HomeMy WebLinkAbout2020-02-20 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, February 20, 2020
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 – December 19, 2019 ATTACHMENT and
November 21, 2019 ATTACHMENT
STAFF COMMENTS
ACTION:
1. Engineering Services – Staff recommends the approval of funds up to the amount of
$50,000 for on call engineering services for the next three years.
2. California Ave Public Art Master Plan – Staff recommends the approval of Barbara
Goldstein & Associates to create a public art plan for the California Avenue corridor.
ATTACHMENT
3. Allocation of funds for Code:ART2 – Staff recommends that the Public Art Commission
allocate funds in the amount of $36,000 for up to 6 Urban Interventions for Code:ART2.
4. Allocation of funds for Code:ART2 – Staff recommends that the Public Art Commission
allocate funds in the amount of up to $11,500 for the Event Coordinator services.
5. Collection Maintenance – Allocation of funds for the conservation project in the amount of
$8,810 for the mural titled Boy Fishing by artist Greg Brown. ATTACHMENT
ANNOUNCEMENTS
FOR YOUR CALENDAR:
Next PAC regular meeting – Thursday, March 19, 2020
MINUTES
PUBLIC ART COMMISSION
MEETING
Thursday, December 19, 2019
Palo Alto City Hall
Community Meeting Room
7:00 p.m.
Commissioners Present: Ben Miyaji, Nia Taylor, Loren Gordon, Ian Klaus
Commissioners Absent: Amanda Ross, Hsinya Shen, Jim Migdal
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 7:06 p.m.
AGENDA CHANGES, REQUESTS, DELETIONS – None
ORAL COMMUNICATIONS – None
APPROVAL OF MINUTES: November 21, 2019 PAC Meeting Minutes were tabled till the January 16,
2020 meeting.
STAFF COMMENTS: Staff updated the Commission on the ongoing installation of Frequencies by artist
Barbara Grygutis at 1050 Page Mill. The first four sculptural elements will have been installed by
December 20, 2019 and the last sculpture is scheduled to be installed onsite in January 2020.
ACTION:
1. Allocation of funds for Code:ART2 – Staff provided an overview of the artist selection process
for the Code:ART2 major artwork that took place in fall 2019. Panelists reviewed submissions to
the open call and selected three finalists to create specific conceptual proposals for Code:ART2.
At the second panel meeting the jurors reviewed three conceptual proposals and identified Marpi
Studios as the finalist. Staff recommends that the PAC allocate funding in the amount up to
$41,000 for the anchor Code:ART2 installation by Marpi Studios Moved: Chair Miyaji moved
to allocate the funding. Second: Vice Chair Gordon. All in Favor.
NON-ACTION:
2. Discussion Regarding Public Art in Private Development – Staff and the Commission
discussed accessibility of Public Artworks in Private Development. Commissioners noted that the
City provides guidelines to the developers including recommendations regarding visibility
requirements and onsite signage. The Commission also discussed the limitations of influencing
the style of artworks in private development. There was some discussion about a desire to
enhance public awareness about the commissioned artworks in private development via the City
website and multimedia online platforms.
ANNOUNCEMENTS – None.
CALENDAR: Next PAC Regular Meeting – January 16, 2020 at 7 pm.
MEETING ADJOURNED at 7:57 pm by Chair Miyaji.
MINUTES
PUBLIC ART COMMISSION
MEETING
Thursday, November 21, 2019
Palo Alto City Hall
Community Meeting Room
7:00 p.m.
Commissioners Present: Nia Taylor, Hsinya Shen, Loren Gordon, Ian Klaus, Jim
Migdal joined at 7:10
Commissioners Absent: Ben Miyaji, Amanda Ross
Staff Present: Elise DeMarzo, Public Art Program Director
Nadya Chuprina, Public Art Program Coordinator
Kristen O’Kane, Director of Community Services
CALL TO ORDER: Vice-Chair Gordon called the meeting to order at 7:06 p.m.
AGENDA CHANGES, REQUESTS, DELETIONS – None
ORAL COMMUNICATIONS – CASP artists Tara de la Garza and Elizabeth Bennett addressed the
commissioners to introduce themselves and invite the PAC to visit artists studios. The artists expressed
interest in raising visibility for the program and creating more connections between arts programs in the
region.
APPROVAL OF MINUTES: September 19, 2019 PAC Meeting Minutes Moved: Commissioner Taylor;
Second: Commissioner Klaus. All in favor.
STAFF COMMENTS: Staff announced that four temporary murals by artists Oree Originol, Allison
Kunath, Phillip Hua, and Samuel Price were installed on the construction barricade around the California
Ave parking garage site. Staff provided an update on the installation of a temporary artwork by artist duo
FreelandBuck on King Plaza and announced an Instagram photo contest inspired by the sculpture titled,
Cache Me if You Can. Staff also provided an update on the fabrication and installation timeline for
Frequencies by artist Barbara Grygutis at 1050 Page Mill. The artwork was the first private percent for art
project approved by the PAC. Staff announced the launch of the California Ave public art master planner
call. Staff introduced Kristen O’Kane, the new Director of Community Services Department to the PAC.
O’Kane addressed the commissioners and thanked them for their service on the commission.
ACTION:
1. Temporary Public Art for King Plaza – Staff provided a detailed overview of the artist
selection process that took place for the temporary public art program in King Plaza. In February
2019, the PAC had approved the funding for a design contract only for artist Paz de la Calzada,
requesting that staff return with an update regarding the testing of the materials and more
information regarding the final design concept. Staff shared images of the artist’s final design
which was prototyped and approved by the City’s Public Works department. The presented
temporary installation, titled A Bucolic Labyrinth, is to be made of upcycled synthetic turf
removed from the Cubberley soccer field. It’s anticipated to remain on display between May and
September 2020. Moved: Commissioner Migdal moved to approve the conceptual design and
funding in the amount of $15,000 for the temporary artwork by Paz de la Calzada. Second:
Commissioner Shen. 4 in Favor. Commissioner Taylor abstained.
NON-ACTION:
2. Code:ART2 – Staff updated the Commission on the status of the artist selection process and next
steps in planning. A selection panel for the major artwork took place October 9, 2019. Panelists
reviewed submissions to the open call and selected three finalists to create specific conceptual
proposals for Code:ART2. Staff is preparing to release an open call for Code:ART2 Urban
Interventions. Staff encouraged the PAC to get involved in promoting the call and providing
support with fundraising efforts.
ANNOUNCEMENTS – None.
CALENDAR: Next PAC Regular Meeting – December 19, 2019 at 7 pm.
MEETING ADJOURNED at 7:39 pm by Vice-Chair Gordon.
Palo Alto Staff Report to Public Art Commission
February 13, 2020
RE: California Avenue Public Art Plan
RECOMMENDATION
Staff recommends the approval of Barbara Goldstein & Associates to create a public art plan for the
California Avenue corridor.
BACKGROUND AND DISCUSSION
The Public Art Master Plan adopted in 2016 called out specific recommendations for short-term, mid-
term, and long-term implementation. One of the mid term recommendations was to create a detailed
art plan for El Camino Real, California Avenue and the Charleston-Arastradero corridor. With the
current construction taking place near California Avenue and numerous private development projects
taking place there, the California Avenue district is in transition. In the course of staff outreach to the
California Avenue Business Association, it was made clear that there is a desire for more art in the
“Avenue of the Arts”. At the 2019 Public Art Commission retreat, the Public Art Commission identified
creating a California Avenue art plan a priority for the coming year.
On September 19, 2019, the Public Art Commission approved the allocation of $15,000 for a consultant
to create the California Avenue art plan. Public Art staff released an open solicitation for consultants in
December 2019. Staff sent the solicitation out to 9 potential applicants. Applications were due January
17, 2019. Barbara Goldstein & Associates submitted a thorough and detailed proposal (Attachment A)
for the creation of an art plan for the California Avenue district, described for the purposes of this
project as the area between El Camino Real, Oregon Expressway, Cambridge and the Alma street.
The purpose of the California Ave Public Art Master Plan is to set clear vision for the future of public art
that will strengthen California Avenue’s unique cultural identity as the vibrant “Avenue of the Arts”,
encourage cultural tourism by retaining and attracting Palo Alto residents and visitors, and support
economic development of the California Avenue business community.
The Master Plan will articulate themes and opportunities for new permanent and temporary
installations, as well as placemaking and event-based interventions appropriate for the district. The plan
will address community engagement and educational opportunities to help broaden public’s
understanding of public art, encourage creative partnerships and collaborations. The Plan will Identify
potential gateway opportunities to distinguish Cal Ave as a unique cultural destination, different from
downtown Palo Alto.
The Final California Ave Public Art Master Plan shall include but not be limited to the following key
elements:
• Community outreach and engagement to businesses and residents in the area to identify the
opportunities, needs and desires of the district;
• Definition of a public art vision aligned with the 2016 Public Art Master Plan as well as the City of
Palo Alto’ strategic plan;
• Identification of key themes and values including the prioritization of projects proposed, with a
projected timeline and financial strategy for implementation;
• Recommendations for future temporary and permanent public art projects, including “iconic”
and “gateway” art placement and spaces for participatory art;
• Recommendations regarding the conservation and treatment for existing artworks.
Phases of the Master Plan that may be reflected in the proposal timeline will include:
• In depth Research and stakeholder and community outreach.
• Initial recommendations based on best practices in public art and finding of the outreach.
• Stakeholder and community input summarization and presentation.
• Refined recommendations including new and amended priorities, strategies, staffing, and
timelines.
• Community review.
• Proposed changes resulting from community, staff, and Commission input.
• Final recommendations and long-term strategies for the Public Art Program presented to the
Public Art Commission for approval.
Public Art Staff will work closely with the Consultant in the preparation of the Public Art Plan to ensure
that the Consultant is provided with the resources and contacts necessary to undertake the planning
process.
TIMELINE AND BUDGET IMPLICATIONS
The applicant team is looking forward to getting started with the research and outreach meetings as
soon as possible. The team is hopeful that once there is an executed contract that the plan process will
take five to six months to complete. The funds for the plan have been allocated from the Municipal CIP
budget. Recommendations for artwork in the plan may be funded in part by the Public Art Fund, where
private development in-lieu contributions are collected.
www.artbuildscommunity.com
BARBARA GOLDSTEIN & ASSOCIATES
January 2, 2020
To the Review Panel:
We are pleased to submit this application to develop a public art plan for the downtown California
Avenue area of Palo Alto. With its history as Avenue of the Arts, eclectic architecture, restaurants and
retail, the district is one of the liveliest areas of the city. Existing public artworks have contributed to
neighborhood identity and a thoughtful approach to new artworks will be a catalyst for welcoming
newcomers to the area, reinforcing it as a destination and gathering place, enlivening the pedestrian
experience, building community pride and connecting people to history and culture.
The district already includes a variety of public art artworks that enhance its walkability and image. Of
particular note are Michael Szabo’s Confluence, which greets arriving and departing passengers, California
Avenue median sculptures by Fred Hunnicut and Po Shu Wang, the Nikola Tesla sculpture by Terry Guyer
at Sheridan and Birch and Body of Urban Myth by Brian Goggin at Caffe Riace.
We see many opportunities to tie the district together by employing forward-thinking projects to provoke
discussion and thoughtful reflection. Potential sites include alleyways leading to California Avenues and
streetscape artwork in residential and institutional blocks close to Oregon Expressway and Alma.
Our team is uniquely qualified to lead this planning effort. In 2016/17, Barbara Goldstein partnered with
Gail Goldman to help develop Palo Alto’s public art plan and, since then, she has followed the progress of
the public art program closely. As San Jose residents, we are easily accessible and familiar with the region.
Our team includes two emerging regional arts leaders: Amanda Tello Rawson is a board member of
GenArts, Local Color and the Triton Art Museum. She has a degree in art history and has worked at
SVCreates, SJMA, Museum of Quilts & Textiles and MACLA. Quynh-Mai Nguyen has a degree in marketing
and has produced music-based festival and other arts-centered participatory events throughout the Bay
Area. Amanda and Quynh will be leading project research, outreach, marketing and public participation.
The RFP for the California Avenue Public Art Master Plan is ambitious and inspiring. We are enthusiastic
about exploring the area’s public art potential and look forward to discussing it with you.
Sincerely,
ATTACHMENT A
BARBARA GOLDSTEIN & ASSOCIATES
www.artbuildscommunity.com
Project Team:
Barbara Goldstein will lead the planning efforts and act as Palo Alto’s
primary point of contact for the project. Since 2011, Goldstein has been
developing public art master plans, guidelines, policies and procedures for
Bay Area Rapid Transit (BART); Pasadena, Palo Alto, and Glendale,
California, Fort Worth, Texas, and Chattanooga, Tennessee among other
places.
Amanda Rawson will lead the community-outreach element of the plan,
using her skills as a multi-cultural engagement leader. She will carry out
research, identify and assess existing art and landmarks, and identify
locations for gateway, streetscape and other permanently sited artworks
in the California Avenue area.
Quynh-Mai Nguyen will lead the marketing and public participation
elements of the project using her skills as a community arts and event
coordinator. With her background as a creative producer, Quynh will
develop the public education component of the plan, including
marketing strategies and popup events, and propose opportunities for
including public events as an element of the plan.
www.artbuildscommunity.com
BARBARA GOLDSTEIN & ASSOCIATES
Project Understanding and Approach
The process of creating a public art master plan for the California Avenue neighborhood will include
historical research, gaining an understanding of available public art funding, and listening to arts
representatives, merchants, community members and city leaders. The plan will use traditional research
methods including document review, one: one interviews, focus groups, and a participatory approach to
gathering community input.
The plan we develop will be driven by what we hear. It will include our findings, a vision for the future,
funding and partnership recommendations, budgets and an implementation plan. Our community-
engagement approach will ensure that community leaders and residents are invested in the plan.
Proposal
Task A. Project Initiation and Research
Meet with City staff to discuss public art goals, learn about current public art projects, and
finalize deliverables and schedule.
Review existing documents including public art policies, procedures and guidelines, and
community and urban design plans.
Work with City staff to identify key stakeholders focus groups and interviews.
Review and assess the condition of existing California Avenue neighborhood public artworks.
Deliverable: Work Plan including timeline outreach strategy
Timeframe: Four weeks
Task B. Outreach and Public Participation
Interview up to four internal City stakeholders to assess capital construction plans, and
opportunities for including art in City projects and in private development.
Meet with Public Art Committee to hear its goals for California Avenue
Give presentations and conduct up to three focus groups with key stakeholders and
identified by City staff.
Conduct one public forum to gain input from the broader community including residents,
business organizations, artists, historians, planners, designers and others.
Work with Palo Alto staff to create two public participation activities at Farmers Market, a
walking tour or similar public event.
Deliverable: Progress report summarizing outreach and research
Timeframe: Six weeks
Task C. Synthesis and Emerging Themes
Review initial findings and emerging themes with City staff.
Present findings and emerging themes to City staff and Public Art Committee for feedback
and suggestions
Deliverable: Summary of emerging themes, draft vision, mission and objectives
Timeframe: Four weeks
www.artbuildscommunity.com
BARBARA GOLDSTEIN & ASSOCIATES
Task D: Draft Public Art Master Plan
Based on feedback received develop draft public art plan the includes:
o Mission, Goals and Guiding Principles statement
o Identification of key themes
o Recommended public art locations and types.
o Methods and criteria for artist and artwork selection including maintenance considerations
o Analysis of funding opportunities
o Recommended partnership and funding opportunities.
Deliverable: Draft plan
Timeframe: Four weeks.
Task E. Draft Master Plan Review and Refinement
Distribution of Draft Plan to Public Art Commission and key internal stakeholders for review
and comment
One refinement of plan incorporating all comments
Public posting and presentation of revised plan for final review and approval by Public Art
Committee.
Deliverable: Final plan
Time Frame: Two weeks
BARBARA GOLDSTEIN & ASSOCIATES
Resume
Barbara Goldstein is an independent consultant focusing on public art planning and creative
placemaking. She is the former Public Art Director for the City of San Jose Office of Cultural
Affairs and editor of Public Art by the Book, a primer published by Americans for the Arts
and the University of Washington Press. In 2013, she led a seven session Americans for the
Arts webinar series on creative placemaking and public art. Goldstein has directed the
public art programs in Seattle and Los Angeles, worked as a cultural planner, architectural
and art critic, editor and publisher. She is past chair of the Chair of the Public Art Network
for Americans for the Arts. She was a 2015 Fellow in Stanford University’s Distinguished
Careers Institute.
Consulting
Bay Area Rapid Transit (BART), 2019
Created a public art and cultural plan for Bay Area Rapid Transit, including identification of
public art opportunities, cultural asset mapping, funding and partnership strategies, and
development of opportunities for permanent and changing artwork.
City of Chattanooga, 2018
Creating a public art plan for City of Chattanooga, TN, in collaboration with Gail Goldman
Associates, including identification of public art opportunities, funding and partnership
strategies, and development of opportunities for permanent and changing artwork.
City of Glendale, CA 2017-2018
Worked with Community Arts Resources to create an Urban Art Program for
Glendale, including employing innovative web-based mapping as an outreach tool.
Arts Council of Fort Worth and Tarrant County, 2016-2017
Partnered with Cusick Consulting and ACT UNITED artists to update public art master plan
that we wrote for Fort Worth in 2002.
Creative Village Public Art Guidelines
Developed public art framework for Creative Village, a 70-acre public private partnership
that includes mixed-income housing, office space for knowledge-based industry, retail,
parks, transit and downtown campuses for Valencia College and University of Central
Florida.
University of Central Florida, Orlando, 2015-16
Creating public art master plan for UCF including recommendations for the inclusion of art
in the University’s planned Downtown Creative Village.
City of Palo Alto, CA 2015 -16
Partnered with Gail M. Goldman Associates to create public art master plan for City of Palo
Alto including vision, implementation plan, policies and procedures.
City of Morgan Hill, CA 2014
Facilitated Creative Placemaking symposium, a Park(ing) Day project, grant writing,
integration of artwork into a new parking structure and awards of 10 art projects for a
Creative Placemaking mini-grant program that will be integrated in the city’s Downtown
Placemaking Investment Strategy.
BARBARA GOLDSTEIN & ASSOCIATES
Charlotte Center City Partners 2013-14
Provided consulting services for public art element of Charlotte Rail/Trail project and
assisted Charlotte Center City Partners in securing $412,000 grant from ArtPlace
America
City of Las Vegas: 2013
Completed 5-year Public Art Master Plan for the City of Las Vegas including development of
new guidelines, procedures and financial mechanisms.
Americans for the Arts 2013
Organized and hosted a seven session webinar series on Creative Placemaking and Public Art
City of Pittsburgh, PA: 2012-2014
Developed ARTSPGH, the public art element of Pittsburgh PA’s Comprehensive Plan
in collaboration with Urban Design Associates who are developing DESIGNPGH.
City of Pasadena: 2010 -2018
Developing Public Art Plan and implementation strategies for City of Pasadena
City of Los Angeles, Cultural Affairs Department: January 1989-October 1993
Coordinated and implemented City's Cultural Master Plan, arts ordinances, public art
program development and Commission design review processes.
Other Professional Experience
Director, Public Art Program
City of San José Office of Cultural Affairs, October 2004 to January 2013
Directed planning, budgeting, advocacy, policy development and implementation of the
City of San José and San José Redevelopment Agency’s public art programs. Key projects
included the
$6 million plus Art + Technology Program at Mineta San Jose International Airport, site-
integrated art in 24 new libraries, six community centers, Happy Hollow Park and Zoo, and
art in private development for Adobe Systems and The 88 condominiums. As a result of this
work, in 2011, San José Public Art was recognized as the first Program of the Year by
Americans for the Arts.
Director, Public Art Program
City of Seattle Office of Arts & Cultural Affairs: October 1993- September 2004
Directed planning, budgeting, educational outreach, maintenance, programming and
implementation of the Office of Arts & Cultural Affairs’ extensive sited public artworks,
portable collection and development of the annual Municipal Art Plan.
Publisher/Editor-in-Chief
Arts and Architecture Magazine: 1981-85
Founded, published and edited award-winning, national non-profit (501[c]3) quarterly
magazine on contemporary architecture and the arts.
BARBARA GOLDSTEIN & ASSOCIATES
Publications and Lectures
Magazine Editorial
Los Angeles Correspondent, Progressive Architecture, 1979-
1989 Editor, LA Architect Newsletter, 1979-1988
Books
Contributor, Artists Reclaim the Commons, ISC Press, 2013
Editor/Author, Public Art by the Book, University of Washington Press, 2005
Editor/Author, Arts and Architecture, 1940-1962, The Entenza Years, MIT Press, 1990 and
1998 Editor, How the Arts Made a Difference, Hennessey & Ingalls, 1989
Magazines
Nieman Report, Architectural Design, RIBA Journal, Architectural Review, Building Design,
Domus, Architectural Digest, Progressive Architecture, LA Architect, Arts and Architecture,
Glass Art Journal, LA Herald Examiner
Teaching
Associate Professor, USC, Fine Arts Department, Public Arts Program,
1993 Lecturer, Southern California Institute of Architecture, 1980
Lecturer, School of Environmental Design, California State Polytechnic University, Pomona,
1978 /Lecturer, University of Southern California, School of Architecture, 1978-79
Lectures, Workshops and Symposia
Cal State Long Beach, Netherlands Arts Council, Abu Dhabi Urban Planning Council, Arts
Council of Korea, USIA Japan Tour, China National School of Art, Shanghai University School
of Art, Creative Cities Conference (Canada), Winnipeg Arts Council, Americans for the Arts,
College Art Association, PARTI (Los Angeles Public Art Conference), UCLA Extension, LACMA
Contemporary Arts Council, Santa Monica Arts Commission, Association of Collegiate
Schools of Architecture, American Craft Council, University of Nebraska School of
Architecture, AIA Pasadena Chapter, Las Vegas Chapter and Los Angeles Chapters,
Association of Women in Architecture, Pasadena Chapter, Architectural Association School
of Architecture, CSU Fullerton, and others.
Honors
Leadership Award: Public Art Network, Americans for the Arts, 20016
Mayor’s Pride of San Jose Award, January 2007, for development of Employee Values
Project Commendation, Seattle City Council, September, 2004 for arts leadership
Recognition Plaque, Los Angeles City Council, October 1993 for arts leadership
Nominated for AIA/California Council Grant in Community Planning, June 1993
Certificate of Commendation, Los Angeles City Council, August 1992 for arts
leadership
BARBARA GOLDSTEIN & ASSOCIATES
Organizational Affiliations
Board Chair, ZERO1: The Art and Technology Network
Board Member, Movimiento de Arte y Cultura Latino Americana
Public Art Network Council, Americans for the Arts, 2006 to 2011, Chair,
2010-11 Board of Directors, Artspace Projects, 2001 to 2005
National Advisory Board, Artspace Projects, Inc., 1992- 2001
Education
Fellow, Stanford University Distinguished Careers Institute,
2015 BFA, B Arch, Rhode Island School of Design
European Honors Program, Rhode Island School of Design, Rome, Italy
AMANDA RAWSON
Skills Summary
Conceptual thinker, efficient time management, creative and artistic, self-motivated professional, resourceful
researcher, knowledge of gallery and museum structures, team player, organized, attentive communication skills,
Microsoft Word, Excel, and PowerPoint Neon Database, some Adobe Photoshop, Mobile Cause fundraising
platform.
Experience
San Jose Museum of Art 3-2018/ 11-2018
Major Gifts Officer
Cultivating major individual major gifts of $5,000 and above. Provide assistance to the Director of Development
for cultivating new members to Council of 100, Director’s Council and Board of Trustees with personal invitations
to programs and one on one meetings. Created and communicated agendas for Councils Committee meetings
that consists of DOD, ED, and key Museum supporters. With development program staff, DOD, and chair of
Councils committee put together a donor trip to wine country successfully. Gala 2018 was an all staff-effort, my
primary focus was to successfully document and communicate both with staff and volunteers gala auction work
from artists and gallerists. The gala work I did also consisted of various other components such as in kind
sponsors, gala prep for day of, pre-table seating with Director, Board of Trustee Chair, and DOD, securing table
sponsors, and live auction tracking and Fund –a-Need tracking. Worked with membership to ensure timely
membership renewals for the Council of 100 ($5,000 and above) and Director’s Council ($10,000 and above)
member levels.
San Jose Museum of Quilts & Textiles 8-2015/ 2-2018
Donor & External Relations Manager (5-2017/2-2018)
Cultivated new donors while simultaneously engaging current donors by way of private donor events at the
Museum, in community settings and at private homes. Actively engaged potential museum support at external
events to encourage and develop relationships for both in-kind and major gift opportunities at the Museum.
Coordinated with membership/ grant manager as well as the marketing associate to insure consistent
communications. Work one-on-one with the Executive Director regarding donor and external relations for the
Museum.
Deputy Director (1-2017/5-2017)
As Deputy Director, I served as the direct liaison between the staff and the Museum Director. Responsibilities
included setting staff agendas and running staff meetings. I held one on one meetings with each team member
on their individual work plans. Insured clear communication and coordination across team members.
Manager of Museum Advancement (1-2016/12-2016)
Cross-department leader that worked with marketing, collections, exhibition, programming and visitor services.
This hands-on position involved direct engagement with internal and external museum stakeholders.
Responsibilities included managing cross-departmental projects with the objective of building the Museums
community partnerships and patron and donor engagement. In this role, I chaired the Museum’s Advisory
Committee and as well as the annual fundraiser “Tying the Knot” fundraiser.
Curatorial Assistant (8-2015/12-2015)
2
As curatorial assistant I started the collections inventory project. This project was important as it prepared staff
for the digitization of the collection of over 800 quilts and textiles. I also assisted in acquiring a grant that secured
funds to move forward with the digitization project. I had involvement in both the Exhibition and Advisory
committee.
Roy’s Station Coffee & Tea San Jose, CA 9-2010/6-2014
Supervisor
Fast paced multi-tasking work environment. Constant engagement with local and new customers. Specific daily
team leader duties for operation and upkeep of shop. Knowledge of all product including teas, coffee blends,
food.
Levi’s Strauss & Co. Santa Clara, CA 8-2006/7-2010
Supervisor
Maintained a positive and professional environment amongst sale associates and management. Consistently
upheld the standards provided by the corporate office for the retail store sales and image. Developed a sales
associate in-store recognition program for motivation in the work place. Headed group interviews and hiring.
Managed bi-annual inventory and weekly shipment. Co- teamed in redeveloping visual designs relevant to retail
space.
Education
BA Art History, University of California Berkeley, Berkeley, CA 2011-2013
As a transfer student, I immersed myself in the History of Art program as well as the Art Practice program. My
graduating GPA was 3.4.
De Anza College, Cupertino, CA 2004-2006
At De Anza I was a student athlete and worked as a peer mentor. I graduated with a grade point average of 3.4. I
was also nominated as a second team all-league softball player in Northern California for two years.
Community Service and Professional Associations
California Association of Museums, Board of Directors, 2018 - present
Exhibition District, Board of Directors, 2017 – present
genARTS Silicon Valley, Steering Committee 2017- present
SVO Leadership San Jose, Class of 2018 Class (completed)
Emerging Arts Professionals, San Francisco Bay Area 2016, round VI cohort (completed)
GRAPHIC DESIGNER + PRODUCER + MARKETING CONSULTANT | Silicon Valley De-Bug | 2015-2017
• Worked closely with media team consisting of videographers, producers, editors, writers, and community
organizers around developing media content for social justice campaigns, magazines, website, and social
media.
• Co-led community contributors team to develop, consult, and assist in the production of stories ideas in
different media formats.
• Worked with a team of two filmographers to schedule, interview, and produce a social biography video that
was used as testimonial support for a court case.
QUYNH-MAI NGUYEN
CREATIVE PRODUCER + VISUAL STORYTELLER
EXECUTIVE PRODUCER | Sonido Clash Music Fest | 2015-Present
• Spearhead the creative direction, strategy, and execution of an up-and-coming, all-ages Latinx music festival
through a social enterprise approach.
• Increased attendance from 500 in 2016 to 1,200 in 2018.
• Brand and design all marketing collateral for Sonido Clash’s festival, events, website, and programming.
• Structure and lead production meetings to give creative direction to media teams, copywriters, designers,
and organizers to ensure success of event from start to finish.
• Identify and develop relationships with key, mission-aligned partners in sponsorship, community, media, and
private funders to raise money towards meeting budget, creative programming, and social impact goals.
• Seek and write grants to acquire funding support from foundations and community giving programs.
• Successfully acquired three grants and funding support from nationwide arts foundations totaling nearly
$35,000 as well as in-kind donations totaling nearly $30,000 in 2018.
GRAPHIC DESIGNER + CREATIVE PRODUCER | Freelance | 2016-Present
• Project manage and produce video projects for clients within non-profit, commercial, community, and health.
• Work closely with videographer to direct and produce 5-10 minute videos that are used on social media,
organization videos, testimonials, and episodic series using a Canon 5D MK 4 and Sony A7S2.
• Write and process creative briefs, contracts, invoices, and additional duties related to design and video.
• Formulate interview questions and conduct interviews based on client character briefs.
• Curate and book musicians and artists for client event and programming.
• Planned and organized 8 events in 2018 ranging from art exhibitions, conferences, music performances,
video shoots, and community workshops.
• Spoke as a panelist on the topic of activism and music in the Bay Area at The Music Expo, a nationally-known
music institution and conference committed to facilitating dialog for over 4000 musicians, engineers, and
producers.
• Was honored in 2018 as “KQED Bay Brilliant”, a series that recognizes emerging artists and community
organizers for movement building in the Bay Area.
BACHELORS OF SCIENCE IN ADVERTISING, CREATIVE TRACK; GRAPHIC DESIGN
San José State University | 2012
RELATED EXPERIENCE
EDUCATION
• Worked with a team of three filmographers to schedule, interview, and produce a video that documents
victims of modern-day debtor prisons for Arch City Defenders, a social justice non-profit in St. Louis, MI.
• Worked with a team of a filmographer and editor to capture testimonials of artists, youth, and women
marchers during the Women’s March in Washington D.C. in 2017.
• Produced and direct social media content across various platforms
• Developed music score and led coordination of a secret documentary screening about incarcerated youth.
• Led the coordination, collateral design, and programming of a Healing Retreat for over 20 families affected by
police violence.
• Produced and curation of a poetry mixtape featuring over 40 emerging and recognized Bay Area poets.
• Co-coordinated and branded materials and collateral for a social bio media bootcamp, a justice training camp
that teaches community members from over 15 cities across the nation on how to create testimonial videos to
bring their loved ones home from prison.
• Assisted in coaching media boot camp participants on the production of a social bio video with interviewing
techniques, introduction to filming with DSLRs, organizing skills, and video editing on Adobe Premiere.
• Branded the Prisoners United of Silicon Valley newsletter, logo, and developed a social media campaign
strategy to document news on the prisoner hunger strike for the action group that advocates for the rights of
prisoners in Santa Clara County Jails.
• Coordinated and branded the People’s 100 Days, a campaign that rallies community members to create their
own first 100 days through free events and workshops as a statement of community solidarity over the next
four years of Trump.
PORTFOLIO
www.quynh-mai.com
GRAPHIC DESIGNER+PRODUCER+MARKETING CONSULTANT | Silicon Valley De-Bug | 2015-2017
• Worked closely with media team consisting of videographers, producers, editors, writers, and community
organizers around developing media content for social justice campaigns, magazines, website, and social
media.
• Co-led community contributors team to develop, consult, and assist in the production of stories ideas in
different media formats.
• Worked with a team of two filmographers to schedule, interview, and produce a social biography video that
was used as testimonial support for a court case.
ART DIRECTOR + GRAPHIC DESIGNER | Kooltura Marketing | 2012-2015
• Led the artist direction of a diverse portfolio of clients from non-profit, community organizations, commercial,
and independent artists.
• Redesigned, copy edited, and rebranded Kooltura company website.
• Designed, developed, and presented a 20x20 styled Pecha Kucha presentation for over 100 guests in
attendance at the Art Life Forum, a conference for artists and arts administrators.
RELATED EXPERIENCE CONTINUED...
Adobe Illustrator
Adobe Photoshop
Adobe Indesign
Adobe Photoshop Lightroom
Photo Key 8 Pro
Adobe Premiere
Keynote
Adobe After Aects
• Worked with a team of three filmographers to schedule, interview, and produce a video that documents
victims of modern-day debtor prisons for Arch City Defenders, a social justice non-profit in St. Louis, MI.
• Worked with a team of a filmographer and editor to capture testimonials of artists, youth, and women
marchers during the Women’s March in Washington D.C. in 2017.
• Produced and direct social media content across various platforms
• Developed music score and led coordination of a secret documentary screening about incarcerated youth.
• Led the coordination, collateral design, and programming of a Healing Retreat for over 20 families affected by
police violence.
• Produced and curation of a poetry mixtape featuring over 40 emerging and recognized Bay Area poets.
• Co-coordinated and branded materials and collateral for a social bio media bootcamp, a justice training camp
that teaches community members from over 15 cities across the nation on how to create testimonial videos to
bring their loved ones home from prison.
• Assisted in coaching media boot camp participants on the production of a social bio video with interviewing
techniques, introduction to filming with DSLRs, organizing skills, and video editing on Adobe Premiere.
• Branded the Prisoners United of Silicon Valley newsletter, logo, and developed a social media campaign
strategy to document news on the prisoner hunger strike for the action group that advocates for the rights of
prisoners in Santa Clara County Jails.
• Coordinated and branded the People’s 100 Days, a campaign that rallies community members to create their
own first 100 days through free events and workshops as a statement of community solidarity over the next
four years of Trump.
QUYNH-MAI NGUYEN
CREATIVE PRODUCER + VISUAL STORYTELLER
PORTFOLIO
www.quynh-mai.com
TECHNICAL SKILLS ADDITIONAL SKILLS
Graphic Design, Project Management, Storytelling,
Community Engagement, Event Coordination,
Copywriting, Content Creation, SEO, Programming,
Video Editing, Interviewing, Grant Writing,
Vendor Coordination and Management,
Creative Production, Music and Artist Booking,
Music Scoring
City of Palo Alto Staff Report to Public Art Commission
February 13, 2020
RE: Agenda Item 5
RECCOMENDATION:
Staff recommends that the Public Art Commission allocate funding for the conservation project
in the amount of $8,810 for the mural titled Boy Fishing by artist Greg Brown.
DISCUSSION:
Artist Greg Brown painted this whimsical trompe-l’oeil mural on the on the exterior wall of the
US Post Office located at 380 Hamilton Avenue in Palo Alto in 1975. This site-specific artwork
depicts a boy holding a fishing pole, with the line caught on a window grate. The window and
grate painted by Brown are identical to actual window grates on the building. The historic Birge
Clark-designed building was erected in 1932 and is owned by the US Postal Service.
The artist, Greg Brown, was hired by the Public Art Program to refresh the mural in 2002.
However, over the course of the past several years the façade of the aging building began
gradually deteriorating due to poor conditions of the roof drainage system saturating the wall,
which in turn contributed to deterioration of the mural. The condition report previously
provided in 2015 by San Francisco-based ARG Art Conservation listed the mural as one of the
artworks on the priority list for conservation and called out a need for rehabilitation of the
building’s exterior wall and drainage system. In early 2020 the USPS building underwent a
comprehensive repainting project and its roof drainage system also is in the process of being
replaced. The Public Art Program staff reached out to the painting contractor to ensure they
would not paint over or “touch up” the artwork. Staff also contacted a fine art conservation
firm with a request to evaluate the current condition of the post office mural and provide a
conservation treatment proposal (ATTACHMENT B).
BACKGROUND:
Artist Greg Brown was born in in Pittsburgh, PA, but was still a child when he moved to Palo
Alto, California. He went to Palo Alto High School, and graduated in 1969. As a teenager, he
studied with Italian artist Roberto Lupetti. In 1975, funded by a CETA grant Brown was hired by
the City of Palo Alto as the City’s first artist-in-residence to create a series of nine murals across
various locations in downtown Palo Alto. Brown’s trompe l'oeil murals known as the
“Pedestrian Series” featured whimsical depictions of everyday people in uncanny situations.
Out of nine artworks, six remain and are part of the City’s collection of public art. The artist
passed away in 2014. His works are a significant part of Palo Alto’s downtown public art
collection and are treasured by the City, Public Art Commission, and the community .
TIMELINE AND BUDGET IMPLICATIONS:
The fine are conservators are looking forward to commencing the conservation treatment as early as
March 2020. The proposed treatment should take 3-4 days to complete. The funds for the conservation
project will be allocated from the Public Art Program Maintenance budget.
ATTACHMENT A: Artwork Images
Boy Fishing, 1975 by
Greg Brown
Overall view of the
mural and exterior
wall after the
building was
repainted in January
2020.
Mural details depicting
cracking and lifting paint and
paint loss.
Additional detailed images are
provided in Conservation
Treatment Proposal (Exhibit B).
Treatment Proposal
Date: January 27th, 2020
Client: City o Palo Alto, Attn: Nadya Chuprina
Job #: 2020/029
Object: Boy Fishing , by Greg Brown. Acrylic on stucco, n.d. (repainted 2002-2003)
Preservation-Arts.com 510.808.7894 info@preservation-arts.com 743 47th Street #102, Oakland, CA 94609
ATTACHMENT A
Treatment Proposal : Boy Fishing , Greg Brown
Description and Materials:
e artwork is a trompe l’oeil style mural by Greg Brown (1951-2014) located on the exterior wall o the US Post O ce at 380
Hamilton Avenue in Palo Alto and accessible via Gilman Street. e mural is acrylic on painted stucco. e mural was
repainted by the artist around 2002-2003. ere is no coating present on the mural; it is unknown i the mural was coated
before being repainted.
Condition Report:
Mural:
Support:
○ e building is in the process o undergoing repairs to address water ingress behind the mural.
○ ere are surface cracks in the stucco likely caused by water damage. e stucco itsel appears to be stable and in
good condition.
Paint Layers:
○ ere are at least two layers o paint present: the original underlying layer, and the newer, upper layer applied by the
artist. ere is delamination and loss o the upper paint layer from the original paint layer.
○ ere is li ing paint and paint loss associated with the surface cracks.
○ ere are numerous scattered losses to the paint.
○ ere is minor water staining which only appears to be a ecting the light brown shadow color o the window.
○ e wall was recently repainted up to the edges o the mural, but there are a few small bare spots along the edges
which need to be retouched.
Sur ace:
○ ere does not appear to be an appreciable amount o surface dirt present.
○ e paint is well-bound and does not appear to have faded appreciably despite being about 17 years old. A reversible,
conservation-grade coating could be applied to protect the mural from light damage, ingrained surface dirt, and
minor vandalism, but the bene ts o taking this step should be weighed against the artist’s intention to leave the
mural uncoated.
Treatment Proposal:
○Consolidation o li ing and unstable paint using a stable, conservation-grade adhesive.
○Fine stucco lls along cracks and deeper areas o paint loss.
○Inpainting lls and losses to the uppermost layer o paint with stable, sympathetic paint media. Retouching o bare
paint spots along edges o mural using the provided wall paint.
○Photography before, during, and a er treatment and treatment report.
Treatment (2 people, 3-4 days): 48-64 hours x $135/hr = $6,480-$8,640.00
Mileage: 288 miles x $0.50/mi + $6 toll x 4 days = $168.00
Total: $6,648-$8,808
Preservation-Arts.com Page 2 o 5
Treatment Proposal : Boy Fishing , Greg Brown
Photographs:
Overall O Mural
Preservation-Arts.com Page 3 o 5
Treatment Proposal : Boy Fishing , Greg Brown
De ail o Window (Le ) and Boy (Right)
De ails o Cracking and Li ing Paint and Paint Loss
Preservation-Arts.com Page 4 o 5
Treatment Proposal : Boy Fishing , Greg Brown
De ails o Cracking and Li ing Paint and Paint Loss
De ails o Cracking and Li ing Paint and Paint Loss
Preservation-Arts.com Page 5 o 5