HomeMy WebLinkAbout2021-03-18 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 Nia Taylor, Member
Hsinya Shen, Member
City Council Liaison: Mayor Tom DuBois
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, March 18, 2021
7:00 pm
Pursuant to the provisions of California Governor’s Executive Order N-29-20, issued on March 17, 2020,
to prevent the spread of Covid-19, this meeting will be held by virtual teleconference only, with no physical
location. The meeting will be broadcast on Midpen Media Center at https://midpenmedia.org. Members of
the public who wish to participate by computer or phone can find the instructions at the end of this agenda.
To ensure participation in a particular item, we suggest calling in or connecting online 15 minutes before
the item you wish to speak on.
https://zoom.us/join Meeting ID: 957 7118 4669 Phone: +1 669 900 6833
AGENDA
ROLL CALL
AGENDA CHANGES, REQUESTS, DELETIONS
ORAL COMMUNICATIONS
Members of the public may address the Commission on any subject not on the agenda. A reasonable time
restriction may be imposed at the discretion of the Chair. The Commission reserves the right to limit oral
communications period to 3 minutes.
APPROVAL OF MINUTES: PAC Meeting February 18, 2021 ATTACHMENT
STAFF COMMENTS
ACTION:
1. California Ave Public Art Plan – Special presentation of the refined California Ave District Public
Art Plan by the Art Builds Community consultants for the Commission final review and
approval. (20 minutes) ATTACHMENT
NON-ACTION:
2.Race and Equity in Public Art – Special presentation by equity and communications consultant
Elizabeth D. Foggie with findings from targeted outreach and artist survey with the goal of
enhancing equity and inclusion and access to public art opportunities in Palo Alto for artists and
art organizations of color. (20 minutes) ATTACHMENT
3.Follow-up Discussion After Joint Meeting with Human Relations Commission – Commissioners
discuss the take-away and next steps from the joint meeting with the Human Relations
Commission to inform the outreach and public engagement for artwork on King Plaza
recognizing the City’s priorities on race and equity. (20 minutes)
ANNOUNCEMENTS
FOR YOUR CALENDAR:
Next PAC regular meeting – Thursday, April 15, 2021
MINUTES
PUBLIC ART COMMISSION
MEETING
Thursday, January 21, 2020
Virtual teleconference via Zoom
7:00 p.m.
Commissioners Present: Ben Miyaji, Loren Gordon, Nia Taylor, Hsinya Shen
Commissioners Absent: Ian Klaus
Staff Present: Elise DeMarzo, Public Art Program Director
Nadya Chuprina, Public Art Program Coordinator
Kristen O’Kane, CSD Director
CALL TO ORDER: Chair Miyaji called the meeting to order at 7:09 p.m.
AGENDA CHANGES, REQUESTS, DELETIONS – Non-Action Item 2 was tabled till the February 18
PAC meeting.
ORAL COMMUNICATIONS – None
APPROVAL OF MINUTES: November 19, 2020 PAC Meeting Minutes Moved: Vice Chair Gordon
Second: Commissioner Shen. All in Favor.
STAFF COMMENTS: Staff updated the Commissioners on the application and selection process for the
ArtLift Microgrant project. Staff shared visuals and descriptions of the project proposals were approved
for funding and announced a deadline for the next application round. Staff also reported on the
development of the Temporary Murals Pilot Project and shared images of original digital artworks by 8
selected artists. The murals printed on adhesive aluminum material are scheduled for installation in mid-
February.
NON-ACTION:
1. California Avenue Master Plan discussion –Staff provided a summary of the California Ave
District Public Art planning process and asked the commissioners to share any comments and
feedback for the earlier distributed draft copy of the Master Plan. Commissioners’ offered some
feedback for the overall scope, findings, and recommendations articulated in the draft that will be
incorporated in the final plan. The final draft will be ready for review and discussion and
approval at the March PAC meeting when the consultants will be presenting the finalized plan.
2. Race and Equity Public Art – Commissioners continued the discussion of the City Council
referral to the PAC to develop a permanent artwork on King Plaza to recognize the City’s
priorities to advance cultural, racial and social equity. Staff provided a summary of the site
layout, its opportunities and challenges, and talked the Commissioners through limitations and
prospects of incorporating temporary or permanent installations. Commissioners led a discussion
and considered various aspects of commissioning permanent and temporary rotating artwork.
Commissioners voiced that a permanent monumental artwork to address racial equity did not
seem as the appropriate approach and expressed collective support of offering a rotating
programming with a banner option to engage diverse artists on an ongoing basis, however not
making that a primary or dedicated platform for the racial equity artwork. Commissioners also
supported the idea of having a residency program to allow community participation and inform
development of the artwork. Commissioners appealed to City Council to support the PAC and its
work in bringing meaningful, impactful, and appropriate artworks to address the issues around
racial justice. Commissioners requested that staff explores further AIR models and associated
costs to inform future recommendations for race and equity public art.
ANNOUNCEMENTS – None
CALENDAR: Next PAC Regular Meeting – February 18, 2021 at 7 pm via Zoom.
MEETING ADJOURNED at 8:27 pm by Chair Miyaji.
Palo Alto Staff Report to Public Art Commission
March 18, 2021
RE: California Avenue District Public Art Plan
STAFF RECOMMENDATION: Staff recommends that the Public Art Commission review and approve the
California Avenue District Public Art Plan created by Art Builds Community (ATTACHMENT A).
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 the California Avenue district. With the current construction taking place near California
Avenue and numerous private development projects taking place, 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 2020.
On September 19, 2019, the Public Art Commission approved the allocation of $15,000 for a consultant
to create the California Avenue District Public Art Plan. Public Art staff released an open solicitation for
consultants in December 2019. Staff sent the solicitation out to 8 potential applicants. As a result of the
selection process, Barbara Goldstein & Associates / Art Builds Community was identified as a finalist.
The consultant team was approved as the project consultant by the Public Art Program in February 2020
to develop an art plan for the California Avenue district, bounded by the area between El Camino Real,
Oregon Expressway, Cambridge and Alma street.
The previous staff report details the purpose of the California Ave District Public Art Plan, as well as its
scope, goals and key elements
The City of Palo Alto Public Art Program entered into a contract with the consultants on March 11, 2020.
The work plan proposed by the consultants included the following phases:
• Project Initiation and Research
• Outreach and Public Participation
• Synthesis and Emerging Themes
• Draft Public Art Master Plan
• Draft Master Plan Review and Refinement
• Submission if Final Master Plan and Attachments to Public Art Staff
Outreach and Public Participation Phase
Faced with the new reality of the COVID-19 pandemic, the consultants had to change their stakeholder
and community engagement strategy, and execute the outreach and public participation phase of the
project online, utilizing coUrbanize, a web-based community engagement platform specifically designed
to connect residents with municipalities and planners, facilitate proactive and transparent public
engagement and broad public participation, and gather stakeholder and public input. Over a course of
two and a half months, the consultants led multiple meetings, focus groups, and other engagements
with City staff, California Ave business groups, and Bay Are artistic communities virtually. The Public Art
Program staff led a social media campaign promoting the project and boosting public participation. The
Public Art Commissioners participated in the community engagement events and provided input to the
consultants during two of their regular meetings.
Input Synthesis and Draft Public Art Master Plan Phases Public input and comments gathered
throughout the Outreach Phase informed the California Avenue District Public Art Plan on appropriate
themes and types of art, potential sites and locations, as well as creative partnerships, collaborations,
and artist engagements to strengthen the unique character of California Avenue and support economic
development of the district. The consultants synthesized the gathered input and provided public art
staff with an interim report and draft outline that specified the vision, mission, guiding principles and
recommendations for California Avenue District Public Art Plan. Based on the review and approval by
staff the consultants moved forward with drafting the plan and submitted the first draft for the Public
Art staff and PAC review in January 2021. The Draft Public Art Plan was reviewed by the Public Art
Commission January 21, 2021. That feedback was given to the consultants and integrated into this final
version of the California Avenue District Public Art Plan.
TIMELINE AND BUDGET IMPLICATIONS
The funds for the Public Art Plan were allocated from the Municipal CIP budget derived from
construction in the area. Recommendations for artwork in the plan may be funded in part by Municipal
Percent for art funds derived from construction in the California Avenue corridor and the Public Art
Fund, where private development in-lieu contributions are collected.
CITY OF PALO ALTO
CALIFORNIA AVENUE DISTRICT
PUBLIC ART PLAN
Created in cooperation with Art Builds Community, formerly known as Barbara Goldstein
and Associates, and the City of Palo Alto staff: Elise DeMarzo, Public Art Program Director;
Nadya Chuprina, Public Art Program Coordinator
TABLE OF CONTENTS
CHAPER ONE: EXECUTIVE SUMMARY
1 EXECUTIVE SUMMARY
2 MISSION STATEMENT
2 VISION STATEMENT
3 OBJECTIVES / GUIDING PRINCIPLES
3 RECOMMENDATIONS
CHAPTER TWO: INTRODUCTION
4 HISTORY
5 OUTREACH
CHAPTER THREE: THEMES AND LOCATIONS
8 THEMES
9 LOCATIONS
CHAPTER FOUR: RECOMMENDATIONS
11 RECOMMENDATION ONE
14 RECOMMENDATION TWO
16 RECOMMENDATION THREE
18 RECOMMENDATION FOUR
19 RECOMMENDATION FIVE
20 RECOMMENDATION SIX
ACKNOWLEDGEMENTS
STAKEHOLDER AND PUBLIC MEETINGS
Cover Image:
Under the Sun, Mohamed Soumah, 2004
Photo Credit: Palo Alto Camera Club
Table of Contents Image:
Year of the Ocean, Oscar Castillo, 1998, Morgan Bricca, 2017
Jungle Jane, Fred Hunnincutt, 1998
Photo: Palo Alto Camera Club
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
CHAPTER ONE - pg 1
CHAPTER ONE: EXECUTIVE SUMMARY
In 2016, the Palo Alto City Council and the Public Art Program adopted a
public art plan for the entire city. One of the recommendations in that plan
was to develop a specific public art plan for the California Avenue District.
California Avenue has evolved over the last decade in a variety of ways that
are changing its character. Streetscape changes completed in 2015 reduced
vehicular traffic from four to two lanes, widened sidewalks, installed new
crosswalks and pedestrian safety measures, updated lighting and street
furniture, planted new street trees, and updated a beautiful plaza near the
train station, including artist Michael Szabo’s Confluence fountain. Several
beloved businesses have closed, and new ones have emerged. With the
challenges created by the COVID-19 pandemic, there are new opportunities
to think about how to stimulate greater pedestrian activity, outdoor dining,
and pop-up activities along the Avenue.
The City of Palo Alto has embarked on several new initiatives in the area. A
627-space parking garage serving the commercial, retail and restaurant area
has been completed at 350 Sherman Avenue. The Office of Transportation is
planning pedestrian and bicycle improvements in the area, and restaurants
have expanded sidewalk dining. Temporary public art was commissioned at
the construction site of the parking garage, temporary artworks are planned
for the Public Safety Building construction site, and three new permanent
artworks will be installed at the Public Safety Building.
In early 2020, the Palo Alto Public Art Program initiated the public art plan
process for California Avenue. The purpose of the California Avenue District
Public Art Plan is to set a clear vision for the future of public art that will
strength-en 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. For the purposes of the plan, the
California Avenue District is defined as the area between El Camino Real,
Oregon Ex-pressway, California Avenue CalTrain station and Cambridge
Avenue.
The California Avenue Marching Band,
Damon Belanger, 2021
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
CHAPTER ONE - pg 2
The California Avenue Public Art Plan will articulate themes and opportuni-
ties 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 the public’s understanding of public art and encourage creative
partnerships and collaborations. The plan will identify potential gateway
opportunities to distinguish California Avenue as a unique cultural destina-
tion, different from, yet complimenting downtown Palo Alto.
While it was initially hoped that many community engagement events
would take place in person, the pandemic stimulated different forms of
creative community outreach. The consultant team Art Builds Community
conducted online interviews, webinars, and focus groups and two outdoor
tabling events. In addition, the planners employed CoUrbanize, an inter-
active mapping platform, to engage the public in conversations about the
future of public art in the California Avenue District.
The following vision, mission, objectives/guiding principles and
recommendations are a result of this planning effort.
VISION
Public art in the California Avenue District will embody the unique
cultural identity of local businesses, residents, and artists.
MISSION
The Palo Alto Public Art Program will enliven the California Avenue
District by commissioning permanent and changing artworks that
reflect the historic, culturally diverse, and natural environment of
the area.
It’s a Beautiful Day, Jorge Camacho,
2021
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
CHAPTER ONE - pg 3
OBJECTIVES / GUIDING PRINCIPLES
1. Build partnerships between local businesses, art groups, and the
Palo Alto Public Art Program to commission art that attracts people
to the district.
2. Enhance pedestrian experiences and engage people of all ages by
installing changing and permanent artwork throughout identified
locations within the district.
3. Build local pride and educate visitors with public art that explores
the district’s history by supporting outdoor exhibitions that
highlight the work of local and regional artists.
RECOMMENDATIONS
1. Install changing and permanent artworks that enhance wayfinding
and the pedestrian experience.
2. Commission iconic art that attracts people to the district.
3. Support changing outdoor exhibitions.
4. Commission public art that explores local history, cultures, and
the environment.
5. Highlight the work of local and regional artists.
6. Build in-kind and financial partnerships between local businesses,
arts organizations, City Departments and Palo Alto Public Art
Program.
Mayfield Train Station, Noel Consigny, 1979
Photo: Palo Alto Camera Club
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
CHAPTER TWO - pg 4
CHAPTER TWO: INTRODUCTION
HISTORY
California Avenue began as the Mayfield community, established in 1853 by
James Otterson, who built a roadhouse on the road between San Francisco
and San Jose. The community became an epicenter for saloons and, by its
incorporation in 1905, business owners and residents became frustrated with
the activity that saloons attracted. In 1905, the district banned saloons and
in 1925, Mayfield was incorporated into Palo Alto. In 1941, both the main
street, Lincoln street, and the Mayfield train station were renamed California
Avenue.
The Avenue has always been the main street for the surrounding residential
area and known for its “mom and pop” businesses, restaurants, movie house,
and music venues. Performers including the Grateful Dead, Joan Baez, and
Miles Davis entertained in the area during the 1960s and ‘70s. Beginning in
1997, Palo Alto’s Public Art Program in partnership with the California Ave-
nue Area Development Association (CAADA) began commissioning artworks
along the Avenue, which became known informally as Avenue of the Arts. The
street and surrounding area now includes a significant number of artworks.
Over time, the character of the neighborhood changed. The movie house
and music venues have closed, and the area has lost some of its retail. In
2015, a significant streetscape project was completed on California Avenue,
improving sidewalks, crosswalks, landscaping, and bicycle parking. Buildings
sold, commercial rents increased, some legacy businesses closed, and new
businesses and development including Michelin star restaurants, transit-ori-
ented housing and multi-use development began. In 2020, a new parking
garage on Birch Street between Jacaranda Lane and Sherman was completed,
and development of a new Public Safety Building is currently underway.
Screen capture of mapping campaign on
CoUrbanize platform
Community tabling on California Avenue
June 2020
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
CHAPTER TWO - pg 5
OUTREACH
In 2020, the Public Art Program initiated a public art planning process 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’, en-
courage cultural tourism by retaining and attracting Palo Alto residents
and visitors, and support economic development of the California Avenue
business community.” The plan was also intended to “distinguish Cal Ave as
a unique cultural destination, different from downtown Palo Alto.”
Planning began in March 2020 for comprehensive community outreach
and engagement with businesses, residents, local artists, and visitors to the
area to provide input for the plan. Due to the restrictions created by the
COVID-19 pandemic, most community outreach was conducted remotely
via CoUrbanize, an online community engagement platform. Over a course
of six weeks, the public participated in surveys, interacted with the virtual
map of the district, and added their voices to the California Avenue District
Public Art Plan. Additionally, signs prompting the public to engage with the
planning process and text their thoughts and comments about public art
were posted throughout the district. CoUrbanize included survey questions
about artwork and a map showing existing artworks. Participants were in-
vited to comment on artworks they liked, and place virtual pins on the map
suggesting artwork locations and types. The CoUrbanize page remains
up for public view to allow access to the input gathered through the com-
munity engagement platform. Additionally, two in-person socially distant
tabling events were conducted by the planners on California Avenue. The
Public Art Program led a social media campaign promoting the project and
boosting public participation. Social media provided a space to ask ques-
tions and share images with a rapid response rate from the community
members to provide feedback both publicly and privately.
Screen capture of online community
engagement session
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
CHAPTER TWO - pg 6
The planners engaged with 381 participants, and conducted a series of
interviews, focus groups, webinars and online meetings with City staff,
artists, business owners, and the interested public. During the meetings
people were invited to describe the types of art they want to see and ex-
perience, identify potential sites and locations, as well as discuss creative
partnerships, collaborations and artist engagements to strengthen the
unique character of California Avenue and support economic development
of the district.
The Public Art Commissioners participated in the community engagement
events and provided input to the consultants during two of their regular
meetings.
Internal Focus Groups
City staff members described opportunities and strategies:
• Focus on the pedestrian experience and potential for public art as
placemaking element.
• Support efforts of pandemic vehicular street closures for the use of
the public and merchants.
• Compassion and consideration are key to building relationships
between the City, merchants and community members.
Screen capture of online artist focus group
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
CHAPTER TWO - pg 7
External Focus Groups
The following ideas were promoted by external focus groups:
1. Artist Focus Group:
• Identify blank walls for placement of murals.
• Create temporary lighting projects.
• Collaborate with other City programs including the Palo Alto Art
Center and Cubberley Artist Studio Program.
• Create temporary exhibition space for local artists/crafts people in
open areas in between retail and restaurants.
2. Business Focus Group:
• Commission art that helps bring people to the district.
• Commission art that celebrates the music history of area.
3. Interested Public Focus Group
• Support local artists
• Commission artworks in a variety of media.
Lost in My Abstract Garden,
Carrie Lederer, 2021
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
CHAPTER THREE - pg 8
CHAPTER THREE: THEMES AND LOCATIONS
There was substantial agreement on the themes that artists could address in
the California Avenue District related to neighborhood character, Palo Alto’s
people, and history. California Avenue is embraced as a neighborhood district
with a small-town feel. To the extent that some businesses have closed, and
the Avenue has changed, the community input reflects a sense of nostalgia
and a desire to preserve the unique character of California Avenue. Given the
need to rebuild retail districts during pandemic recovery, this is a good time
to revitalize the character of California Avenue.
THEMES
Below are descriptions of opportunities and strategies from community
members and city staff:
• History: The district has an architectural history that is more
than 150 years old, featuring a variety of building types and
styles. It has a fascinating civic history as the town of Mayfield,
and a Native American history as the land of the Puichon Ohlone
who lived in the Palo Alto area prior to the arrival of Europeans.
• Nature: Both Palo Alto and the California District are graced with
beautiful trees. The district has several streets named for trees
and with generous tree canopies; and there is great appreciation
for Palo Alto’s redwood-filled parks and native plants.
• Diversity: Palo Altans are proud of the area’s cultural, ethnic,
gender and artistic diversity.
• Hyper-Local: California Avenue has been called the Avenue of the
Arts for its music and visual arts history. It is also celebrated for its
unique, family-owned businesses and small-town character.
• Support for local artists: Include diverse artists from Palo Alto and
the region when commissioning new work.
Opportunity for art in unexpected places off
California Avenue
California Avenue closed for outdoor
dining during the pandemic, 2020.
Photo: Quynh-Mai Nguyen
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
CHAPTER THREE - pg 9
LOCATIONS
There are many potential locations for art placement; many of them
suggested by stakeholders, community members, local artists, Public Art
Commissioners, and Palo Alto staff. Most of these were focused on the
retail area including:
• Streets and sidewalks
• Alleys
• Art in unexpected places
• Enhancements to existing buildings
• Entrance to California Avenue from El Camino Real
and from Oregon Expressway
• California Avenue Train Station
• Blank Walls
• Parking Garages
• Corridors with heavy foot traffic
• Park Boulevard
• Light poles
Example of public art in alleyway
CHAPTER FOUR: RECOMMENDATIONS
CHAPTER FOUR - pg 11
Creative pathways to local businesses on
California Avenue
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
RECOMMENDATION ONE
Install changing and permanent artworks that enhance
wayfinding and the pedestrian experience.
Although it is a popular neighborhood shopping district, California Avenue’s
entrances could benefit from increased visibility – El Camino Real, Alma
Street, and the Caltrain station. Street-oriented, artistic enhancements will
make the district more visible to drivers in automobiles and will improve
pedestrian and bicycle navigation. The following recommendations provide
long and short-term guidance.
SHORT TERM: ONE TO THREE YEARS
A. Commission an artist team to create a visual strategy from the
California Avenue train station to Park Boulevard, creating a more
vibrant entrance to the district.
The blocks leading from the Caltrain Station to both sides of
Park Blvd do not reflect the vibrant active California Avenue
district beyond. These can be easily and inexpensively enlivened
with color and pattern. Adding artistic flair to these blocks will
signal the entrance to a lively district.
• Engage property owners in conversation with the artists and
encourage their participation in planning the project.
• Hire artist/team to create and implement a visual strategy
for walls facing California Avenue from Caltrain parking lot
to Park Avenue.
CHAPTER FOUR - pg 12
An example of artist-designed crosswalk
Alleyway between Jacaranda Lane
and California Avenue
Opportunity for bike rack enhancements
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
B. Collaborate with the Office of Transportation to include art in
pedestrian and traffic improvements.
The City of Palo Alto Office of Transportation is embarking on
a series of pedestrian improvements in the California Avenue
District. These improvements provide an opportunity to reinforce
the unique identity of the district.
• Commission artist-designed crosswalks at the intersection
of El Camino Real and California Avenue, bringing attention
to the entrance to this district.
• Include artist-designed street murals, banners and bike
lanes in the district.
• Add artistic enhancements to the row of bike racks adjacent
to California Avenue Plaza.
C. Commission a series of artworks in the alleys that lead people
from parking structures and parking lots to California Avenue.
There are seven alleys leading from parking lots and structures
on streets parallel to California Avenue. Commissioning a series
of bold, interconnected artworks on the alley walls and lighting
them adequately will make the alleys more welcoming, assist with
pedestrian navigation, and improve the feeling of safety.
• Award a commission to one artist/artist team to think of
the alleys as a sequence of connected experiences.
CHAPTER FOUR - pg 13
Example of artist-designed parklet
Benches by California Ave train station
Los Trompos installation by Esrawe + Cadena
Opportunity for artist-designed enhancements
Ted Thompson Parking Garage
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
MID-TERM: THREE TO FIVE YEARS
A. Place functional, placemaking art in unexpected places.
There are ‘leftover’ spaces around the district that can become
welcoming with the help of artists.
• Commission artist-designed parklets that include seating,
shade, planters, or plinths for changing sculpture.
• Pilot a creative seating area on the Public Safety Building
plaza.
B. Employ an artist or artist team to enliven the façade of the
Ted Thompson 275 Cambridge Avenue parking garage.
This parking garage offers multiple opportunities for artwork to
be integrated into the site visible from Cambridge Avenue and
California Avenue.
• Commission an artist/designer team to develop a
project that refreshes the appearance of the structure,
to better compliment the tree canopy on Cambridge
Avenue, the street-side planters, and lighting.
• Commission temporary public art installations in the
window cutouts visible from California Avenue.
CHAPTER FOUR - pg 14
Entrance to California Avenue District
from El Camino Real
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
RECOMMENDATION TWO
Commission iconic art that leads people to the district.
The entrances to California Avenue from El Camino Real, Birch Street and
Oregon Expressway could benefit from increased visibility. Well designed,
visible public art can call greater attention to the district.
SHORT TERM: ONE TO THREE YEARS
A. Develop a strategy that makes the entrance to the district
more visible from Oregon Expressway.
The entrance to the California Avenue District from Oregon
Expressway at Birch Street is easy to miss. It is marked by a
small, white sign, written in 1950s style script and does little
to announce the district.
• Initiate a conversation between the City of Palo Alto Public
Art Program and the Office of Transportation and the Public
Works Department to create a more visible entrance to the
district from Oregon Expressway.
• Commission an artist to work with community members,
Public Works, and OOT to develop permanent ‘gateway
elements’ to the district working with existing infrastructure
such as light poles, curbs or retaining walls leading from
Oregon Expressway and Birch Street.
CHAPTER FOUR - pg 15
Images:
Threshold, Susan Zoccola, 2018, Ashland,
Oregon (top left)
Oregon Expressway entrance into California
Avenue Business District (top right)
Opportunity for art on empty wall on
California Avenue (bottom right)
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
MID-TERM: THREE TO FIVE YEARS
The intersection of California Avenue and El Camino Real is busy and the
entrance to the retail district is difficult to see. The existing monument
sign and surrounding area would benefit from an artistic update for higher
visibility.
A. Remove California Ave monument sign and remaining elements
of the deaccessioned artwork at El Camino Real and California
Avenue.
• Commission an artist to rethink the entrance to California
Avenue as a sculptural gateway that is adequately tall and
illuminated, visible day and night.
CHAPTER FOUR - pg 16
Example of temporary outdoor art galleries in Montreal
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
RECOMMENDATION THREE
Support changing outdoor exhibitions and events.
While there is an active gallery behind the Printers Cafe and the street
boasts a storied history of music performances, there is little remaining
presence of artmaking activity on the street.
A. Install permanent exhibition structures to accommodate changing
digitally printed exhibits at the plaza corner at the southeast side
of California and Park Avenues.
• Build a series of uniform, robust structures that can
accommodate digitally printed copies of original art in
all media including photography and poetry.
CHAPTER FOUR - pg 17
Images:
Example of performance shipping
container at Gro Wynwood (top left)
Example of a pop-up shop opportunity
(top right)
Confluence fountain, Michael Szabo., 2015,
California Avenue Plaza (bottom left)
Opportunity for temporary event space and
programming at California Avenue Plaza
(bottom right)
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
B. Install a structure that can accommodate pop-up art events at
the northeast side of the fountain plaza adjacent to the Caltrain
parking lot.
While the California Avenue Plaza is attractive and welcoming, it is
a passive space at an active train commuter entrance to the district.
Adding a small, pop-up arts venue will create a livelier welcome to
the district and encourage people to gather after hours.
• Commission an artist-designed shipping container-type
structure to accommodate a gallery, performance space,
popup art/craft shop or classroom.
CHAPTER FOUR - pg 18
Images:
Sarah Wallis Park (top)
Herring Box School (middle)
350 Garage (bottom)
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
RECOMMENDATION FOUR
Commission public art that explores local history
and environment
Community members and artists described specific themes that can be
used as inspiration for artwork in the district.
A. Encourage artists to focus on history, nature, cultural diversity in
developing their work.
• Consider historical and cultural themes for permanent
murals facing parking lots.
• Focus on environmental theme at the Ted Thompson
parking garage.
B. Include small scale artworks at historic sites.
• Commission art that pays tribute to Sarah Wallis at the
park that bears her name.
CHAPTER FOUR - pg 19
Palo Alto Dog Row, Samuel Price, 2019
Example of commissioned art on storefronts
Opportunity for art on empty storefront on
California Avenue
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
RECOMMENDATION FIVE
Highlight the work of local and regional artists.
There is a wealth of artistic talent in Palo Alto and the surrounding
communities. Some of these artists are part of the Cubberley Artist
Studio Program, some have exhibited, taught and participated in classes
at the Palo Alto Art Center, some teach at Stanford University, or show
their work in local galleries.
A. Affirmatively seek out Palo Alto and regional artists of diverse
backgrounds to apply for public art commissions.
• Highlight the work of Palo Alto and regional artists at events
that introduce them to the community.
• Commission regional artists to create projects that invite
interaction including “selfie spots” and artworks that invite
people to add their own words or visual elements.
• Animate empty storefronts with commissioned temporary
artworks, light-based, and digital art.
• Create outdoor exhibits featuring the work of Palo Alto and
regional artists.
• Seek out emerging artists who are currently working
in the service industry to showcase the talents of
under-represented regional artists.
CHAPTER FOUR - pg 20
Art/Craft Mobile Art Gallery, San Antonio,
Texas
CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
RECOMMENDATION SIX
Build in-kind and financial partnerships between local
businesses, arts organizations, City Departments and
the Palo Alto Public Art Program.
The key to the success of the projects recommended above is to create
partnerships with businesses, community groups, or other government
entities to employ art to address a mutual interest. These partnerships
will be particularly important as California Avenue emerges from the
shutdowns created by the COVID-19 pandemic. There are several potential
partnerships and funding opportunities that will support other plan
recommendations.
A.Partnerships
• Use the Percent for Art in Private Development funds as an
incentive match for partnership projects.
• Approach a local paint company to be an in-kind partner in
transforming the walls from the CalTrain station to Park
Boulevard.
• Collaborate with local arts organizations and City’s
Cubberley Artist Studio Program (CASP) to commission and
curate temporary exhibitions, conduct workshops and
classes, host arts retail opportunities, and performances in
the popup gallery space at California Avenue Plaza.
CHAPTER FOUR - pg 21 CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
• Partner with Office of Transportation on pedestrian and bike
improvements to integrate artist-designed street murals or
crosswalks, banners, and artist-designed bike lanes, helping
to direct bicycle and foot traffic to stores and restaurants.
• Partner with businesses, restaurants and shops to sponsor
and maintain long-term wall mural projects and artistic
displays in empty storefronts.
• Approach neighborhood associations to co-sponsor
changing wall-based artworks.
• Encourage business owners and community members to
serve on artist selection panels, participate in community
conversations about art, and volunteer as public art
docents.
B. Funding
The Public Art Program can seek additional funding to realize the
ambitions of this public art plan.
• Projects with historic themes, whether related to Mayfield
history, architecture, music or art history, will be eligible for
California Humanities grants if their scope is planned
and the work includes humanities scholars.
• There is $15 billion dollars in the new COVID-19 recovery
act set aside for the arts. Palo Alto Public Art can explore the
guidelines for these grants once they are made available.
Sun Flowers, Jennifer Madden and Jeffrey Reed, 2002
The California Avenue District Public Art Plan was created by the Art Builds Community consultants
Barbara Goldstein, Amanda Rawson and Quynh-Mai Nguyen in collaboration with the City of Palo
Alto Public Art Program staff Elise DeMarzo, Public Art Program Director; Nadya Chuprina, Public Art
Program Coordinator; and Denise Laxen di Zazzo, Communications and Artist Studio Program Coordi-
nator. Thank you to the members of the of City of Palo Alto Public Art Commission: Loren Gordon;
Ian Klaus; Ben Miyaji; Hsinya Shen; Nia Taylor; Jim Migdal; and Amanda Ross. And City of Palo Alto
staff, including Kristen O’Kane, Community Service Department Director; Heather Dauler, Senior Re-
sources Planner, Utilities; Brad Eggleston, Director Public Works Director; Michelle Flaherty, Deputy
City Manager; Amy French, Chief Planning Official; Robert George, Business Liaison; Jodie Gerhardt,
Current Planning Manager; Philip Kamhi, Chief Transportation Officer; Sylvia Star-Lack, Safe Routes to
Schools Manager; Rachael Tanner, Assistant Director for Planning and Community Environment,
as well as members of Palo Alto and Bay Area communities who contributed their time and input.
ACKNOWLEDGEMENTS
STAKEHOLDER AND PUBLIC MEETINGS
STAKEHOLDER AND PUBLIC MEETINGS - pg 23 CITY OF PALO ALTO: CALIFORNIA AVENUE PUBLIC ART MASTER PLAN
March 2021
Untitled, Christopher Johanson, 2006
May 7, 2020 City of Palo Alto Staff and Stakeholders
May 22, 2020 Artist Focus Group
June 2, 2020 Public Works Meeting
June 18, 2020 Public Art Commission Meeting
June 26, 2020 Business Merchant Focus Group
July 13, 2020 General Public Webinar
California Avenue public art plan presentation by
Art Builds Community to the public.
Art Builds Community introduced the CoUrbanize
platform to the public to provide feedback.
July 23, 2020 Community Tabling on California Avenue
August 1, 2020 Community Tabling on California Avenue
September 19, 2020 Public Art Commission Meeting
March 18, 2021 Public Art Commission Meeting
Palo Alto Staff Report to Public Art Commission
March 18, 2021
RE: Item 2: Race and Equity in Public Art
STAFF RECOMMENDATION: Staff recommends that the Public Art Commission review and discuss the
findings from Elizabeth D. Foggie’s survey results on race and equity in public art. (ATTACHMENT A).
BACKGROUND AND DISCUSSION
On June 15, 2020, Council directed the Public Art Commission to explore public art honoring the Black
Live Matter movement as soon as possible. On June 18th, the Public Art Commission approved the
temporary street mural and the allocation of funds for up to sixteen artists or artist teams to paint the
mural. Palo Alto city staff returned to Council on June 23 with the motion on the consent calendar to
authorize and begin painting the community mural as soon possible. The full Staff Report is
available here. The mural was painted June 29 -30th, and was the fastest commissioning process the
Public Art Program has ever undertaken. The mural process and feedback from the artists revealed the
need for Palo Alto staff to re-evaluate the language, processes, policies, outreach methods, and the
need to have greater understanding of the needs and barriers to entry for BIPOC (Black, Indigenous, and
other People of Color) artists. One of the artists who was selected to paint the mural was former
Cubberley Artist Studio Program artist and former Palo Alto resident, Elizabeth D Foggie. She has her
own media and communications business, and has spent the last 10 years working on messaging with a
focus on equity, social impact, and storytelling.
The Public Art Commission approved funds to hire racial equity consultant Elizabeth D. Foggie July 16th,
2020 and finalized the contract in late August. The Public Art Commission hosted a discussion with eight
of the artists who painted the temporary Black Lives Matter mural on September 10th, 2020. The artists
shared valuable feedback to an audience of 66 attendees, helping staff and Ms. Foggie identify some of
the concerns and needs of BIPOC artists who wish to get involved with public art projects such as the
Black Lives Matter mural.
The Public Art Commission held their annual retreat September 15th to set the priorities for the coming
two years. One of the priorities identified by the PAC and adopted at their regular meeting September
17th includes the commission of public art projects with the emphasis on cultural inclusion and social
and racial equity. The PAC was introduced to Elizabeth D. Foggie, at the retreat September 15th. Foggie
was just beginning her work with the Public Art Program and the PAC, evaluating the language and
processes for better inclusion of Black artists and artists of color, and will assist staff in making
connections and finding ways to increase the artist opportunities for more diverse artists. She has
completed her evaluations of the Public Art Program language and calls, giving staff clear direction for
more inclusive language and social media posts. In November, Foggie launched an artist survey to gather
feedback from artists interested in working in the field of public art, and will be sharing her findings with
the PAC March 18th for feedback and discussion.
Timeline and Next Steps
The next steps in the process include identifying and developing inward and outward facing educational
and feedback opportunities for the commission and the community based on the research, analysis and
findings gathered, including a workshop or presentation for the Public Art Commission; and a panel of
BIPOC public artists.
Equity & Access Survey Report
Conducted for the Palo Alto Public Art Program by
Elizabeth D. Foggie, MPA
PURPOSE: To determine the demographic representation and barriers to access to Palo Alto public art
opportunities for current and potential public artists in the cities surrounding Palo Alto.
SCOPE: Survey current and potential public artists of various ages, cultural/ethnic backgrounds, as well
as artistic discipline and expertise throughout the Bay Area including, but not limited to San Francisco,
Oakland, Berkeley, Richmond, Palo Alto, East Palo Alto, San Jose, and Sacramento.
DEFINITIONS
Equity and access: the equal consideration for opportunities through the removal of barriers to the target
outreach audience, by appealing to their stated needs, including but not limited to social, political,
economic, physical, psychological, and emotional barriers.
Demographic representation: age, cultural background, artistic discipline, professional development
level, and locations of artists throughout the Bay Area.
Potential public artists: artists working within artistic mediums that can transfer to temporary and
permanent public art opportunities.
Barriers to access: the physical, social, psychological, and communication impediments that prevent
artists from being aware of, applying to, and receiving public art commissions.
SURVEY DESIGN
The Equity & Access Artist Survey is a five to ten minute survey designed using Typeform. Typeform is
designed to engage survey respondents by displaying one question at a time within a simple, sleek, and
aesthetic user interface. It allows for a conversational tone with logic jumps. Conditional logic jumps
allow survey respondents to only answer questions relevant to them, bolstering engagement and reducing
survey completion time.
The survey opened by identifying our intentions to survey artists in the Bay Area to ensure equity and
access in our outreach effort. We ensured the anonymity of artists by aggregating demographic data, and
dissociating qualitative data from individual responses. Artists were given the opportunity to opt-in to the
Palo Alto Art Program’s email newsletter, however in doing so, were not guaranteed any future public art
commissions, only access to being notified of upcoming public art opportunities.
Demographic data.
Survey respondents were required to provide zip code to confirm their location within the Bay Area, and
to indicate their proximity to the City of Palo Alto. Respondents were asked optional demographic
information including cultural or ethnic affiliation.
Artistic experience and expertise.
Artists were asked to identify their artistic medium within the following categories: 2D/Drawing,
Painting, etc.; 3D/Sculpture, etc.; Performance Art; New Media; and Other with an option to specify by
typing into the form. Respondents were asked to also self-identify their professional development level as
Mid-Career, Early Career, Emerging, and Advanced.
Public Art experience in general.
Artists were asked to define public art; share the number of art calls they’d applied to in the last 3 years;
the number of commissions awarded within a given range: 0, 1-5, 5-10, and 10+; to identify those art
calls; and write about their experience completing awarded commissions. We also asked artists whether or
not they ask for feedback regarding commissions they apply to, but do not receive.
Public Art experience in particular.
Following a series of questions concerning their general experience in the field of public art, survey
respondents were asked about their experience with the Palo Alto Public Art Program specifically,
including the name of the commission and a little bit about their experience.
Artists without experience applying to, or working with the Palo Alto Public Art Program, progressed
directly through a series of qualitative questions concerning any professional development needs, barriers,
and desires of public art opportunities.
Self-identified needs and desires.
The qualitative questions allowed artists to write in their own words, how they define public art, their self-
identified needs for training, barriers to public art opportunities, and desires in regards to public art
opportunities. For the full list of responses, see Appendix III.
Palo Alto Public Art Program Opt-in.
Survey respondents were given the opportunity to opt-in to the Palo Alto Public Art Program newsletter
in order to be notified of future opportunities.
METHOD
Five strategies were implemented in order to reach artists in the Bay Area who are currently, or are
interested in working in the field of public art.
In-Network (or Close Proximity) Artists: 41 artists and art leaders (colleagues and friends) within the
consultant's network were contacted through email in November 2020. An email was sent twice with a
short message and link to the survey. A second email was generated and sent after January 2021, and
followed up with organic social media outreach through my personal and artist Facebook and Instagram
pages with a potential organic reach of 4,619 followers combined.
Social Media Promotion: 10 Facebook and Instagram groups (some private) were contacted. In some
cases, a direct message was sent, or a post was published on the public, virtual wall. In February 2021, 4
paid social media ads were run targeting Bay Area artists on Facebook and Instagram with a clickthrough
link to the survey. One A/B test was run to determine the most effective messaging and image. The
shortest campaign was 4 days and the longest 7 days with an average ad spend of $50.
Organizational Artist Database: A list of 321 individual artists was compiled by searching through key
organizational websites with artist databases, social media pages dedicated to public art in the Bay Area,
and by looking up the residencies, studio communities, collectives, organizations and groups associated
with each artist. Artists were selected if they worked in a visual or performing arts medium with current,
and/or transferable skills for public art projects; and had a method of contact by email, website contact
form, or social media channel. Key organizational websites and social media channels included
Hunter’s Point Shipyard, Oakstop, Bay Area Mural Pro (BAMP), Paint the Void, ArtSpan, Art of the
African Diaspora at the Richmond Art Center, Root Division, CounterPulse, Headland Center for the Arts,
Kala Art Institute, 333Arts, Oakland Murals social media page, and the Marin County Art Collective to
name a few.
Artists were sent a personal message, which included how the consultant found them, why she thought
they might be interested, the intention to enhance equity in the field of public art in cities like Palo Alto,
and why personally that was important to the consultant. The link to the survey was attached.
RESULTS
The survey was viewed 429 times, collecting a total of 102 survey responses. The completion rate was
43%, with a 50% drop off rate after starting. This drop off rate declined from 61% when the messaging
was changed in the welcome statement centering equity and access over the City of Palo Alto.
Demographics.
The average age of respondents was 43 years old. 53% of artists who responded were between 36 and 55
years old. The majority of respondents largely identified as part of the global majority with 43%
self-identifying as Black/African/African American, followed by 13% self-identifying as
Latinx/Mexican/Latinx-Indigenous/Afro-Latinx or Hispanic. Concerning residence, respondents were
primarily located within Alameda (35%) , San Francisco (29%) , and Santa Clara (23%) counties.
Artistic Experience.
Survey respondents identified themselves as Mid-Career (39%) and Early Career (32%) . Only 22%
considered themselves Emerging artists. 63% of respondents work in 2D/Drawing, Painting, etc.
Most respondents applied to between 1 and 5 art calls in the last 3 years. Most artists either did not
receive any commissions they applied for (43 %) , or only received 1 commission (28%) . Only 38% of
artists requested feedback on a failed application.
Experience with the Palo Alto Public Art Program.
Only 27% of artists had applied to a public art call. Most artists heard about opportunities through social
media, the newsletter, or through a friend. The majority of artists who had worked with the Palo Alto
Public Art Program, were through the recent Black Lives Matter mural and the Temporary Murals Pilot
Project. Other calls included The William Bliss Memorial, Artist Microgrant, and the Code:ART festival.
In general, the artists who have worked with Palo Alto Public Art call indicated a positive experience.
“Amazing”, “excellent”, “positive”, “pleasant”, “supportive”, “collaborative”, “gratifying”, “helpful”,
“fine”, “neutral”, “straightforward”, and “adequate” were words used to describe their positive
experiences.
Some artists, however, felt the experience was “unmotivating”, “intense”, “standard online application
with no personal back and forth”, and were surprised to not see BIPoC artists on their Instagram posts
announcing their cultural diversity initiative.
Reasons for Not Applying to a Palo Alto Public Art Program art call.
Of the 73% of artists who never applied to a Palo Alto Public Art Program, a majority of artists indicated
that they were unaware of opportunities, or cited location as a primary deterrent. Other respondents held a
perception of Palo Alto as having an uninviting “vibe”, a fear of having to produce “safe, decorative, or
ambiguous” art, and/or a prior outreach experience that centered on race as opposed to the merit and
theme of the artist’s work itself.
Other reasons artists gave included their lack of experience in public art, or an uncertainty of whether their
work was compatible with public art. See full list of responses in Appendix III.
Kinds of Public Art Opportunities of Interest to Artists.
A majority of respondents indicated a desire to see more large scale, big budget murals and sculptural
work; social engaged, interactive, and community centric work especially for communities of color,
womxn and non-binary folx; collaborative, interdisciplinary work amongst artists; 2D and small scale
indoor installations; and culturally, historically relevant work centered on dialogue, critique and
representation of underrepresented voices --- essentially, “make people face uncomfortable truths in a
beautiful way”.
Other requests called for opportunities for site-specific performances; multimedia installations; billboards;
public transportation; mosaics; sound art; and landscape art. Artists also mentioned the need for funding,
public art residencies, technical support, and less intense application processes.
Barriers to Applying to Public Arts Calls.
Artists identified time, awareness of opportunities, cost to apply (time to apply and time to receive funds) ,
limited budget, un-timely communication, issues with the application process, and a small portfolio or
lack of experience in completing public art commissions as the largest barriers to applying for public art
calls.
Other factors mentioned include lack of cultural diversity on the selection committees, bureaucratic
process, lack of transparency and demystification of what a “good submission” looks like, lack of large
scale installation support, a general lack of opportunities with high competition, residency requirements,
and local opportunities being outsourced to non-local artists. See Appendix III for a more detailed list of
barriers.
Public Art Training Opportunities for Artists.
Many artists had not considered or heard of public art training opportunities and were open to
opportunities to enhance their submissions, gain an insider perspective of the public art procurement
process, and strengthen their skills in project management, business, marketing for public art, mural
creation, and handling the logistics of large scale installation, including boom/scissor lift operation, mural
transfer, and other technical considerations for large scale installations (safety, regulations, insurers, etc.).
Artists were especially interested in hearing this information from the Public Art Program and in the form
of artist talks, panel discussions, presentations, hands-on workshops, and mentorship programs, especially
for emerging, self-taught and artist looking to scale their studio work to the public sphere.
Artists also expressed interest in training opportunities for locating application opportunities online.
CONSIDERATIONS FOR EQUITY & ACCESS
There is no shortage of opportunities to improve equity and access in the Palo Alto Public Art Program.
Artists need to know what opportunities are available, when to apply, and need support throughout (and
prior to) the application process. Many artists are frustrated in part because they do not know what is and
is not involved in the procurement, selection and installation process; what a successful submission looks
like; and the practical steps to improve future submission. A demystification of the public art process will
go a long way in engendering trust, and make opportunities more accessible to those not currently in a
public art network.
It is recommended that in the communications of public art calls, that award amount, ease of application,
timely advance notice, and specific mention of the support available are front and center. Personalizing
the calls, and hiring a community liaison or manager to manage and build authentic relationships with key
community leaders, individual artists and groups will enhance the depth, breadth, and reach of the Palo
Alto Public Art Program’s applicant pool. Sharing authentic stories, investing time into curated relatable
content will humanize the “brand” of the City, so people can know what kind of experience to expect from
working with the Palo Alto Public Art Program, and not rely solely on their perceptions or past
experiences with similar institutions.
The consultant suggests going through the qualitative responses for barriers, training opportunities, and
public art interests, and prioritizing them according to ease of implementation to begin.
APPENDICES
Appendix I. Demographic Charts
Age.
Middle Age 36 - 55 years old 53%
Young Adults 18 - 35 years old 33%
Older Adults 55+ years old 14%
Culture or ethnic self-identification.
Black/African/African American 43%
Latinx/Mexican/Latin-Indigenous/Afro-Latinx 13%
White/Caucasian/European 12%
Asian 6%
South Asian 6%
Biracial 5%
Middle Eastern 3%
Pacific Islander 4%
This question was optional, and not answered by 7 respondents. Of those who answered, but wrote in
something other than a culture or ethnicity; their responses included “Artist”, “Open”, “San Franciscan”,
etc.
Zip code (County).
Alameda 35%
San Francisco 29%
Santa Clara 23%
San Mateo 3%
Contra Costa 3%
Santa Cruz 2%
Sonoma 2%
Sacramento 1%
Mendocino 1%
Non-Bay Area 1%
Appendix II. Artistic Experience Charts.
Professional Development Level.
Mid-Career 39%
Early Career 32%
Emerging 22%
Advanced 7%
Artistics Medium.
2D/Drawing, Painting, etc.63%
Performance Art 9%
3D/Sculpture, etc.8%
New Media 7%
Other 14%
Other:
Art Jewelry
Interdisciplinary, Project specific
All of the above/ Intermedia
Combination of 2D and 3D mixed media
Interdisciplinary
Music/Composition
All of the above
Dance and interdisciplinary performance
2D and 3D, sculpture, painting, photography
Transdisciplinary
Pyrography and heat art
Social practice / mixed media
Neon bending
Conceptual, interdisciplinary - drawing upon the media/material as the idea/project requires
Appendix III. Qualitative Questions.
Define Public Art.
1.Art that is freely available for all to enjoy, see,experience.
2.Art that is free and open to the public without restrictions
3.Public Art is the historical, social and cultural representation of a place through visual,
structural and performance art forms by local artists made accessible to local residents,
commuters and tourists.
4.Accessible (physically, financially, etc) art in spaces that do not discriminate
5.The voice of the community
6.Art that occupies public spaces in collaboration with the creator, to me, is public art.
7.The answer is that it's defined by a spectrum of possibilities,largely contingent on
everything from not just budget and scale, but localized to tastes and preferences. There
isn't really a succinct answer to it other than it serves in some way towards the aesthetics
of the people and geography it resides.
8.Art that engages with the public, and typically operating in a space fully accessible by the
public
9.Art that has no barriers for residents of the city to engage with
10.Art that speaks to people in a public setting. The language of the art should not be foreign
to the community it is in.
11.Art easily accessible to the Public- WITHOUT fees for viewing/enjoying.
12.Art that is displayed in public spaces of a city,where all types of people have access to
see the work.
13.Artwork that is of service to the public in any variety of ways, large or small/profound or
simple- whether it's illegally placed or sanctioned
14.Art in public space that engages the community and the artists
15.Art created for public spaces.
16.people art
17.Art for the people
18.Art that is shared with the public free of charge
19.Art that is accessible to the public without a fee.
20.Artwork that is exposed to the elements
21.Storytelling
22.Art for others. Art for everyone.
23.Accessible and free to see
24.Art that is accessible to everyone in a given location
25.Representation of people’s opinion
26.Sculptures, Murals, Mosaics
27.Art that is shared in a public space free for all to experience and encounter
28.Public art is art in public spaces
29.Art meant to be consumed and experienced by the public
30.Art that is out to be shared and enjoyed
31.Art is art it depend on the place where it is you be shown
32.An accessible art
33.Art in the world that is free to view and enhances our surroundings
34.large, non-disruptive art in public space, either beautiful or abstract
35.Sculptures, monuments, murals, plaques, public performance art, parades, signs
36.Graffiti - that tells stories about the environment and any art that is displayed in public
37.Connects people with public space while healing the community
38.Conceptually approachable work made from hardy, resilient materials
39.I think public art is any artistic expression that is available for everyone to view/enjoy
40.Art in a public space
41.Public art is the modification of a space that is accessible to the general public using text,
image, sound, form, or design.
42.Art for all
43.art that is accessible, free of charge, and free of private ownership, made by or through
some kind of democratic process arrived at by the constituents of the locality in which it
is shown.
44.Emergent art mostly inspired by the queer and Latino community, using basic geometric
shapes, primary colors and bold lines.
45.Art in Public spaces accessible to everyone.
46.Art accessible to the community created for the benefit of the community
47.Artwork that is accessible to the general public
48.Art made for the consumption of the general public,often times for free
49.Art that engages with the public in accessible ways, often situated in public spaces,
sometimes bringing to light histories of place and invisibilized voices through artistic
civic engagement.
50.art that is readily accessible to the public, no fees to see/experience.
51.Art that people can easily access and experience completely for free.
52.Very Important part to unify neighborhoods and society
53.Art that is displayed outside the confines of a private space, with a broader audience.
54.A giant outdoor gallery
55.Art that is made to be enjoyed in public spaces—art that is made for everyone.
56.Art in public spaces.
57.Art in and for public spaces
58.Art in a space that can be viewed by anyone. It can be a permanent or temporary
installation in any media.
59.Art that is accessible in common areas and public spaces
60.Artworks and art experiences that are free and accessible to the public
61.Creation in Public
62.3-D installation/sculpture or murals in public spaces
63.Art that is created for consumption in a public space.
64.Something that engages the community with open accessibility.
65.Accessible
66.Artwork that is freely and publicly accessible, accessible in the commons
67.art in public spaces that, if meaningful, sparks dialogue,inspiration, beauty, justice,
movement
68.Any creative project easily accessed by the general public in public space, whether
temporary or permanent. I primarily think of visual art, but can also include performance
art or hybrid forms.
69.Objects or creative experiences available for the general public to enjoy.
70.Artwork that can be interacted with in a public space without having to pay for it directly.
71.Art in visible/public spaces including posters, murals and installations
72.crafted work visible in daily life of local communities
73.Free art for all
74.Art that is free, public-facing, accessible to all,often occurring in public space,
sometimes in private spaces.
75.A space governed by a system that uses a lens to decide what is worthy of exhibition.
76.A great opportunity to educate citizens about art.
77.Art, that can be viewed, by a daily commuter, or a passerby.
78.Curation, event production
79.if it’s in a public place, it is to be enjoyed by the people
80.thoughtful
81.any art created for the public in a public process
82.That everyone can have access to enjoy it. The art could be anywhere on the internet,
outdoor indoor school and anywhere.
83.Art that is in public spaces for the local community
84.The best thing to make you dreams come true
85.Art in the public
86.Public art is sharing, putting your ideas or musings in the sphere of others. It can be
personal or anonymous. Real or imagined.
87.A movement in color that brings people together.
88.Aesthetic objects and experiences that are free and open to a wide range of people,
usually outside.
89.Art for created that allows people to engage, no barriers
90.Public Art is purposeful artwork that engages, enhances,represents and benefits the
community it’s shared with. Public art serves as an educational tool as well as offers
inspiration and beauty to our daily environments -public spaces.
91.Accessible and representative of the constituents in and around a given neighborhood. It
is public!
92.Public Art is created by local artists and is presented in the landscape of their
neighborhood to reflect their neighbors experiences.
93.Art any passerby may appreciate
94.Accessible visually/ spatially/ physically, by and for the people
95.Art that’s displayed publicly or belonging to the public
96.Visual and experiential work that transforms public spaces and communicates emotions
and messages. Ideally it’s free to experience.
97.Art that can be enjoyed by the masses without special planning nor need to pay
98.So far I’ve done 1 public project painted on board and mounted in a public park.
99.Free art
100.Any art for general public
101.Any type of art that is freely viewable to the public
102.Must be "alive" in the public sphere in terms of actively engaging creative agency in
civic engagement (collaboratively and over the long term); Must be generative —"we can
make things that make things" (Theaster Gates). Must be a generative platform that draws
upon site-specific contexts and frameworks as "material"in which to cultivate individual and
collective creative and civic engagement.
List of Palo Alto Public Art Commissions Applied To (23 out of 102 respondents)
1.Black Lives Matter, outreach by the City of Palo Alto and former CASP residents.
2.I’m not sure. Sorry I’m not at my desk to find out.I don’t know if I have received it yet.
3.California St
4.Public art pool, the BLM letters, and the recent micro grants. Mostly through word of
mouth.
5.Temporary public art program. Through newsletters
6.Recent
7.I don't remember which one.
8.Temporary Murals Pilot Project. I learned about it through the email newsletter!
9.Through their Instagram
10.Temporary Public Art Pilot Project, October 2020.social media
11.The William Bliss Memorial. I heard about it through a RFQ.
12.BLM street mural. From a friend.
13.Black lives matter mural, heard about it through an artist page on Facebook
14.Micro grant , and BLM letter for temporary mural.Social media.
15.BLM Mural
16.Before COVID, a call for "art entrepreneurs" for an outside tech art festival in Palo Alto.
17.Black Lives Matter street commission someone emailed me
18.The BLM mural, which I heard about through social media
19.Last year’s temporary mural project- I heard about it through social media
20.I received an email regarding the Black Lives Matter Mural
21.The BLM letting on the street and a design project where the design will be painted on
my behalf.
22.BLM mural, it was an opp sent by MVLA scholars
23.Facebook
Experience working with the Palo Alto Public Art Commissions.
1.It was fine. They were helpful. They provided a meal,adequate pay for transportation and
materials, with sufficient funds for labor.
2.Very gratifying and collaborative
3.Positive
4.It was amazing—everyone was so supportive, and genuinely felt like they wanted to
encourage me as an artist. For instance, I had concerns about the location that had been
assigned for my mural, and Nadya and the team found a new location that was
PERFECT! Throughout the whole process, I felt very supported, and it was so surreal to
see the mural in person last weekend. Thank you for this opportunity!
5.It was very pleasant
6.Straightforward. Standard online application. No real personal back and forth, but I didn't
request this anyway.
7.Excellent!
8.It was excellent.
9.I grew up in the PA school system as a kid and participated first as a student from a local
public school art class. As an adult I participated in calls to artists.
10.Unmotivating.
11.Amazing. Probably the most comfortable I felt, for the entirety of 2020. Would love to
work with you again.
12.Neutral. I didn't get the commission.
13."The application process was straightforward.
14.The chosen artists were shared on Instagram. I was surprised to see no BIPOC artists
were selected for a call that named ‘cultural diversity’as a goal."
15.Intense but not unenjoyable.
Of 23, received the Commission, 8 chose not to respond.
Reason for not applying to Palo Alto opportunities.
1.Don't live in Palo Alto
2.I don't live in Palo Alto
3.Didn’t know about it at all
4.I live in Oakland.
5.Up until now, it was having any visibility into the fact that it existed.
6.Lack of information on current opportunities
7.Didn't know about it...Dont know if my art is appropriate for public city art.
8.I live further away and don't have a car, so that city feels inaccessible at the moment.
9.No opportunities found
10.Just didn’t see the call
11.I have never been to Palo Alto, and don't really vibe with the bay outside of Oakland.
12.I don't live in Palo Alto
13.Not aware of any open calls for artist
14.Distance
15.Never knew about it
16.Didn’t know
17.I have never done public art before, so I feel a little inexperienced
18.Location
19.I have never done a public art commission
20.Never heard of it
21.Did not know about it
22.Never thought of it
23.I have not considered public art
24.I am pretty early in my career; a lot of the art opportunities that come my way have been through
word of mouth, or I have stumbled upon them. In addition,I am still fine tuning my website, my
CV, and my arts practice, so I have only applied to opportunities in San Francisco.
25.I did not know about this program
26.Distance from my home, fear of logistical nightmare,fear of directive to make "safe" or
abstracted and conceptually ambiguous decorative work.
27.To be honest just lack of time and not really being plugged in to the art community as much as I
want to be
28.I didn't know that it existed, I'm also only marginally connected to the community so feel that I'm
an asset when existing community invite me in
29.I wasn't sure if the work I would be doing was the kind that would be of interest.
30.I don't know about this
31.Location
32.Not based in Palo Alto and not aware of the opportunities
33.Didn't come across them, maybe not suited to my work
34.I was invited to participate in a racial justice project for a mural. That's not the work I do. While I
passed the information on to some other artists I know, it appears I was on a "Black Artist" list
and contacted for that reason alone. Not cool.
35.Never heard of it
36.I didn’t know it existed till now
37.I've been working with private owned businesses, directly with the owners or commission work.
38.I've not been successful in landing public art commissions so I thought it best to start with a small
city first. I also didn't think Palo Alto would be interested in my type of work.
39.I don’t live there so I just did look forward any
40.Haven't been alerted to a project
41.Just haven't.
42.Lack of info
43.Knowledge of opportunity and interest
44.Only do work by requests or invitation
45.Not a visual artist
46.do not live there
47.Not local
48.For the past 10 years I've been living in NYC so logistically it would be challenging. Also, I tend
to not apply to public art opportunities as I find residencies and studio programs to be more
rewarding. When I think of public art opportunities,typically, I think of a lot of bureaucracy,
insanely laborious applications, and the organization putting all sorts of liability and insurance
requirements on the artist. But there are very exciting things happening, shifts around
monuments, representation, and temporary projects,that are really exciting, e.g., Monument Lab
and the Office of Public Art in Pittsburg.
49.My art is not a public art unfortunately.
50.Was not aware
51.Otherwise engaged
52.Its too complicated and difficult
53.I just became member of the Palo Alto Art Community
54.I just heard about you now.
55.I didn't know there was one!
56.I don’t like that I have to be in the Bay Area to apply. I'm an artist that resides in Sacramento and
I am always very willing to travel for art opportunities and it sucks that a lot of Bay Area art
organizations exclude others.
57.Lack of information/awareness
58.I did not know of the application.
59.Typically timing—if I'm working on another project.And if the project needs to be done on a
timeline that doesn't work. Or not the right fit for what they're looking for. Also, the amount of
work it takes to apply. I would love to apply to more things (and need to as the grants themselves
are usually not enough) but applications typically take so much time, I've found myself often
without much time for the actual work. So now I try to really focus on those few things that
match and support the project goals, timeline, and feasibility.
Public Art Opportunities of Interest to Artists.
1.At this stage in my career, I am most interested in fully funded opportunities that don't
require new or original work. Established artists spend a lot of time piecing together
small grants and funding opportunities to create new work. There are not enough funding
opportunities to further develop works-in-progress.This is essential to the longevity to
the sustainability and depth of our art.
2.I would like more collaborative opportunities around permanent structural Public Art to
enhance my portfolio and grow in the field. I would like more opportunities that spark
critical conversations that improve social life, and spark deep thinking in the populous. I
would like more opportunities that center the historical and cultural identities of a place
and extend to audiences throughout the Bay Area.
3.Performing in site-specific public spaces - perhaps interactions with architecture or
nature. Perhaps working with community members to co-create performances
4.Mural Commissions (businesses/plywood)
5.A hub for art listings and mural opportunities for BIPOC and local African American
Artists from the Bay Area."
6.Billboard pop ups.
7.Probably mural work, up to a certain scale, or cases where some of my own 2D work is
suitable for interior collections of buildings used by the public.
8.Public sculptural art
9.Opportunities for black and POC artists to do LARGE scale mural works In downtown
areas , not just plywood. More $$ for art so we have beautiful imaginative cities
10.An opportunity to make culturally relevant work that isn't policed or judged by people
who have no clue how to relate to cultures outside of their own.
11.Paintings
12.Community centers, outdoor spaces, something where anyone and everyone can walk by
and experience the work without having to pay.
13.Murals, Public Engagement
14.I prefer indoor installations for the longevity and stability of artwork
15.Art clinics ,billboards ,gallery shows
16.Opportunities to bring art to underserved communities
17.Ones that are well funded and accessible within the application process. Any application
process that takes more time to apply to than to create the actual work is unrealistic,
unsustainable and viewed as an intentional barrier set by gatekeepers therefore I will not
waste my time.
18.Paintings
19.Black History
20.I’ve been really desiring to do a mural on a 12+ story building
21.Sound art, landscape art, art that engages the public with nature
22.Display indoors
23.Mosaic related projects, community centered projects
24.2D projects and murals
25.Opportunities for payment//grants to provide funding for political/protest art//funding to
support Bay Area studio practice with the understanding that artists impact the public
sphere
26.Art on walls , Murals, art transferred to installations
27.Anything that reflect black history from my point of view
28.Mural, poster on streets
29.Murals
30.Sculptural work that might make some people uncomfortable but others secretly happy
that they were not alone
31.I think that public art that is honest about this country’s past racism, more public art
regarding Indigenous First Peoples of the region,or just more public art from different
perspectives.
32.Working with the community
33.Murals or temporary
34.I am not interested in the physical labor of mural painting or large scale art making. I am
interested in providing a model for fabrication or a detailed plan for painting and to be
onsite for supervision only.
35.I’d be interested hearing about most opportunities
36.More edgy, pointed social critique.
37.Murals
38.collaborations with other artists in the bay/interdisciplinary.Celebrating connection and
difference.
39.Various level public art opportunities would be wonderful. Such as incorporating socially
engaged practices as a kind of public art work as well. Also, more opportunities for
BIPoC and non-binary folks.
40.Indoor/Outdoor public spaces, murals, and big scale sculpture
41.As a primarily digital artist I'm excited for the opportunity to print my vector art in large
format instead of physical painting. The question before about feedback on rejection
would be amazing.
42.Interactive, indoors, installation
43.I'm looking to create work on glass. and i'm especially interested in getting art into
communities of color.
44.Paid
45.Opportunities that compensate artists well and lift up dialogue and engagement with local
communities, rather than the insertion of “high art”into communities that may not want
or relate to it.
46.Large commissions
47.I am very intentional about the work I do since I only create Black bodies in bronze. I am
a sculptor and only answer art calls for sculptures that provide an opportunity to shape
culturally significant memories that determine how African descendants are publicly held
and remembered. Dr.Maya Angelou is quoted as saying,"There is no greater agony than
bearing an untold story inside of you." I believe that the stories of Black people need to
be told in bronze because the material lasts for hundreds of years, long enough for
generations to absorb the narrative in order for it to become a full part of American
History.
48.Mural
49.Murals centered around the community who will see them most often
50.Any. I'm interested in illustrating the struggles and life happening in the Latino
communities, I also work painting large scale wildlife,plants, farming and other nature
subjects.
51.Murals!
52.Sculpture
53.Small scale art installations indoors.
54.Government, commercial and philanthropic
55.Indoor works- my particular art form is not good for outdoors.
56.Collective mural projects that engage the community in transforming public space.
57.Murals, walkway decor
58.Opportunities that provide a lot of exposure i.e.good foot traffic. Opportunities that are
related to concepts that I'm interested in around social justice and art of the African
Diaspora.
59.Something that allows me to connect with the community and give them art back.
60.Public Art projects that are inclusive of the communities they are located in.
61.Funded opportunities with systems in place for technical support
62.Those that include multiple view and vantage points,are against white supremacy, and
encourage/demand equity and access for all in the community, esp. BIPOC
63.2D for the most part, either permanent or temporary.3D would be interesting, but seems
more daunting since my portfolio doesn't reflect my earlier experiences with 3D forms.
64.The Public Art opportunities that interest me most(and I think I'm best suited for) are
those with the intention of announcing that a space or place is open to everyone to enjoy.
65.Mural projects
66.large scale murals
67.Pop up events with community participation that produce materials for a finished piece
that can evolve later and become its own installation
68.The ones that make people have to face uncomfortable truths in a beautiful way. I also
feel that public art opportunities should first be given to those in the community who are
underprivileged, especially to BIPOC female artists who have historically been
overlooked.
69.I'm a social practitioner so I'd like to see more public art residencies, similar to my recent
project in SF Chinatown resulting in a comic book based on local residents' feelings of
belonging. Someone from the NYC public art commission said that the comic book was a
monument, which I loved. I think more opportunities that don't have to result in
permanent sculptures/installations/murals would be great. More opportunities to engage
communities, and create temporary art works would be great. I really like how the Office
of Public Art in Pittsburg supports artists with multi-year community engagements,
recognizing that engaging communities, especially marginalized ones, takes time, and
money (including money to pay participants).
70."You don’t have to say and go out of your way to include BIPOC, just do it. There
shouldn’t be a limited set of opportunities for people like me to be exhibited year round
without signaling anyone out. This is not equity.
71.Include a variety of folks of color from different generations, who sit on your chair, to
help enrich this part of our world with the beauty we exhibit in public all of our lives.
72.Thank you for working on this."
73.Public transportation area. Commercial space.
74.Permanent. Also something that bridges a gap between humans, as a whole.
75.Performance and visual work
76.Large collaborative mural projects that would bring together unconnected artists under
one project
77.Showcase my covid series in city hall
78.Indoor, to utilize paintings on canvas
79.Collaborative projects
80.Since the pandemic I've seen a lot of murals, I've never done one but i'd like to try! It's
nice to walk around SF/Oakland and look at everyone's work and what's on everyone's
mind. I would like to see more creation around public space.
81.The kind of opportunities without so many rules. It’s very annoying for artists to have to
jump through hoops just to get involved in something public. It takes the fun out of it and
discourages artists from wanting to apply.
82.Funded. Interactive spaces and unusual places.
83.Just knowing where to access information.
84."Educational
85.Multimedia installation
86.Public performance
87.Mural painting"
88.I would like to put up a neon sign that I made of Breonna Taylor ’s name because I believe
in radical illumination/alchemy. Putting a light on the atrocities done to BIPOC womxn
89.Visual Arts that reflect the dreams and aspirations of a community.
90.Art in steel sculptures and forms
91.Architecture as Art (with a capital A)
92.Anything I can do from like (ie digital art)
93.Opportunities that seek to authentically engage with their communities; that welcome
social and political critique as well as imagination;that show our young people art is
always possible and there are many ways to express it.
94.Large Scale Murals, Interactive work
95.More paid opportunities. More opportunities designed for minorities and womxn.
96.Murals and installation to create new styles by fresh artists. abstract art, surreal art,
graffiti art ...
97.Mural
98.One that would support the artist, sustain the opportunities for future artists and let people
freely express themselves
99.It would be great if there was a larger grant that would support and encourage
longer-term projects/research in the public sphere.Say 1-2 years? Artists often need to
apply to a number of piecemeal grants which necessarily limits output and time to do the
work in the community. Tight timelines/restrictions can result in short-term engagement
in the community. A longer term investment/opportunity could help cultivate deeper
engagement and value. Would also be great if there were more open-ended opportunities
that focused on interdisciplinary long term, generative projects and/or supported the
research and cultivation of a big idea/platform. This could also help artists grow deeper
roots in their practice and in their communities.Kind of like a local Creative Capital
grant (except without the long year and a half process as it is so hard to propose a work
that far ahead with any precision. And without tons of restrictions like "must be a new
work" as this would prohibit the ability to encourage iterative, durational, and long term
projects.). Something that supports artists with a proven track record to cultivate big ideas
and beautiful questions.
Omitted responses were “N/A”, “All or any”, “I don’t know”, or “I’m not sure my work is compatible
with Public Art”.
Barriers to Applying for Public Art Calls.
1.Administrative time for applications. (Some grants are now allowing artists to submit
applications for other grants in place of completing their own applications which has been
a huge help in terms of accessibility. For example,the Rainin Foundation has accepted
the Creative Work Fund application.)
2.Knowing about opportunities in a timely manner, transparency about the process,
mentorship in the field for high budget opportunities,and a general demystification of the
process especially in respect to portfolio building for permanent large scale projects.
3.Cost, location, my type of art
4.Knowing exactly where to look! I’m based out of Oakland so majority of the work
available would be Oakland maybe SF
5.Costs.
6.They are likely to carry the Lion's share. Firstly for younger artists or less experienced
ones there is imposter syndrome or an inferiority complex that prevents taking the risk.
The other is quite simply visibility, with many artists I suspect not being particularly good
at looking for and cities generally not always being consistent in broadcasting the
opportunities that exist.
7.Application fees
8.Personally- I find it more beneficial to build direct relationships and seek specific
opportunities based on relationships. The bay is so expensive I don’t have time to spend
many many hours on applications that get declined or have long timelines before payment
can come
9.Artists who aren't from the communities they place art in usually being the ones selected
for opportunities. But that same opportunity is not being extended to underrepresented
artists to go into exclusive communities to make public art.
10.not sure if my art would be appropriate.
11.I'm still an emerging artist and don't have a well-curated portfolio. Additionally, I have
received mixed feedback from panelists, where some understand what the work is about,
and others do not. Most of my work involves cultural meaning, and it has felt
intimidating validating and explaining that work for a seemingly mostly white audience.
12.Time and effort required to make it stand out
13.My time management.
14.I don't want to/ I don't have time/ it doesn't interest me.
15.Applying for them
16.Applying for them
17.Finding out about them with enough time to put something together
18.Gatekeepers.
19.Getting the information
20.Not having 501c3
21.When they expect designs without paying people for design time
22.Time
23.The amount of writing that goes into proposals
24.It’s mostly outdoors
25.Personally, I don't see a lot of public art calls
26.Not my medium or format
27.Fear
28.Unnecessary bureaucratic application processes/ don’t know about them or where I can
find out about them
29.Application fees, time consuming
30.Denied
31.There are not many opportunities and they are tight in competition.
32.Application length with no pay. The need to pitch an idea (do the creative part of the
work) without having a meeting with a client (which is difficult—most calls have very
broad themes listed or multiple themes which can easily make an artist interpret
incorrectly what the client is looking for) and then not getting selected anyway.
33.I don't know how to make large work and I think my work might be disruptive and
unacceptable for public spaces
34.My perceived lack of experience.
35.Marketing and advertising
36.Writing the application. Finding the right language to my ideas
37.Personal experiences of public art projects with too many non-art focused stakeholders
weighing in with great authority.
38.Time
39.Small budgets, not enough time to apply, overload of information, too large/extensive
application processes
40.The application and getting the funds.
41.The paperwork coupled with the assumption that I am not what/who they are looking for
demographically (which is an unfortunate combo).
42.I still consider myself emergent, and sometimes they ask for a lot of work from the past /
documents that I don't have
43.Time it takes to apply, and Medium restrictions
44.Many are for artists whose work is for outdoor spaces
45.Money
46.I have extensive hand injuries that mean I cannot take on too much typing work. I have
encountered very few applications that allow for alternate modes of application or that
offer the accommodations (such as a scribe) that would make this doable.
47.Creating renderings, budgets, etc
48.Waiting for the right call.
49.Budget
50.My writing
51.I don't know how to install the murals myself (this time, the mural was installed for me
using adhesive) so sometimes I feel like I can't apply since I don't know how to do it
without help.
52.The applications can be long and the commissions usually go to an artist that has
experience working on public art projects.
53.Large scale installation support
54.The process takes a long time, lots of paperwork and meetings.
55.Time
56.Knowing about them in a timely way, funds offered that would actually pay the artist
after all the expenses of fabrication and helpers and installation are covered.
57.It's like a crap shoot. We spend hella time and it's like playing the lottery
58.Lack of info
59.Writing RFP's RFQ's LOI's understanding the language of the grantors. Time and ease of
application process.
60.Experience and lack of public art opportunities in the first place.
61.They are mostly interested in permanent material installations
62.Most public art calls rely on an extensive history of public art fabrication and installation.
I'd be interested to see a call that included provisions to support artists who may not have
worked in permanent public art before, as the materials and processes tend toward
expensive and specialized.
63.I would imagine fear of writing proposals, artistic statements, or if the application
requires too many qualifications or is centered with the white or academic gaze.
64.Mystifying requests for details sometimes, and poor communication about what the jury
will actually review. I applied for a call recently that demanded a ton of time and effort be
put into a budget and vendor research, as well as a very elaborate project explanation (I
was a finalist). The jury saw NONE of these researched details, and only saw the
proposal images right before they voted. It felt like a colossal waste of my time to have
been told to spend all this time on something the jury wasn't assessing my work on. I
have also been on juries myself where this happens.It's absolutely unfair to the artists.
65.An inability to obtain feedback on RFQ and RFP responses.Artists would benefit from
knowing what, if any deficiencies might have impacted their submissions. Not to answer
the question "Why didn't I get the commission, but just to answer the question "How
could my submission have been better.
66.Time.
67.Knowing about them.
68.Confidence.
69.They always ask us for an entry fee when we enter,but we are the ones who should be
getting paid. The public comes only if the artists create, asking us to pay just even to be
considered can add up. I believe Palo Alto had enough funds amongst its population to
get the donations you need without taking money from artists who already have a hard
time paying bills.
70.I think the insanely laborious applications. I think a tiered approach where not everyone
has to prepare everything (proposal, rendering, budgets,etc), and finalists are
compensated to prepare that stuff, would be better.// I also think asking artists to carry
insurance and be responsible for a lot of legalities is off-putting to many artists, and I
wouldn't be surprised if this falls along lines that map to privilege in education level,
class, and race. // Lastly, I am moving cross-country soon and this makes me ineligible to
apply to many civic opportunities that require 2 years of residency. I would like to see
more flexibility given to residency requirements.
71.Transparency.
72.Distance from home.
73.Accessibility of information
74.Otherwise engaged
75.The rules are imposable
76.Compatibility
77.Physical energy
78.Experience or portfolio requirements
79.Never really hearing about them.
80.The very peculiar “must-dos” for the applications.It’s highly discouraging. That’s why
most artists look for opportunities through people they know, because the most freedom
is given to them through trust. Which is more fun.
81.The application process has limited options for links to samples. Not everything can be
reduced to 4 jpegs. I produce art in a variety of media, including audio, non-video
performance, streaming, and computer code. Video links are not always appropriate. I
have a well designed website that has much better options for looking at work. But, the
reliance on free application tools such as Google forms, CaFE, and SurveyMonkey limit
my ability to provide a substantial set of materials.
82.Not knowing
83.Time
84.It seems inaccessible and specific to neon, it doesn’t seem as if there’s much room for my
art form except in a gallery
85.Being notified when the application is available.
86.Covid 19
87.As an architect I am never aware of these calls. But I realize architecture is generally not
considered and art anymore (somewhat, but not completely,understandably)
88.Finding out about opportunities in the first place
89."Time. Many calls (including the Palo Alto temporary art call) are time intensive.
90.Like many Bay Area artists, I work multiple gigs to support my family and creative
pursuits. I have to assess which calls are even worth making the time to apply to."
91.Most often it seems like a waste of time and money
92.Being rejected twice with no feedback.
93.The 6000 word cover letter/ proposal in the application
94.Small portfolio
95.Perhaps feeling overwhelmed by the number of other artists that you may have to
"compete" with in order to land the commission or opportunity.
96.Time.
Other responses were “I’m not sure”, “N/A”, “I don’t know”, or “None”.
Requests for Public Art Training Opportunities.
1.Large budget structural arts mentorship, and demystification of the process. More high
paying opportunities for those transitioning into the niche of Public Arts. General
transparency around the process, and where to develop those skills outside of a traditional
matriculation setting.
2.Creating performance in public spaces
3.Art business, social media management and marketing!What that means as an
independent artist and how to make it work on a bigger picture
4.Project funding.
5.To be honest, I'm not sure what you mean by "public art training".
6.Proper application/process training
7.Free art classes and application classes for emerging,self taught, BIPOC artists.
8.Preparing files/ portfolio website
9.How to properly write a proposal, training on expectations in the application process as a
whole.
10.Community engagement
11.Submission processes
12.Murals
13.Ones that are fully funded and support a project from application to project completion.
14.I would want more business training at this point.
15.Murals
16.Disability justice, accessibility, installation safety,marketing public art
17.Outdoor training
18.Opportunities related to painting murals or creating mosaic murals
19.Workshops
20.Learning how to write proposals
21.Ones that support with application processes
22.What is accepted what is not
23.Any networking ones. I need my name out there but I will not do work for free to get
“exposure”
24.How to translate the size work I am accustomed to making into a larger scale, issues of
materials, engineering, safety, cost, and so on
25.I would be interested in learning about ways to make my application stand out, or how I
can better describe my artwork in applications.
26.Teaching and community building
27.Writing and budgeting
28.Panel discussions on the potential for interactive installations, the intersection of function
and form, and incorporating plants/landscaping into public art works.
29.Depends on location
30.Installation and regulations of public art
31.Supporting master artists with large scale installations..
32.Grant Writing workshops, mentorship
33.Graffiti art, Metal Sculpture, Ceramics, Screen printing
34.Maybe how to write grants/statements
35.Proposal writing workshops, budget drafting, etc
36.Fine tuning presentation
37.Paid
38.How to create renderings, using google sketch up
39.Photoshop type programs...
40.Be more involved with the local community
41.Murals
42.How to install public art; how to create art for a diverse audience
43.The Public art process. Working with city departments etc.
44.I’m not sure what my options even are in that arena
45.A series of workshops, live, not recorded or on zoom.
46.Vendor matching
47.I'm not familiar with Public Art Training, what is it?
48.How to create stable forms that speak to the community.
49.How to apply for funding. How to file taxes. How to make the leap from studio-based to
production based scale work.
50.I know that artists always request tech assistance/prof development with funding, grant
writing/artist statements, budgeting time and networking cross sector (civic, tech,
education, etc.)
51.Probably how to budget for ambitious projects, and other logistics (how to work with
vendors, insurers, tech consultants, etc).
52.Training on writing impactful RFQ responses would be helpful.
53.How to obtain and operate a scissor lift, or boom lift.
54.Participating in projects with artists in their installations.
55.Gallery handling
56.Grant writing
57.Getting help in the studio"
58.I think NYFA's doctor's hours and portfolio review sessions can be really helpful. There
seems to be a big gap between the fundamentals/intro PD and the actual skills and
experiences it takes to confidently fill out these laborious applications. // The Office of
Public Art had their municipal AIRs discuss their projects, and I really appreciated the
frankness of the artists in saying, this is what happened,what problems I ran into, what
opportunities I encountered, how the org supported me, etc.
59.Everything possible for a starting artist.
60.Application process and specific expectations regarding the public space.
61.Cultural Equity, intervention of public spaces, among others
62.City hall & gallery's
63.Painting classes to get better.
64.Artist talks
65.A well organized presentation of the procurement process for permanent public art, not
just microgrants. Publish the names of the people who approve the art. So we can get a
sense of their background. All the wonky nuts and bolts info about which agencies
actually cut the checks and how to get approved as a city vendor if needed. Logistic
details, not vision statements.
66.Workshops on submitting materials
67.I’m unaware of art training opportunities otherwise I would possibly be interested
68.Grant writing. Different kinds of installations.
69.How to ensure equity in public art funding
70.In person and online....will there be food?
71.Mural workshops. Project management workshops for collaborations.
72.Career advice
73.Any help with portfolio
74.Mural transfer, techniques, and how to find and or seek sustainable art opportunities.
75.Social Media? Project management - planning, google drive sharing and other
organizational tips and collaborative platforms, workflow,interns/assistants.
Other responses were “I don’t know”, “Any”, “None”, “I’m Open”, “Anything”, “No Clue”, “Uncertain”,
“What are my options?” and “All I can get”.