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Home My WebLink About2019-09-19 Public Art Commission Agenda Packet IS POSTED IN ACCORDANCE WITH GOVERNMENT CODE SECTION 54954.2(a) OR SECTION 54956 PUBLIC ART COMMISSION Ben Miyaji, Chair Ian Klaus, Member Loren Gordon, Vice-Chair Amanda Ross, Member Jim Migdal, Member Nia Taylor, Member Hsinya Shen, Member City Council Liaison: Liz Kniss Elise DeMarzo: Public Art Program Director Nadya Chuprina: Public Art Program Coordinator Kristen O’Kane: Director of Community Services Department http://www.cityofpaloalto.org/publicart Thursday, September 19, 2019 Community Meeting Room Palo Alto City Hall 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 – July 18, 2019 ATTACHMENT; PAC Annual Retreat – September 7, 2019 ATTACHMENT STAFF COMMENTS ACTION: 1. 565 Hamilton Avenue – Final Review for public art in private development associated with a mixed-use development at 565 Hamilton Avenue. Presentation by Danielle Fox of Slate Art Consulting. ATTACHMENT 2. California Avenue Public Art Plan – Allocation of funds in the amount of $15,000 to put out a solicitation for a consultant to create a public art plan for the California Avenue corridor. 3. Adoption of Priorities for the Coming Year – Commission to review and adopt the priorities for the coming year identified at the annual retreat. NON-ACTION: 4. Temporary Public Art on Cal Ave Garage Construction Fence – Staff will update the Commission on the status of the project and the designs. 5. Council Joint Post-Meeting Discussion – Commissioners discuss take-aways from the meeting. ANNOUNCEMENTS FOR YOUR CALENDAR: Next PAC regular meeting – Thursday, October 17, 2019 MINUTES PUBLIC ART COMMISSION MEETING Thursday, July 18, 2019 Palo Alto City Hall Community Meeting Room 7:00 p.m. Commissioners Present: Ben Miyaji, Nia Taylor, Loren Gordon, Ian Klaus, Jim Migdal joined the meeting at 7:11 pm. Commissioners Absent: Hsinya Shen, Amanda Ross Staff Present: Elise DeMarzo, Public Art Program Director Nadya Chuprina, Public Art Program Coordinator CALL TO ORDER: Chair Miyaji called the meeting to order at 7:01 p.m. AGENDA CHANGES, REQUESTS, DELETIONS – None ORAL COMMUNICATIONS – None APPROVAL OF MINUTES: June 20, 2019 PAC Meeting Minutes Moved: Commissioner Taylor; Second: Commissioner Klaus. All in favor. STAFF COMMENTS: Staff reported on a completed maintenance treatment for After the Fire by Bruce Johnson. Staff also updated the Commissioners on the collection on the synthetic turf material for a future temporary installation by artist Paz de la Calzada for King Plaza. ACTION: 1. Temporary Public Art – Staff provided an overview of the construction project for the California Avenue parking garage and presented an opportunity to integrate a temporary public art project on the construction fence around the project area. Staff will initiate a selection process to engage up to four California-based artists to create original graphic designs to be transferred onto vinyl material and adhered onto the solid fence walls. Staff requested that the PAC approve funds in the amount of $47,000 to commission four temporary artworks on a construction fence around the California Ave parking garage construction site. Moved: Commissioner Migdal moved to approve the funds. Second: Vice Chair Gordon. All in Favor. NON-ACTION: 1. Victor Arnautoff Frescoes Update – Staff led a discussion about frescos by Victor Arnautoff at the George Washington High School and provided an update on the status of Palo Alto’s frescoes at the site of the future Palo Alto History Museum. Staff is collaborating with the PAHM staff to submit a grant application to secure funding for the protection of the frescoes during reconstruction of the historic building as well as the subsequent comprehensive conservation of the artworks. Community member David Moss addressed the PAC to highlight the importance of the frescoes by Arnautoff and called on the commissioners to preserve the artworks for future generations. ANNOUNCEMENTS – Staff encouraged the Commissioners to provide their availability for the upcoming PAC Retreat in September. CALENDAR: Next PAC Regular Meeting – August 15, 2019 at 7 pm. Joint PAC - Council meeting – September 9, 2019 at 5 pm. PAC Annual Retreat – Date and location TBD. MEETING ADJOURNED at 7:34 by Chair Miyaji. IS POSTED IN ACCORDANCE WITH GOVERNMENT CODE SECTION 54954.2(a) OR SECTION 54956 PUBLIC ART COMMISSION Saturday, September 7, 2019 Rinconada Library Embarcadero Community Room 8:45 a.m. -1:00 p.m. ANNUAL PAC RETREAT MINUTES Commissioners Present: Loren Gordon, Ben Miyaji, Hsinya Shen, Nia Taylor, Amanda Ross Commissioners Absent: Ian Klaus, Jim Migdal Staff present: Elise DeMarzo, Public Art Program Director Nadya Chuprina, Public Art Program Coordinator Kevin Chappelle, Public Art Program Assistant CALL TO ORDER – The meeting was called to order at 8:57 am by Chair Miyaji. ADDITIONS, CHANGES, REQUESTS, DELETIONS – None. ORAL COMMUNICATIONS – None. NON-ACTION: Staff provided an overview of ongoing public art projects in municipal and private development, as well as existing and upcoming temporary public art projects at King Plaza and California Ave parking garage construction fence. Staff informed the commissioners about upcoming collection care and conservation projects. Staff then provided an overview of the CIP, Public Art Fund, and General Fund budgets. Staff also provided a summary of the Code:ART2 festival scheduled for October 2020 and encouraged commissioners to support staff by advocating for the festival and forwarding funding opportunities to potential donors. The Commissioners reviewed the PAMP Implementation Grid and discussed current status of priorities and recommendations as outlined in the PAMP. The Commissioners also reviewed a presentation and data visualization grid summarizing temporary public art projects realized across the U.S. in 2016-18, and project budgets in relation to exhibition periods. Commissioners identified the following priorities as part of the PAC two-year working plan: 1. Expanding STQRY into other permanent and temporary artworks sited in pedestrian friendly areas and raising awareness about the city’s collection of public art. 2. Producing Code:ART 2 and its expanded programing in October 2020. 3. Creating a Master Plan for the California Avenue pedestrian corridor. 4. Identify priorities and process for future use of in-lieu funds. No action was taken. Meeting adjourned 12:58 PM by Chair Miyaji. Palo Alto Staff Report to Public Art Commission September 19, 2019 RE: 565 Hamilton Avenue Final Review SUMMARY Lighthouse Real Estate Holdings, LLC, developer Wilson Meany and Slate Art Consulting have submitted the attached packet for Final review by the Public Art Commission for public art in private development. RECCOMENDATION Staff recommends the approval of the planned artwork by Matt Gil for 565 Hamilton Avenue. BACKGROUND AND DISCUSSION The project, located at the intersection of Hamilton and Webster street, received approval through the Architectural Review Board in July 2019 and approval from the Director of Planning in August 2019. The project will merge three existing parcels and redevelop the combined parcel with a mixed-use development that includes underground parking, 19 rental apartments, and up to 7,450 square feet of office space. The project will have a contemporary design using wood, textured fiber cement board, board formed concrete, plaster, cedar wood soffits, glass, painted aluminum trellis and painted metal cladding. Private open space terraces are included on the first and third levels, as well as shared common open spaces on the third level (terrace) and a ground level open air central courtyard. The applicants met with Public Art staff in October of 2018 to initiate the public art process and discuss options for art incorporation on the site. At that meeting, the applicant indicated their interest in commissioning art onsite rather than pay an in-lieu contribution to the Public Art Fund. The public art application submitted in March 2019 indicated an art budget estimate of $124,000. The applicant contracted with Danielle Fox of SLATE Art Consulting to manage the artist selection process and project management for the artwork. The project came to the PAC for initial review in April 2019. At that review, the applicants showed several examples of styles of sculpture under consideration for the site. The Public Art Commission voiced support for the more curvilinear or abstract figurative styles of sculpture. The PAC also suggested that the applicant explore other materials and color options to ensure that the artwork stand out from the architecture of the building. TIMELINE The applicant team plans to submit for building permit in the coming weeks and hopes to begin construction in early to mid-2020. The artwork is tentatively scheduled for installation upon completion of site construction in August 2021. HAMILTON–WEBSTER PUBLIC ART Prepared by Danielle Fox of SLATE Art Consulting   on behalf of Developer: Wilson Meany and Owner: Lighthouse Real Estate Holdings LLC. September 9, 2019 Hamilton Webster Site Location Location of Hamilton-Webster project vis-a-vis Palo Alto’s main business district and surrounding buildings.   This corner marks the transition from the central retail and business district to a residential neighborhood. 1 Hamilton Webster Site Plan and Art Location Hamilton Webster Art Location in Elevation LOC A Proposal is to place a free-standing sculpture in the open pavilion at the corner of Hamilton and Webster avenues. This location was selected because of: •proximity to street •can be seen and enjoyed by people passing along both Webster and Hamilton •does not interfere with the complex water reclamation system underneath the perimeter landscaping. 2 Hamilton Webster Art Location 2 View from Hamilton Avenue View from Webster Avenue ORIGINAL DESIGN INTENT Our original proposal was to ﬁnd an artist to make a sculpture that was: Material: Steel or bronze (stone would also be nice but is probably not in the budget). Color: Dark brown, to tie into metal accents on building and to pop off of lighter grey concrete background. Finish: Either cor ten (rusted), or painted (with a clear coat to seal), or patina (chemical treatment) Style: Abstract or very abstract reference to the human ﬁgure Shape: Has a substantial volume and a captivating silhouette. Art Size: Up to six feet tall, up to ﬁve feet deep, and up to eight feet long. 5 Blocky Curvilinear Abstract-ﬁgurative PAC FEED-BACK FROM PRELIMINARY REVIEW •Prefer curvilinear forms to contrast with the rectilinear shapes in the architecture •Liked the ﬁgurative approach •Make sure the piece is visible and does not blend into the architecture too much (not rectilinear brown metal that matches the trim) •Make sure it is approachable and accessible •Explore other materials and palettes - not just brown steel •Wanted a little more whimsy and human and fun (not boring or too corporate) " •We discussed wood but ownership had concerns about long-term maintenance. •We looked into ceramics (even Jun Kaneko) but could not get the scale we needed in the budget we had. •SLATE compiled a presentation of six alternate sculptors, and reviewed options with the developers, owners, and architecture team. RESPONSE 9 Matt Gil - Sculptor •BFA San Jose State University 1974-1978, lives and works in SF •Highly accomplished professional works in many scales and many materials including sheet metal, casting, and ﬁberglass. •Notable commissions completed for: -Genentech, South San Francisco. -City of Hayward -California Hospital of the Monterey Peninsula at Ryan Ranch Campus -Yahoo Headquarters, Sunnyvale 24 Interest coalesced around the work of Matt Gil, of San Francisco. His better-known monumental sculptures are in cut welded sheet steel. But his home, studio, and sculpture garden are full of experimental work in cast aluminum, bronze, ﬁberglass, and concrete. SLATE arranged for a studio visit so that Brandy Bridges (representing Wilson Meany and the owners) and Joshua Aidlin (representing the architects, Aidlin Darling Design) could meet the artist and see his work in person. There were wonderful metal pieces on view, but this modest metal and concrete piece on a table in the artists’ yard captured everyone’s imagination. Even when the artist submitted other proposals, it was this aesthetic that the design team kept returning to. -It is curvilinear and has soft organic forms to contrast with the architecture’s boxiness. -Its complex layering means it changes form from different angles, allowing viewers to re-engage from different vantage-points. -The cavities and surfaces play with light and shadow in an elegant but dramatic manner. -The surface appears smooth but also aged and patinated. -It has a ﬁgurative or anthropomorphic aspect, that indicates not just a single ﬁgure, but two. It is relational. It could be read as a ﬁgure holding a smaller child, evoking affection and human connection. -It has a slightly cartoon-like quality that feels happy and approachable and does not take itself too seriously. The artist cites the work of both Isamu Noguchi and Barbara Hepworth as inﬂuences on this body of work which he describes as a “cast of characters.” 10 SLATE then commissioned Matt Gil to develop this approach speciﬁcally for the Hamilton-Webster site. After several iterations, the following design was identiﬁed. Hamilton Side Webster Side You can see the ﬁgures are more adult-sized, but the “characters” are still closely related, indicating companionship, support, and collaboration, which are all important aspects of both the residential and professional communities in Palo Alto. 11 Matt Gil’s Design SLATE then commissioned Matt Gil to develop this approach speciﬁcally for the Hamilton- Webster site. After several iterations, the following design was selected: 12 Over the last few months, the design has been reﬁned. For example, the exterior shapes became softer and more rounded, and we decided remove the circular bases in the original design and allow the sculpture to hover just off the ground, with the base and bolts to be covered by stones. 13 •The sculpture will be supported by a steel frame armature inside. •Over that the artist will create the three dimensional surfaces by welding an extruded metal mesh. •The edges will be reinforced with galvanized steel pipe, which will be sliced lengthwise in order to allow it to be compressed at the top, or opened up for more rounded edges on the bottom. •The entire metal armature will be “hot-dipped” to galvanize it and protect it against oxidation. •The mesh and most of the pipe will then be covered with concrete stucco. Small amounts of galvanized steel will still be visible on the edges of the forms to accent the edges. •Passages of the outer layer of stucco will be more burnished and others will be left rough, to create a mottled texture, both reﬂecting light, and catching shadow. •The stucco will be pigmented at the manufacturing level, with color throughout the material, so there is no superﬁcial layer of pigment that can weather or ﬂake off. •Some patina from age is expected and desired, as it will add texture to the piece. •However, the exterior will be sprayed with a silicone-based sealer (similar to the material used to seal the grout between the tiles in your shower). This will make it possible to wash the sculpture with a hose if any grime accumulates from environmental pollutants. 16 Materials, Construction and Maintenance Both the GC and their engineers have reviewed designs for footings, and will ensure that structure below can support up to 2,000 lbs. 15 TONALITY: We reviewed multiple shades for the stucco, and in the end decided that a lighter, warm off-white/ light gray color actually made the artwork pop off the darker board-formed concrete background, so it was more pronounced. The background will also be in shadow much of the time, due to the overhang, so we liked thinking about how this piece will grab the natural light from its front-and-center position and glow. 17 Visibility and Access SCALE: The scale has been increased from the original speciﬁcations, from six to just under seven feet tall, in order to make sure the piece stand out and feel signiﬁcant and dramatic. It is meant to be relatable on a human-scale, but slightly larger-than-life. 18 LIGHTING: The pavilion will have down-lights in the ceiling at regular intervals. In addition, the sculpture will be lit for night-time visibility by four directional, wide-angled ﬂush-mount up-lights embedded into the ground around the piece. Locations are indicated in the rough illustration below and in the plan on the following page. 19 Sketch showing intended locations for up-lights (indicated in red) around the sculpture (indicated in blue) 20 ACCESSIBILITY: An exciting change to the design of the building since we last met is the addition of a ramp coming from Hamilton avenue, adjacent to the sculpture site. This creates an inclusive access point from Hamilton (Webster already has the stairs) which we hope will be inviting to passers-by, in case anyone wants to take a closer look at the piece. 21 WEBSTER STREET VIEW Access from Webster Street would be via stairs. There will also be a cantilevered viewing bench on the wall to the right. The artwork is designed to be viewed from both sides. 23 SIGNAGE: We have identiﬁed a prominent location right on Hamilton at the base of the ramp, for the identiﬁcation plaque. 22 Matt Gil C.V. Professional Experience, Selected Commissions: 2018 Corporate Commission, Genentech, South San Francisco. Free-standing 10-foot diameter textured stainless steel outdoor sculpture. Title: “Dented Brain Coral”. 2018 Public Commission, City of Hayward, 21st Century Library and Community Learning Center. Free-standing 16-foot painted aluminum outdoor sculpture. Title: “Puzzle Piece”. 2017 Private Commission, California Hospital of the Monterey Peninsula at Ryan Ranch Campus. Free-standing 10-foot tall painted aluminum outdoor sculpture. Title: “Rookie”. 2016 Private Commission, California Hospital of the Monterey Peninsula at main entrance. Free- standing 9-foot tall stainless steel and painted ﬁberglass outdoor sculpture. Title: “Spillproof”. 2013 Private Commission, Palace Hotel, NYC. An edition of 65 cast aluminum 4-foot tall sculptures. 2008 Private Commission, Renown Hospital, Reno, Nevada. Four free-standing painted aluminum outdoor sculptures, ranging 10-14 feet tall. 2007 Private Commission, Menlo Equities, Sunnyvale, Ca. Free-standing painted aluminum outdoor sculpture, 14 feet tall. 2005 Private Commission, Allergan, Irvine, CA. free-standing painted aluminum outdoor sculpture, 8 feet tall. 2002 Private Commission, Yahoo headquarters, Sunnyvale. Five free-standing painted   aluminum outdoor sculptures, ranging 9-12 feet tall.25 Solo Exhibitions: 2014 “Limitless” I. Wolk Galleries, St, Helena, CA 2014 “Matt Gil” Sloan Miyasato Fine Art, San Francisco, CA 2013 “Pop Quiz” 555 California St, San Francisco, CA 2011 “Variety Pack” Marx & Zavattero, San Francisco, CA 2009 San Jose Museum of Art, San Jose, CA 2008 “Reel to Real” Heather Marx Gallery, San Francisco, CA 2006 “Matt Gil,” Gallery 555, Oakland Museum of California at City Center, Oakland, CA 2005 “Trinkets,” Bank of America Building, 555 California Street, San Francisco, CA (presented by Heather Marx Gallery & Jan Casey and Associates) 2002 “Pedigree,” Heather Marx Gallery, San Francisco, CA 2000 “Sculptures by Matt Gil,” Stankus Conway Associates, Inc., San Francisco, CA 1990 “Recent Sculpture in Bronze,” Christopher Grimes Gallery, Carmel, CA 1989 “Matt Gil New Sculpture,” Christopher Grimes Gallery, Santa Monica, CA 1986 “Matt Gil,” Ivory/Kimpton Gallery, San Francisco, CA 1986 “Matt Gil,” Ivory/Kimpton Gallery, San Francisco, CA 26 Solo Exhibitions continued: 1986 “Matthew Gil,” Transamerica Corporation Redwood Park, San Francisco, CA 1986 “Matt Gil Kinetic Sculpture,” Triton Museum of Art, Santa Clara, CA 1985 “Recent Sculpture Matt Gil,” American Institute of Architects, Santa Clara, CA 1982 “Matt Gil Sculpture,” Modesto Junior College, Modesto, CA 1981“Matt Gil Recent Sculpture,” Grossmont College, El Cajon, CA 1980 “Matthew Gil,” Artvarks, San Jose, CA 1978 “Matt Gil Kinetic Sculpture,” Works, San Jose, CA Group Exhibitions: 2017 “Playscape” Monumental sculpture, Aerena, Auberge du Soleil, Rutherford, CA 2017 “SCULP” Needles & Pens, San Francisco, CA 2014 “Shift” The New Black, San Francisco, CA 2014 “Creativity, Change, Commitment” Triton Museum, Santa Clara, CA 2013 “Split Focus” Eleanor Harwood Gallery, San Francisco, CA 2013 “Smitten” I. Wolk Galleries, St. Helena, CA 27 Group Exhibitions, continued: 2012 “Napa Art Walk” City of Napa, CA 2011 “Sea Change” Marx & Zavattero, San Francisco, CA 2009 “Concepts & Process in Public Sculpture, Santa Rosa JC, San Rosa, CA 2008 “On Beauty” Cliff Lede Gallery , Napa, CA 2007 Art in the Groves, Orinda, CA 2007 “Energy & Elegance” Paradise Ridge ,Santa Rosa, CA 2002 “Matt Gil and Charles Arnoldi,” 425 Market Street, San Francisco, CA 2001“The Inaugural Exhibition,” Heather Marx Gallery, San Francisco, CA 2000 “Sculpture Walk,” Yerba Buena Center for the Arts, San Francisco, CA 2000 “Group Sculpture Show,” Vitra, San Francisco, CA 1999 “Kinetic Art,” Santa Rosa Junior College, Santa Rosa, CA 1990 “California Aftershock,” K. Kimpton Gallery, San Francisco, CA 1990 “West L.A....Art Galleries Introduction to Glendale,” 801 North Brand, Glendale, CA 1990 Chicago International Art Fair, Chicago, IL 28 Group Exhibitions, continued: 1990 “Art Action Energy,” Barnsdale Art Park, Los Angeles, CA 1989 “Looking North,” Gensler and Associates/Architects, Los Angeles, CA 1990 Chicago International Art Fair, Chicago, IL 1990 “Motion Motion Kinetic Art,” Museum of Neon Art, Los Angeles, CA 1988 Chicago International Art Fair, Chicago, IL] 1987 “Process/Print,” Richmond Art Center, Richmond, CA 1986 “Holiday Party and Shoebox Show,” The Art Store Gallery, Oakland, CA 1986 Chicago International Art Fair, Chicago, IL1986 International Contemporary Art Fair, Los Angeles, CA 1986 “Gifts of Art,” New Langton Arts, San Francisco, CA 1986 “The Animated Object,” Site 311, Paciﬁc Grove, CA 1986 Rockford Art Center, Rockford, IL 1985 “Teachers and Their Pupils,” Anna Gardner Gallery, Stinson Beach, CA 1984 “Light, Structure and Motion,” Olive Hyde Gallery, Fremont, CA 1984 “Works of Northern California Artists,” Crocker Kingsley Gallery, Sacramento, CA 29 Group Exhibitions, continued: 1983 “16 Sculptors,” Roy Boyd Gallery, Chicago, IL and Los Angeles, CA 1983 “San Francisco Fine Arts Show,” Fort Mason, San Francisco, CA 1982 “Crossover: An ArTech Exhibit,” Helen Euphrat Gallery, De Anza College, Cupertino, CA 1981 “California Artists’ Exhibition/Sales,” Oakland Museum, Oakland, CA 1979 “San Francisco Museum of Art’s Annual Artist Patron Exhibition,” San Francisco Museum of Modern Art, San Francisco, CA 1978 “Upstarts,” Redding Art Museum, Redding, CA 1977 Union Gallery, San Jose State University, San Jose, CA 1977 “Kinetic Metal Sculpture,” Nevada Art Gallery, Reno, NV Publications and Reviews: 2011 Baker, Kenneth, “Gil’s thrills” San Francisco Chronicle, Art’s & Entertainment May 7, 2011 page E2. 2005 “Roadblock” (reproduction), San Francisco Chronicle Sunday Datebook, July 10, p. 54 2002 Janku, Laura Richard, “Matt Gil: Pedigree and Madeline Silber: Brink,” 2002 ﬂavorpill SF, December 3 30 2002 Koppman, Debra, “Matt Gil,” Artweek, November, Volume 33, Issue 9, p. 25 2002 Berry, Colin, “ ‘The Inaugural Exhibition’ at Heather Marx Gallery,” Artweek, February, Volume 33, Issue 1, p. 25 1990 Taylor, Joan Chatﬁeld, “Contemporary Eclat,” Architectural Digest, September, p. 142,146-7. 1989 The California Art Review. American References Publishing Corporation, Chicago, IL 1989 Jenkins, Jim and Quick, Dave: Motion, Motion, Kinetic Art. Gibbs Smith, Layton, UT 1986 Goldberg, Beth, “A Dynamic Assertiveness,” Artweek, December 20, p. 6. 1986 Jan, Alfred, “Kinetic Image-Making,” Artweek, April 12, p. 4. 1985 “Matthew Gil, Sculptor, Portrait of an Artist,” 16mm Film by Robert Gardner Dickson 1985 Dickson, Joanne, “Art Notes,” Point Reyes Lights, July 5, p. 18. 1985 Seymour, Anne, “Matthew Gil’s Kinetic Art,” Centervoice, June, p. 21. 1983 Worthington, Robin, “High Tech Art Cast in Light-Hearted Mold,” The Argus, December 15, p. 23. 1982 Stutzin, Leo, “Kinetic Art – It’s Always on the Move...,” Modesto Bee, March 7, p. C6-7. 1980 Harms, Sally, “Where to Find Alternative Art,” San Francisco Sunday Examiner & Chronicle, November 30, p. 32-6. 31 Publications and Reviews, continued: 1980 Harms, Sally, “Artvarks,” South Bay Weekly, April 24-30, p. 6 1980 “Matt Gil’s Kinetic Sculpture,” The Independent Weekly, April 16-22, p. 8. Residency: 2005 Kunststiftung Lutz Ackermann Bildhauer, Gäufelden-Nebringen, Germany Education: San Jose State University 1974-1978 32 PHASE I: PROJECT PLANNING AND APPROVALS April 2019 - Project Kickoff •Initial Meetings with Stakeholders •Preparation and presentation of Initial Art Plan to the City of Palo Alto Public Art Commission (PAC). May-June 2019 - Research and Artist Selection •SLATE shops for pre-existing works in case any meet requirements, researches artists to propose for commissioned work, and prepares presentation. •SLATE presents art options to stakeholders, group selects one or two artists whose styles compliment and enliven the architecture, and who have track records demonstrating their professional capacity to deliver commissioned works of art. July-August 2019 - Design Development •SLATE works with selected artist to develop designs that are attractive, proportioned appropriately to the site, relatively simple to transport and install, are durable and long-lasting (requiring minimal maintenance), and can be made and delivered within the monetary budget and within the desired time-frame. •SLATE pays Artists to create sketches and/or maquette to demonstrate artistic intent. •SLATE presents artists’ designs to stakeholders to make ﬁnal selection of artist and design. •SLATE meets with GC and engineer to review site preparation and installation plan.   September-November 2019 - PAC Application •SLATE prepares, submits Final Public Art Plan in PDF format [SEPT 11] •SLATE presents Final Public Art Plan to PAC [SEPT 19] December 2019-May 2020 - Permitting •Client submits for and receives building permit. Project Timeline 33 PHASE II: PROCUREMENT AND FABRICATION June-July 2020 - Procurement •SLATE to execute commission contracts with selected artist(s) that comply with the California Preservation of Works of Art Act, VARA, and other applicable Federal and State copyright laws. •On receipt of deposit from client, SLATE pays deposit to artist(s) to begin fabrication. July-December 2020 - Fabrication and Delivery •SLATE monitors production, providing periodic reports to client regarding progress of work. •SLATE provides photographs of ﬁnal artworks to Client for approval, with option for an in-person studio visit, assuming artist is local. •SLATE arranges for a third-party subcontractor to deliver artworks to client’s storage location so that client takes possession of artwork. •SLATE delivers documentation for artwork (certiﬁcates of authenticity, insurance values, artist bios, and maintenance plans) to the client. •SLATE invoices client and pays artists for their work (releasing title, which transfers directly to the Client). PHASE III: INSTALLATION June-July 2021 •SLATE liaises with general contractor to plan delivery and installation. •SLATE oversees design and production of durable plaques recording titles of works and artists names, according to City of Palo Alto requirements. August 2021 (or later as determined by construction schedule) •SLATE ensures that artwork is transferred to the site from storage location. •SLATE is on-site on installation day, to ensure that artwork and plaques are installed to expectations. •Art is in place for the public to enjoy! 34 Budget Description Cost HAMILTON WEBSTER PUBLIC ART OBLIGATION 124,000 SERVICE EXPENSES City Administration Fee 5%-6,200 Art Consultant Service Fee 15% -18,600 Design Fees (paid to artist for initial designs)-2,000 Engineering Review + Installation Plans -2,000 Site Preparation including footings -3,000 Lighting design and installation -5,000 Crating, Delivery -3,000 Installation -3,000 TOTAL SERVICES -42,800 GOODS EXPENSES Sculpture -73,495 Plaques/signage -1,000 TOTAL GOODS -74,495 Sales tax 9%-6,704.55 -81,199.55 TOTAL PUBLIC ART PROJECT EXPENSES -123,999.55 35