. Berkeley, CA
1990 "Art and the Ecocity,” International Ecological City Conference
Palo Alto Public Art Survey II / ARG Conservation Services, Inc. / License #799537 21
YEAR
1997
LOCATION
California Ave. @ El Camino Real
Palo Alto, CA
MATERIALS
Granite, brick, steel, printed synthetic cloth, plants
TREATMENT PRIORITY
High
California Ave., California
Native
by Susan Steinman
Palo Alto Public Art Survey II / ARG Conservation Services, Inc. / License #79953722
DESCRIPTION
This artwork is comprised of multiple pieces of mixed
mediums comprised of large granite slabs scattered about
the intersection, seven banners, local plants, and engraved
brick pavers. Some granite slabs located on the sidewalk are
functional and serve as benches, while other granite slabs
located on the center island serve only aesthetic purposes.
The flags depict images of wild life and plants native to
California. The brick pavers are laid in a Herringbone
pattern at 45 degrees. The engravings on the bricks are
sayings and names of people from the area. Local plants
consist of perennials and wildflowers.
EXISTING CONDITIONS
Granite
ʴGeneral soiling and accumulated debris
ʴStaining from pedestrian use
ʴAbrasion marks from general use
ʴImpact-related damages from automobile on one of the
granite pieces located on the center island
ʴIron oxide deposits from natural mineralogy composition
of stone
Brick Pavers
ʴGeneral soiling
ʴAccumulated debris and staining from pedestrian traffic
ʴMortar joints are intact
Banners
ʴGeneral soiling
ʴBird guano drippings on flags
ʴMinor fading of flags from sunlight (UV light)
ʴOnly three of the seven banners are displayed on a single
metal post
Plants
ʴExisting plants are overgrown and not the plants
recommended by the artist
Detail of bird droppings on flag.
Detail of granite bench with staining and soil accumulation
from general pedestrian use.
Palo Alto Public Art Survey II / ARG Conservation Services, Inc. / License #799537 23
COMMENTS ON LOCATION
ʴPollution from automobile traffic
ʴArea of high pedestrian traffic and use
ʴStreet lights illuminate artwork
TREATMENT HISTORY
According to Palo Alto Public Art Program’s records, the
artwork and all of its pieces were first installed in 1997. The
restoration of the artwork began in mid-2014, and ended
in April 2015. Broken bricks were replaced, banners were
reprinted, and a new flag post was constructed. Only three
of the seven banners are currently on display.
TREATMENT RECOMMENDATIONS
Granite
ʴRemove accumulated debris
ʴClean surfaces with pH-neutral, conservation-grade
detergent
ʴApply protective wax coating and sacrificial, anti-graffiti
coating
Brick Pavers
ʴRemove accumulated debris
ʴClean with pressure washer as needed
Banners
ʴHand-wash and air dry banners annually
ʴDisplay all seven banners
Plants
ʴExisting overgrown plants should be removed and
replaced with plants (perennials and wildflowers)
recommended by the artist
TREATMENT COST ESTIMATE
Labor (2 conservators x 8 hrs. x $125/hr.) ............$4000
Materials* ....................................................................$200
Aerial lift rental..........................................................$1500
Total ..............................................................................$5700
* Does not include new plants or banners
The three banners on display at the time of the survey.
Palo Alto Public Art Survey II / ARG Conservation Services, Inc. / License #79953724
References:
• Project Description of California Native by artist Susan Steinman, dated 1997.
• Purchase Order by City of Palo Alto to Susan Steinman for construction of California Native. dated 7/1/1996.
• California Native Plan by artist Susan Steinman, 1997.
• Plant List for California Native, 1997.
• Recommended Native Plants, 1997.
• Bids for replacing bricks, provided by Palo Alto Public Art Program, 2015.
• Brick Pavers Layout 6/24/2014, provided by Palo Alto Public Art Program, 2015.
• Brick Estimate by Bras and Mattos to Nadya Chuprina of Palo Alto Public Art Program, dated 1/8/2014.
• Text for Bricks and brick vendor Bras and Mattos info by artist Susan Steinman, dated 1/7/1997.
• Gift Purchase Transfer by artist Susan Steinman to City of Palo Alto, dated 1997.
• Specifications for Street Lamp Post by RBF to City of Palo Alto, dated 12/2/2013.
• Estimate for Reprinting Banners by Amcoe Sign Company to Palo Alto Art Center, dated 7/6/2014.
• Estimate for Reprinting Banners by Amcoe Sign Company to Palo Alto Art Center, dated 2/3/2015.
MAINTENANCE RECOMMENDATIONS
ʴPerform overall cleaning with conservation-grade
detergent, and renew wax coating (if applicable) on
annual basis by conservator
ʴRegular, uniform water-rinse of granite and brick
ʴAnnual hand-washing of banners in warm water with
mild detergents
ʴAs recommended by the artist: local perennials and
wildflowers should be planted, watered 2-3 times per
month, and pruned to be 6" above the ground
LONG TERM RECOMMENDATIONS
ʴGranite should be cleaned and recoated as needed on an
annual basis
ʴAn annual condition assessment should be performed
to assess any signs masonry deterioration, and plant and
banner conditions
ʴBanners could be replaced every five years if cleaned and
repaired annually
ʴNew banners should be monitored to estimate expected
life span of banners in each location.
ʴWildflowers will have to be replanted annually
ʴPerennial plants should be pruned 6" above the ground
every two to three years
OVERALL LIFE SPAN
ʴIf the granite and brick are regularly maintained, they
can remain outdoors for decades
ʴIf fabric is regularly maintained, it can remain outdoors
for up to five
ʴWildflowers must be replanted annually
ʴPerennial plants/grass must be pruned every two to three
years
RELOCATION PLANS
No relocation is advised if maintenance recommendations
are followed.
Attachment 4
Images of the streetscape taken in 1997, 2009, 2014 and 2016 (demonstrating the changes into the
streetscape over the time and how it affected the artwork).
1997
2009
2014
2016
California Avenue, California Native by Susan Leibovitz Steinman - Public Record
Date PAC Meeting Discussion
11.03.2004 PAC Special Meeting ANNOUNCEMENTS
Craighead announced that the California Avenue, California Native project banners are in poor
condition and two of the banners would be removed for evaluation.
11.18.2004 PAC Regular Meeting CALIFORNIA AVENUE, CALIFORNIA NATIVE BANNERS
To be agendized for January meeting.
01.20.2005 PAC Regular Meeting BANNERS
Commissioner Cooper reported on the poor condition of the banners at the California Avenue,
California Native installation.
Discussion: Cooper recommended letting the banner part of the installation go. Reproducing banners
will cost approximately $2000/banner. Cooper reported that Artist is willing to explore whether the
banner images can be reproduced digitally at a reduced cost. Commissioner Brett views this
installation as important since it was the first public-private public art installation project on
California Avenue.
Next step: Cooper to communicate with artist, Susan Leibowitz Steinman regarding digital images on
banners, and determine her viewpoint on replacing the banners. Brett will approach CAADA to
determine their willingness to contribute 50% of the funds for banner replacement.
PLAQUES
Craighead reported that plaques are needed for artworks by the following artists: Susan Leibowitz
Steinman, Wang Po Shu, Fred Hunnicutt, Mohamed Soumah, and David Huffman. Staff has bids from
various vendors and Priority Architectural Graphics has the lowest bid.
Motion: Move to accept staff’s recommendation to create five plaques for the projects mentioned.
MOVED: Langevin; Seconded: Mortkowitz: Ayes: Unanimous.
02.17.2005 PAC Regular Meeting BANNERS
Commissioner Cooper reported that he has not had success reaching artist to discuss banners.
Next steps: Staff to contact artist.
03.17.2005 PAC Regular Meeting BANNERS
No report on banners.
PLAQUES
Katsanes reported that plaques for Mohamed Soumah, Susan Leibovitz Steinman and Thai Bui
artworks are being ordered.
05.19.2005 PAC Regular Meeting BANNERS
Commissioner Cooper reported that he has not made contact with artist. Katsanes reported that the
artist contacted her today, and her assistant is researching solutions for banners.
07.21.2005 PAC Regular Meeting BANNERS
Commissioner Cooper reported that he has made contact with artist and that artist has found a way
to replace banners for $300 each. Commissioners Cooper and Kirkeby believe that banners have
outlived their time. They recommend having an open competition for artists to devise a new use for
these poles.
11.03.2005 PAC Special Meeting CALIFORNIA AVENUE BANNERS
Artist Susan Leibovitz Steinman proposed that the California Avenue, California Native banners be
reproduced for $2,000. Steinman informed the Commission of the history of this project. She had
taken high quality professional slides of each banner when the project was completed in 1996.
Steinman proposed that the Commission pay her a one-time design fee of $2000 that allows the Art
Commission to retain permission and control to reproduce the banners on an as-needed basis solely
for California Avenue. The Commission would own the high-resolution digital scans of the artwork for
these banners. Steinman received three different estimates for banner production, which, at this
time, is estimated at under $300 per banner, printed on two sides.
Steinman displayed a sample banner that she had digitally reproduced, at her own expense, for the
Commission’s information. She asked that the purchase contract language include a statement that
the City has permission to use these DVD images forever, but agrees that banners may only be used
on California Avenue. Steinman has one complaint about the project. The installation landscaping was
intended to use only native Californian plants. She noted that the annuals currently planted in one
area of the art installation looks awful.
Discussion: Deem suggested that these banner images could be added to the public art website.
Kirkeby stated that the contract language include that Steinman agree to not use banner images
except for documentation and lecturing purposes. Commission discussed the possibility that
California Avenue Area Development Association (CAADA) may wish to share funding for the banners.
01.19.2006 PAC Regular Meeting CALIFORNIA AVENUE BANNERS
Motion to approve $600.00 to reproduce banners has been tabled until contract is complete.
02.16.2006 PAC Regular Meeting CALIFORNIA AVENUE BANNERS
Staff is preparing contract materials for the purchase of banner images. Chair Cooper requested
$600.00 to reproduce banners.
Motion: To allocate $600.00 to reproduce banners.
MOVED: Kirkeby; Seconded: Deem; Ayes: Unanimous.
08.17.2006 PAC Regular Meeting BANNERS ON CALIFORNIA AVENUE
Staff reported that CAADA would like the new banners in place on California Avenue by November
2006.
11.16.2006 PAC Regular Meeting BANNERS ON CALIFORNIA AVENUE
Chair Cooper reported that he made a site visit to California Avenue to review the banners and finds
they are in poor condition. He asked the Commission for $2000.46 in funds for Coulthard Identity
Group to print all seven California Avenue, California Native banners.
Motion: Move to allocate $2000.46 to produce the banners.
MOVED: Cooper: Seconded: Negrin: Ayes: Unanimous.
01.18.2007 PAC Regular Meeting BANNERS ON CALIFORNIA AVENUE
Craighead reported that the banners will be installed on California Avenue this weekend. CAADA has
arranged for the banners to be hung. Cooper commented that the new banners can be acknowledged
at the dedication event.
02.18.2010 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 planning plans. Morariu has spoken with
artist Susan Leibovitz Steinman, California Avenue, California Native who will allow a tree to be
planted at the artwork site but opposes the signature tree recommended in the tree planting plans.
Steinman will be forwarding her replacement tree recommendation to Morariu soon.
09.15.2011 PAC Regular Meeting
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
Vice-Chair Usich asked that California Avenue, California Native be removed from list until more
conversation takes place about the project. She doesn’t believe the artwork is presented currently as
its original purpose intended. The planting isn’t native plants. Commissioner Acebo-Davis agreed
about the planting. She said we need to honor the artist and maybe have a conversation with the
artist. DeMarzo said that the artist has been in conversation with the City and she is concerned about
the deterioration of the flags and other elements of the artworks. Subcommittee was formed to
review this issue: Usich, Collins, Ross. Chair Richter asked that this artwork be removed from the
current maintenance plan until the issue has been discussed further.
10.21.2011 PAC Regular Meeting MAINTENANCE OF COLLECTION – DeMarzo updated the commission with maintenance estimates.
The Commission discussed replacing the California Avenue California Native banners for $2500.00.
Commissioner Acebo-Davis wants to work with the artist to update the current installation.
02.22.2014 PAC Special Meeting ORAL COMMUNICATIONS – Palo Alto resident and former Public Art Commissioner Judith Wasserman
addressed the Public Art Commission on the subject of the present condition of Susan Leibovitz
Steinman’s artwork titled California Avenue California Native. Wasserman asked the PAC to take
conservation measures to preserve the integrity of the artwork.
09.21.2017 PAC Regular Meeting De-Accession of Artworks - Staff recommended that the PAC initiates deaccession evaluation process
for California Avenue, California Native by artist Susan Leibovitz Steinman sited at California Avenue
at El Camino Real, 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 the environmental
streetscape-integrated artwork by Steinman, including the condition or security of the Artwork
cannot be reasonably guaranteed; the Artwork is not, or is only rarely on display because the City
lacks location for its display; and no suitable site is available for relocation or exhibition, or significant
changes in the use, character, or design of the site have occurred which affect the integrity of the
Artwork. Staff 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
December or January. Commissioners clarified with staff on the removal options for some of the
elements of the artwork and commented on maintenance challenges with integrated landscapes and
living plans in areas with a high pedestrian and car traffic. Moved: Commissioner Zelkha moved to
initiate the deaccession evaluation process for California Avenue, California Native by Susan Leibovitz
Steinman. Second: Commissioner Gordon. All in favor.
City of Palo Alto Staff Report to Public Art Commission
September 21, 2017
Agenda Item 2
Recommendation:
Staff Recommends that the Public Art Commission initiate deaccession proceedings as outlined in the
City’s Deaccession of Artwork Policy for California Avenue, California Native by Susan Leibovitz
Steinman, located at the 400 block of California Avenue in Palo Alto, CA.
Summary:
Staff recommends that the Public Art Commission initiate deaccession process for Susan Leibovitz
Steinman’s California Avenue, California Native, located on California Avenue, based on the process and
conditions outlined in the City’s Deaccession of Artwork Policy 1-59/CSD (Attachment 1) adopted in
December 2016.
Background:
In 1996 the Public Art Commission in collaboration with the California Avenue Area Development
Association (CAADA) conducted a design competition to design a gateway feature for California Ave.
Susan Leibovitz Steinman’s site specific proposal was determined to be consistent with the objectives of
the 1995 Palo Alto Comprehensive Plan and selected as the finalist. In 1996, Steinman entered into an
agreement with the City of Palo Alto to prepare, construct and install artwork entitled “California
Avenue, California Native” for $15,000. The site specific artwork was to enhance the quality of California
Avenue by providing a unifying theme for the streetscape. The artwork was installed in early 1997. The
key elements of the original artwork included:
Landscape along the entry median at El Camino Real with California native grasses and
wildflowers. A series of 8 rectangular white granite boulders along the median and at pedestrian
intersections across California Ave near the entry median. An existing California Avenue
concrete sign, spruce tree and three flagpoles remained, and were incorporated into the
artwork. The top portion of the entry sign was outlined in golden yellow to match the banner
backgrounds. New drip irrigation system was installed by contractor (Schwartz and Associates)
as part of their landscaping scope of work.
A series of seven banners with printed drawings of California indigenous flora and fauna
including golden trout, horn snail, tiger salamander, blue-eyed grass, brown pelican, bighorn
sheep, and blacktailed jackrabbit. Vertical banners were installed on three flagpoles within the
median; and four others – along both sides of California Ave.
Engraved bricks in a herringbone pattern that were incorporated into the Pedestrian
approached to the crosswalk adjacent to the entry median. One hundred bricks were engraved
with three lines of text, sourced from the local community groups and relevant to the California
theme.
Susan Leibovitz Steinman has a number of other public installations with the focus on ecological, social
and economic concerns and community-voiced needs. Based in Oakland CA, she is an “itinerant social
sculptor,” who creates street front, temporal, improvisational, performative artworks. Most of her site
specific installations and community-driven projects are of temporary nature. Artist’s resume
(Attachment 2) provides further details.
Maintenance History:
The artwork received several maintenance and replacement treatments, including ongoing landscape
maintenance conducted by the City’s Parks department and Schwartz and Associates, a landscape firm
that worked with the artist to plant the original landscape in 1996. Replacement projects included
reprinting and installation of banners and replacement of engraved bricks.
Out of respect to the artist’s VARA rights the City staff has been in consultation with the artist
throughout the years regarding any changes into the streetscape of California Avenue that would affect
the overall integrity of the artwork. On most occasions, the artist and City were able to find solutions
that when implemented did not impact the integrity of the art work. In some instances, the City would
not pursue its initiatives if the artist expressed concerns about the negative impact they might cause to
the character of the environmental installation. Thus, in 2010 the City did not pursue the replacement
of the street signage and planting of an oak tree in the entry median after the artist expressed concerns
that the selected tree was not appropriate for the site and changed the character of her artwork.
1996 – Evaluation of the landscape design and key elements by the City’s Parks Department. Key
concerns and recommendations: longevity and long-term ongoing maintenance of indigenous
wildflowers, which would require additional maintenance funding, or consider substituting some of the
plants with other perennials that would require less maintenance. Artist’s original proposal called for an
annual planting of auxiliary pots of plants.
1997 – Installation of original artwork by artist.
1997 – Landscape maintenance by contractor (Schwartz and Associates) - $500
1998 – Landscape maintenance by contractor (Schwartz and Associates) - $500
1998 – Condition report by Lesley Bone. Main areas of concern: plants not flourishing due to inadequate
irrigation in place and many worn pedestrian pathways through the planting area.
1999 – 2013 – city-managed on-going landscape maintenance - $500 per year. (In 2009 the City stopped
planting annual flowers and only maintained native grasses from the artist’s suggested list of plants).
2006 – Replacement of banners - $2,000.46
2008 – Reported damage of engraved bricks. Fabrication and installation of 45 bricks - $1,734
2011 – Replacement of banners - $2,000.46
2015 – Replacement of banners - $2,241.50
2015 – Replacement of 100 engraved bricks (as part of the California Avenue streetscape
redevelopment project all the engraved bricks had to be replaced) – $2,200
2015 – Banner arms - $800
2016 – New signage - $450
Total maintenance: $9,692.42 excluding costs associated with landscape maintenance efforts by the
City’s Parks Department.
Discussion:
With the new California Avenue streetscape project completed in 2015, the landscape of the entry
median and sidewalks was largely redesigned and curbs for increased traffic flow were shifted. New
improvements in these and other areas alone California Avenue included new wider sidewalks,
intersection bulb-outs, decorative sidewalks with embedded glass, trench drain facilities, curb & gutter
work, underground irrigation, and streetlight facilities. As a result, many of the art elements of
Steinman’s California Avenue; California Native had to be slightly shifted and / or replaced in
consultation with the artist. These changes include: the boulders in the median and sidewalks were
relocated to new sites; the three banners in the entry median remain displayed, but now on a single
flagpole (instead of three flagpoles); all of the one hundred bricks were re-fabricated and installed in a
different orientation as part of the new slightly shifted crosswalks; the median landscape includes the
Californian native plants as recommended by the artist, however the positioning and scale of
landscaping had to be downsized in order to accommodate the new irrigation utilities installed within
the median. The shifted traffic lane positions required dramatic changes to the setting of the artwork.
The new streetscape also brought changes in the layout of light posts along California Avenue which
proved impossible to install the four banners along both sides of the street: only three light posts out of
four were reinstalled in approximate locations. The configuration and limited height of the newly
installed three posts cannot accommodate the banners given their original height and width; The top
portion of the entry sign is no longer colored golden yellow.
ARG evaluated the artwork in 2015 and identified it as one of the high priority artworks for the Public
Art Program to address. Their report (Attachment 3) specifies that some of the elements of this artwork
has been damaged or currently are not on display.
The Public Art Master Plan consultants observed the artwork and made the following recommendations
regarding its disposition:
This environmental artwork has been severely compromised by retrofits to the streetscape that
have taken place since its original 1997 installation. Because the work is subject to the Visual Artists
Rights Act, it is imperative that the City of Palo Alto continue to discuss the status of the artwork
with the artist and determine whether it should be removed.
When the City of Palo Alto issued an RFQ for the sculptural artwork for California Avenue in 1996, Susan
Leibovitz Steinman’s proposal was selected as it was consistent with the Comprehensive Plan of the
decade and met a number of Urban Design Element objectives specified in the Plan. Unfortunately, two
decades later, as the California Avenue Redevelopment Project took place in 2015, the character, use
and design of the streetscape has significantly changed that caused alternations to the original artwork.
In sight of the many alternations to the original artwork and changed streetscape many members of the
public fail to notice or recognize the environmental artwork as a cohesive installation.
Of the considerations for deaccession outlined in the policy, staff recommends deaccession for the
following considerations:
The condition or security of the Artwork cannot be reasonably guaranteed;
The Artwork is not, or is only rarely on display because the City lacks location for its display;
No suitable site is available for relocation or exhibition, or significant changes in the use,
character, or design of the site have occurred which affect the integrity of the Artwork;
Staff waited until the new deaccession policy was in place to bring forward the deaccession request so
that the Public Art Commission has time to adequately weigh the pros and cons to deaccessioning the
artwork and has time to gather community input prior to taking a final action.
Timeline and Budget Considerations:
Should the Public Art Commission vote to proceed with the deaccession review process for California
Avenue; California Native, staff will immediately notify the artist of the deaccession proceedings. The
final deaccession decision will be calendared for the December or January Public Art Commission
meeting. Should the Commission decide to deaccession the artwork at that time, then staff will
coordinate the partial removal of the artwork, in accordance with our policy.
Attachments:
1- Deaccession Policy
2- Susan Leibovitz Steinman Resume
3- ARG Conservation Report - California Avenue; California Native
4- Images of the streetscape taken in 1997, 2009, 2014 and 2016 (demonstrating the changes into the
streetscape over the time and how it affected the artwork).
City of Palo Alto Staff Report to Public Art Commission
January 11, 2018
Recommendation:
Staff recommends that the Public Art Commission re-allocate the $10,000 in funds earmarked under the
Public Art Master Plan Social Practice Artist Engagement line to support a social practice artist to engage
the public and help inform the Baylands Comprehensive Conservation Plan public art elements.
Discussion:
The Public Art Master Plan identified the creation of a public art plan for the Embarcadero corridor east
of the 101 as a short term priority (1-2 years after adoption). Shortly after the approval of the Public Art
Master Plan, Public Art staff became aware of an upcoming opportunity through Parks & Open Space to
participate in the development of the Baylands Comprehensive Conservation Plan (BCCP).
The BCCP is:
A comprehensive plan for holistically managing the City of Palo Alto’s 1,976.5 acre Baylands
Preserve for the next 15 years and beyond;
An ecosystem-based approach that strives to balance resource protection, environmental
education, and passive and active recreational use;
Takes future projects and current trends such as sea level rise and climate change into account;
Includes site-specific planning aspects for the former ITT property and Byxbee Park.
Public Art staff and Parks & Open Space staff collaborated on language for the call for consultants to
create the Baylands Comprehensive Conservation Plan (BCCP) to include the identification of placement
and types of public art engagement that might be appropriate in the Baylands, thus preventing two
separate planning initiatives engaging the Baylands stakeholders. Parks staff launched a call for
consultants in 2016 to create the BCCP, and identified AECOM as the consultant for the project.
Public Art staff wishes to engage an artist or artist team to work with the community and stakeholders
at the Baylands to:
1- Help broaden Baylands stakeholders’ and the public’s understanding of the definitions of public
art, especially through a social practice / environmental focus.
2- Engage the public in a temporary artmaking process that is aligned with the programming and
educational initiatives of the Baylands.
3- Collaborate with AECOM and City staff to gather appropriate input and feedback at these
engagement events with the community to ensure that the public art element of the BCCP
captures the feedback from the stakeholders and adequately explored the many options
available throughout the site.
Timeline:
The BCCP stakeholder group has had two of their three community workshops so far. One more
community workshops is planned, along with presentations of the draft and final BCCP to stakeholders
and city commissions (Parks and Recreation, Public Art), and the City Council. The planning team also
has set up a website to inform interested parties about the planning process and provide a venue for
participating outside of community workshops.
Staff would like to reach out to local social practice artists specializing in environmentally focused
projects to initiate the selection process and initiate community engagement this spring or early
summer. The selected artist(s) will participate in the public outreach aspect of the BCCP. The BCCP is
expected to be complete in December of 2018.