HomeMy WebLinkAboutPublic Art Master Plan 10.31.071
public art
MASTER PLAN DOCUMENT
for the city of ashland
NOV 2007
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Public Art Commission Members and Liaisons 5
Introduction 7
What is Public Art? 9
Why Public Art? 11
Appropriate Sites for Public Art 13
The Master Plan Public Process 15
Master Plan Solicitation Tools 17
What Did We Learn? 19
Goals and Implementation 20
Appendix A A1
Policies and Procedures
Appendix B B1
Public Outreach
Appendix C C1
Questionnaire Results
Appendix D D1
Final Report on Public Meetings and Focus Groups
By Adrienne Graham, Leapfrog Training and Facilitation
Appendix E E1
Summary of Expenses
Appendix F F1
Public Arts Commission AMC 2.17
TABLE OFCONTENTS
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Melissa Markell, Chair
Dana Bussell, Vice Chair
Claire Anderson
Jennifer Longshore
David Wilkerson
Annette Pugh
Tomi Douglas
Alice Hardesty (Council Liaison)
Ann Seltzer (Staff Liaison)
Carissa Moddison, SOU Student Capstone Project
Adrienne Graham, Leapfrog Training & Facilitation
The Public Art Commission (PAC) acknowledges the dedication and
perseverance of previous PAC members, Friends of Public Art and
Elected Liaisons, whose work in the early years of the commission
helped pave the way for our work today.
Catherine Rickbone
Bruce Bayard
Dennis Gay
Sharon Devora
Ron Demele
Arnie Krigel
Kip Todd
Inger Jorgensen
Richard Benson
James Young
Kate Jackson (Council Liaison)
Alex Amarotico (Council Liaison)
Diane Amarotico (Park Commission Liaison)
2007 PUBLIC ART COMMISSION MEMBERS AND LIAISONS
Over the years, public art has gradually become a more notable feature of
the Ashland landscape. Thanks to the early efforts of private individuals and
civic clubs, we have the Butler-Perozzi Fountain in Lithia Park, the Carter
Memorial known as Iron Mike on the Plaza and a few other notable pieces.
Public art started to gain some momentum with the 1988 Downtown Plan,
which recommended that public art and fountains be installed in specific
locations downtown — one of which is the Black Swan Plaza in front of the
Chamber of Commerce and the former Black Swan Theatre. Improvements
were made to the area including the addition of a fountain and a commis-
sioned piece of art called Street Scene, which was paid in part with 1% of
the overall project costs. Other recommended downtown improvements
regarding public art were never implemented.
Towards the end of the 1990s, a group of Ashland citizens formed the
Friends of Public Art Study Group. After meeting for more than a year, the
group requested that the City Council form a commission dedicated to
public art. The City of Ashland Public Art Commission (PAC) eventually was
created in 2002 and acts as an advisory body to the Ashland City Council.
During the five years the commission has been in place, two permanent
pieces of art have been installed: Rio Amistad above Calle Guanajuato and
Nourishing Our Community at the corner of Pioneer Street and Lithia Way.
In addition, the PAC established a sculpture garden in memory of former
Commissioner Arnie Krigel on Calle Guanajuato, and has also installed two
temporary pieces adjacent to the staircase, Oyster and Kelp.
The pieces were funded primarily with private contributions, a bequest
from a long-time Ashland resident, a grant from the Ashland Parks
Foundation, a grant from the Jackson County Cultural Trust and a one-time
allocation from the City of Ashland.
Shortly after the commission was formed, the members began to draft
its Policies and Procedures, which included site criteria guidelines for the
installation of public art, the selection process for public art and more.
Refer to Appendix A for Policies and Procedures.
At the request of the City Council, the PAC began work on this Master Plan
in the fall of 2006. Recognizing that a Master Plan should reflect the goals
and values of the community, the PAC spent six months gathering input
from citizens to determine the community vision, expectations, and
desires for public art in Ashland.
This Public Art Master Plan will be used as a roadmap to help City
leadership understand the long-term value and direction of public art in
Ashland, but will also be used by the Public Art Commission as a strategic
and tactical tool to help make public art happen in Ashland.
INTRODUCTION
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The term “art” broadly signifies those things that are visually meaningful.
“Public” designates those places that, whether owned by the government
or by a private entity, are open and accessible to the public.
Public art is artwork in the public realm, regardless of whether it is
situated on public or private property, or whether it is acquired through
public or private funding. Public art can be sculpture, murals, manhole
covers, paving patterns, lighting, street furniture, building facades,
kiosks, gates, fountains, play equipment, engravings, carvings, frescos,
mobiles, collages, mosaics, bas-reliefs, tapestries, photographs,
drawings and more.
What
IS PUBLIC ART?
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Public art highlights a community’s commitment to art and enhances
the community’s quality of life. It educates and inspires citizens and stim-
ulates creativity in the workplace and in our schools. Studies show that
public art serves as a powerful economic force, attracting businesses and
qualified workforces. The most traditional and perhaps most fundamental
reason for public art is for the delight of citizens and visitors alike.
Public art enhances public spaces and creates destinations in a commu-
nity where people walk and gather. Well-designed and attractive artwork
strategically located throughout the City encourages people to fully
appreciate and utilize public spaces.
Public art can advance overall urban design initiatives or priorities for
a community by delineating gateways and neighborhoods and beautifying
traditionally unremarkable aspects of public works infrastructure.
For instance: in Seattle artists have designed manhole covers and tree
grates; in Miami sound walls along freeways are designed by artists; and
across the country, artists have been commissioned to create sidewalk
paving patterns, gateways, benches, light standards and utility boxes.
Why
PUBLIC ART?
Public art has historic and educational value as well. It can commemorate
events, honor individuals, or identify historic locations. It also creates an
opportunity for the expression of the diversity and the unique character
of a group or area.
Finally, public art may serve as a forum for supporting local and regional
artists. As a city works to enhance the quality and character of its public
buildings and spaces, there is a tremendous opportunity to illustrate the
rich visual heritage of the region. By providing access to art and creating
an environment of enrichment and pride for all citizens, public art within
our city gives a sense of discovery and vibrancy to public spaces.
For all these reasons, public art is an essential component of a thriving
community. It is the purpose of the Public Art Commission through this
Master Plan to enhance the character of Ashland with the addition of art
in public places.
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Public art should contribute to city life and people’s use and enjoyment
of public places.
A site or sites may be chosen for a variety of reasons. It may be specific
to a story about a person, an event or the community. The site may be
selected for its visibility or simply because property development is
offering an opportunity for public art.
Some public art welcomes people to town, marks a town center or
provides shade and resting places in a park. Some are sited in high
traffic areas, especially places frequented by pedestrians. Other
common sites include: highway entrances (for welcome markers or
gateways), major public buildings, parks, neighborhood communi-
ties, schools, senior centers, police and fire stations, and town centers
where people walk and gather.
APPROPRIATE SITES FOR PUBLIC ART
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The Public Art Commission sought citizen input over a six-month period.
During the public involvement period, the PAC asked citizens to:
1. Determine if public art is important to the community.
2. Determine where public art should be located.
3. Determine what types of public art are of interest to the community.
4. Determine how public art should be funded.
The PAC approached the public involvement process using a variety
of tools: a questionnaire, which was distributed throughout the
community and available on-line; presentations to local service
clubs; two public forums and two focus-group sessions.
Refer to Appendix B for Public Outreach.
THE MASTER PLAN PUBLIC PROCESS
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Questionnaires
The PAC developed a questionnaire which included 24 questions.
2,500 questionnaires were printed and distributed throughout the
community: at the library, art galleries, City Hall, Council Chambers,
Ashland High School Art Fair and the SOU Campus.
The questionnaires were also posted on the City’s Web site and
mailed with the Chamber of Commerce newsletter. More than 300
surveys, a 12% response rate, were completed by hand and another
59 submitted online.
Refer to Appendix C for Questionnaire Results.
Public Meetings
Two public meetings were held in February 2007. The purpose of the
public meetings was to invite local residents to discuss three topics:
1) types of public art, 2) locations for public art, and 3) funding for
public art in Ashland. The meetings were structured as “town cafes.”
Participants were divided into groups of four to six for 10–15 minutes
of discussion about what type of public art they wanted. After this
initial round of discussion, participants were divided into new groups
to build on the initial ideas about the types of public art. This process
was then repeated for discussing locations and funding. Public Art
Commissioners and community volunteers served as table facilitators.
Refer to Appendix D for the Final Report on these public meetings.
MASTER PLAN SOLICITATION TOOLS
Focus Groups
Residents who had either participated in the public meetings or filled
out the questionnaire were invited to attend two focus groups held in May.
Like the public meetings, the focus groups were held at different times of
the day to accommodate a variety of schedules.
Focus group participants started with a warm-up question: To what degree
does public art benefit a community? Responses ranged from “very
beneficial” to “not at all beneficial.” They then discussed three questions
to build on what had been learned from the public meetings and the sur-
vey. To further explore types of public art that best fit Ashland, partici-
pants were asked what is meant by the “uniqueness” of Ashland. To help
determine which of the many locations suggested were best for the place-
ment of public art, participants were asked what criteria should be used to
determine the ideal locations for public art. To further explore public fund-
ing, participants discussed how they felt about possible sources of public
funding for public art.
Refer to Appendix D for the Final Report on these focus groups.
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The Ashland community overwhelmingly supports the importance of
public art in Ashland. Participants shared a variety of comments on the
types of public art, locations for public art and the funding of public art.
TYPES OF PUBLIC ART
The most common ideas for types of public art were murals, functional
art — public benches, sidewalk designs, stair railings, painted utility
boxes, etc. — interactive art, temporary art and environmentally friendly
art. Participants also commented on the importance of respecting
Ashland’s historic character and noted that art should enhance the
historic buildings. Most of all, people expressed the idea that the joy
of public art was “happening upon a surprise.”
Participants commented that public art should bring a smile as one
turns a corner or climbs a set of stairs and discovers a whimsical piece
of art. Examples: footprints could be embedded in the sidewalk at the
entrance to Lithia Park; doggy paw prints could be painted on tiles at
the dog park; manhole covers could be specially designed; utility boxes
could be decorated with paint; and colorful banners or murals could be
used to brighten otherwise unused or unremarkable spaces.
LOCATIONS OF PUBLIC ART
Public art should be located primarily in the downtown core where the
greatest numbers of people gather. However, efforts should be made
to accommodate public art in other areas of the community as well.
A process should be developed whereby neighborhoods can request
public art in their area, participate in fundraising and even develop the
criteria for the art itself.
The gateways to Ashland should be aesthetically pleasing, welcoming,
and similar in design and style.
FUNDING OF PUBLIC ART
Funding for public art should come from a variety of sources with at
least one consistent and reliable annual source. Funds can be merged
for a single project or funds may be designated for a specific project.
There was agreement that the City of Ashland should annually allocate
funds towards public art but that additional funds should be sought in
the form of citizen contributions and grants.
What
DID WE LEARN?
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goals AND Implementation
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Based on citizen input on types (T) of public art, locations (L) for public
art and funding (F) for public art, the Public Art Commission identified the
following goals which form the basis of this Public Art Master Plan.
GOALS
Funding (F), Locations (L), Type (T)
1. Seek diverse, reliable and stable funding for public art through the
City of Ashland. (F)
2. Require a component of public art in all developments over 10,000
square feet or 100 feet in length in the detail site review. (F, L)
3. Collaborate with and encourage the City Departments, especially
Public Works and the Parks Department, to incorporate art into func-
tional pieces such as benches, sidewalks, etc. (L, T)
4. Seek changes to the City of Ashland sign code to allow for murals. (L, T)
5. Continue to pursue grants and donations from public and private
sources for specific projects as they become available and are
identified. (F)
6. Elevate the awareness of public art and the presence of the Public Art
Commission with other City Commissions.
7. Continue to expand the collection of public art in Ashland. (F)
8. Develop community-based public art projects which could incorporate
neighborhoods and local schools. (F, L)
9. Identify “gateway” art projects for the existing locations approved by
the City Council in 2003 as well as additional “gateway” locations. (F, L)
10. Complete the inventory and location of existing City-owned public art,
and develop a Public Art Guide. (F)
IMPLEMENTATION
Goal 1: Seek diverse, reliable and stable funding for public art through the
City of Ashland.
“The mission of the Public Arts Commission is to enhance the cultural and
aesthetic quality of life in Ashland by actively pursuing the placement of
public art in public spaces and serving to preserve and develop public
access to the arts...” AMC 2.17.005
While the charge of the mission directs the PAC to actively pursue the
placement of public art, at the time of this writing the City of Ashland
does not provide funds to secure public art for placement. The Public Arts
Commission has identified a variety of methods for funds to be made
available for the purpose of securing and maintaining public art.
During citizen participation for public art master planning, participants
acknowledged that these are fiscally tight times for the City but felt that
the City should at a minimum provide support for the work of the PAC as
well as some level of public funding, which they believed was critical to
the success of securing funding from other sources. Previous research
conducted by the Public Art Commission indicates that Oregon cities with
Public Art programs are publicly funded in a variety of ways.
STRATEGY
Prepare a menu of funding options for Council review and consideration.
The proposal should go to the Council prior to the fiscal budget process,
which begins in January.
ACTION/ESTIMATED DATE
Draft proposal for Council review, Winter 2007.
Goal 2: Require a component of public art in all developments over 10,000
square feet or 100 feet in length in the detail site review (Large-Scale
Development).
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The City of Ashland Site Design and Use Standards handbook discusses the
general elements and concepts of site design. Ordinance requirements
in the form of policies and standards necessary to accomplish sound site
design, consistent with Ashland’s Land Use Ordinance, are addressed
within this document. This handbook is intended as a guide for use by
home builders, developers, and community representatives in the pursuit
of quality development practices.
Currently the Site Design and Use Standards require Large-Scale Develop-
ment to provide a plaza or public space for every 10 feet of gross floor area
and to incorporate at least four of the six following elements:
> Sitting space
> A mixture of areas that provide both sunlight and shade
> Protection from wind by screens and buildings
> Trees
> Water feature or public art
> Outdoor eating areas or food vendors
This suggestion was raised during the public participation focus groups.
STRATEGY
Develop a proposal for review and consideration by the Planning Commis-
sion to consider modifying the Site Design and Use Standards to require
public art in large-scale development. This change will require a recom-
mendation from the Planning Commission to the City Council and an
ordinance amendment approved by the Council.
ACTION/ESTIMATED DATE
Draft proposal for the Planning Commission, Spring 2008.
Goal 3: Collaborate with and encourage the City Departments, especially
the Public Works Department and the Parks Department, to incorporate
art into functional pieces such as benches, sidewalks, etc.
During the public art public involvement period many citizens commented
on locating public art in such a way that it complements or enhances
items in our day-to-day environment. Suggestions included incorporat-
ing artistic elements into basic functional pieces associated with public
improvement/development projects including benches, stair railings, side-
walks, bridges, signs, etc.
STRATEGY
Strengthen the relationship and presence of the PAC with all departments.
Ask to be consulted on projects where artistic components could be a part
of the improvement.
ACTION/ESTIMATED DATE
To be determined.
Goal 4: Seek changes to the City of Ashland sign code to allow for murals.
The City of Ashland Municipal Code prohibits murals under AMC 18.96 (Sign
Ordinance) “...no wall graphics shall be permitted... including but not lim-
ited to any mosaic, mural or painting or graphic art technique or combina-
tion or grouping of mosaics, murals, or paintings or graphic art techniques
applied, implanted or placed directly onto a wall or fence....”
The PAC recognizes the importance of the sign ordinance and “...the need
to safeguard and enhance the economic and aesthetic values in the City
of Ashland....[AMC 18.96].” The PAC believes it is possible to balance the
presence of murals with the economic and aesthetic values of the City.
Murals were one of the types of desired public art most frequently men-
tioned during the public participation period. Suggestions included limit-
ing murals to alley walls, allowing temporary murals to be hung from large
blank walls. The PAC has been contacted by a local service club about
commissioning a mural to commemorate 150 years of community service.
STRATEGY
Conduct research on other communities and public art entities that
regulate and oversee murals. Develop a recommendation for review and
consideration by the Planning Commission. This change will require a rec-
ommendation from the Planning Commission to the City Council and an
ordinance amendment approved by the Council.
ACTION/ESTIMATED DATE
To be determined.
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Goal 5: Continue to pursue grants and donations from public and private
sources for specific projects as they become available and are identified.
A successful public art program is one that receives funding from a variety
of sources: local government, foundations, developers and private donors.
The PAC has been successful in securing funds from individuals to support
the current installations of public art in Ashland, but less successful in
securing funds from granting entities and developers.
During public participation, citizens commented that public funding should
be balanced with private funding including developers, corporate sponsors,
and private donors. It was also suggested that a separate foundation be
established as a nonprofit 501(c)3 in order to apply for and accept grants
to supplement public dollars. The majority of granting organizations and
foundations require applicants to be nonprofits (501(c)3).
STRATEGY
Identify opportunities to involve developers in public art. Continue to so-
licit private contributions for specific projects. Conduct research on public
art nonprofits for City Council consideration and review.
ACTION/ESTIMATED DATE
On-going.
Goal 6: Elevate the awareness of public art and the presence of the Public
Art Commission with other City Commissions.
STRATEGY
Designate a PAC member to attend at least one meeting of the various City
Commissions to give a brief report on the work of the PAC.
ACTION/ESTIMATED DATE
To be determined.
Goal 7: Continue to expand the collection of public art in Ashland.
STRATEGY
Implementation of this goal will require funding. Identify strategies after
funding goal has been achieved.
ACTION/ESTIMATE DATE
On-going.
Goal 8: Develop community-based public art projects which could incorpo-
rate neighborhoods and local schools.
Citizens commented on the importance of public art projects that involve
the community beyond the downtown core. Many cited examples of proj-
ects in other cities that have involved local schools and neighborhoods.
Projects specifically mentioned were annual events to design and paint
banners for display on street poles for a limited period of time, and design-
ing and painting electric utility boxes in residential neighborhoods and in
less-traveled parts of town.
STRATEGY
Research similar projects in other communities and develop a project and
initiate a public involvement process. Identify required funding.
ACTION/ESTIMATED DATE
To be determined based on available funds.
Goal 9: Identify “gateway” art projects for the existing locations approved
by the City Council in 2003 as well as additional gateway locations.
Participants felt public art should be located at Ashland’s gateways and
focal points including the north and south entrances to town, and the area
between the library and Fire Station #1.
STRATEGY
Develop a proposal for the Rotary Club (which currently sponsors the
entrance sign on the north end of town) to sponsor a new sign. Identify
possible sponsors for south entrance signs. The gateway public art project
will require significant funding and is unlikely to occur without designated
funding.
ACTION/ESTIMATED DATES
To be determined based on available funds.
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Goal 10: Complete the inventory and location of existing City-owned
public art and develop a Public Art guide.
The guide will serve two purposes: it will be used as an internal document
to track and maintain public art and as a tool for citizens and visitors to
discover public art in Ashland.
STRATEGY
Refine the data and photos of public art compiled in 2003. Develop a rack-
size brochure with a map and public art locations.
ACTION/ESTIMATED DATE:
To be determined based on available funds.
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Appendix A A1
Policies and Procedures
Appendix B B1
Public Outreach
Appendix C C1
Questionnaire Results
Appendix D D1
Final Report on Public Meetings and Focus Groups
By Adrienne Graham, Leapfrog Training and Facilitation
Appendix E E1
Summary of Expenses
appendices
table of
contents
A1
APPENDIX A: Policies and Procedures
Table of Contents
I. PURPOSE/MISSION STATEMENT
A. Purpose
B. Intent
II. PROJECT IDENTIFICATION
III. SITE CRITERIA
A. Site Considerations
1. Traffic Considerations
2. Pedestrian Considerations
3. Electrical and Mechanical Considerations
IV. ARTIST/ARTWORK CRITERIA
A. Aesthetics
B. Artist Selection Considerations
C. Design Team Project Considerations
V. SELECTION PROCESS
A. Selection Panel
B. Call for Entries
VI. FUNDING
A. Strategies
B. Fiscal Management
VII. ARTIST CONTRACTS
A. Contract Terms
B. Title and Ownership
C. Reproduction Rights/Copyright
D. Warranties/Risk of Loss
E. Fabrication and Installation
F. Maintenance
G. Risk Management
H. Documentation
I. De-accession
J. Signage
K. Contract Enforcement
L. Termination or Cancellation of Contract
M. Project Delays
N. Contingency Fee
VIII. ACCEPTING GIFTS
A. Donations of Art
B. Donations of Cash
IX. EDUCATION
X. DE-ACCESSION
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APPENDIX A: Policies and Procedures
This document is meant to serve as a guideline for the Public Art Commis-
sion for the acquisition, installation and maintenance of public art. It is a
fluid document and is subject to change. It is not legally binding.
I. Purpose/Mission Statement
A. PURPOSE
Throughout history the arts have been instrumental in creating
unique public places that have yielded physical, social and eco-
nomic benefits for a community. The purpose of these policies and
procedures is to provide a process for selecting, commissioning,
placing, maintaining and de-accessioning art for the benefit of the
City of Ashland and its residents. This document is subject to on-
going review, revision and clarification.
B. INTENT
Public art projects may occur in, at, or near public buildings, parks,
streets and open spaces. These may be sites which are under de-
velopment or existing sites where construction is complete. It is
the stated intent of the Ashland Public Art Commission (PAC) to
encourage artists capable of creating works of art in public places
in order to stimulate the vitality and economy of the City and en-
hance Ashland’s standing as a regional leader in the arts. Thus, it
is the goal of the PAC to expend available funds on works of art and
art projects of redeeming quality that advance public understand-
ing of visual art and enhance the aesthetic quality of public places.
This goal shall be realized through:
1. The commission of artists and works of art of the highest qual-
ity, which represent an expression of our time, contribute to a
sense of the City’s identity, and entail some measure of public
significance;
2. The nurturing of the artistic vitality of the City of Ashland
through the encouragement of local artistic endeavors;
3. The encouragement of public dialogue which increases public
understanding and enjoyment of visual art, through appropri-
ate public education forums and programs;
4. The encouragement of human interaction with public places
— areas which provide for public ownership and accessibility via
the placement of works of art;
5. The commission of a broad range of works of art, reflective of
the overall diversity of current works in the field of visual art;
6. The commission of works of art varying in style, scale, medium,
form and intent representative of the local, regional, national
and international arts communities;
7. The encouragement of artists to reach creative solutions to the
aesthetic problems they are employed to solve;
8. The broad distribution of commissions among artists;
9. The broad geographic distribution of works of art in the
City of Ashland;
10. The encouragement of true collaborative efforts between art-
ists, architects, engineers and landscape architects.
II. Project Identification
Public art in Ashland can be (but is not limited to) sculptures, murals
(may be limited by City ordinance), 2-D art and/or multi-media. The
Public Art Commission uses its Master Plan to identify and prioritize art
projects for the community. The PAC routinely discusses the projects
based on availability of site(s), budget and community will.
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APPENDIX A: Policies and Procedures
III. Site Criteria
A. SITE CONSIDERATIONS
Upon the identification of a specific project, criteria for con-
straints on the placed artwork and the location of such art shall
be determined in order to create the Call for Entries or Request for
Proposals as to general considerations for determining the accept-
ability of public art installations in public spaces.
All proposed public art projects must respect the primary function
of the street and sidewalk, which exist to enable the safe and or-
derly movement of pedestrians and vehicles. Streets also function
as utility corridors, so access must be maintained for present and
future services above and below ground. The City of Ashland Public
Works Director is responsible for making decisions regarding the
placement of public art on public streets and rights-of-way. Final
site approval is made by the City Council or Parks Commission.
These guidelines outline the City of Ashland Engineering Services’
general considerations for determining the acceptability of public
art installations on City streets and sidewalks.
1. Traffic Considerations:
Public Art:
a. Should not be unduly distracting to motorists
b. Should not interfere with driver-to-driver, or driver-to-
pedestrian sightings, and should therefore generally avoid
corner clearance areas
c. Should not unduly obstruct sight of the curb
d. Should not obstruct sighting of signal/pedestrian heads, or
of any traffic control device
e. Should not interfere with the entrance or egress areas for
transit buses
f. Should not unduly disrupt curb use activities, i.e., loading
zones, passenger zones
g. Should not interfere with the opening of car doors
2. Pedestrian Considerations:
If public art is set in a walking surface:
a. The leading vertical edge should not exceed 1/8” (to avoid
trip hazards)
b. Interior vertical edges should not exceed 1/4”
c. Skid-resistance properties should be equivalent to con-
crete sidewalks
d. Depressions in the surface should not catch the spike heels
of women’s shoes
e. Depressions in the surface should not cause water to pool
f. The art must support vehicle weight [check on the vehicle
weight requirements for CoA sidewalks]
g. Maintenance of adjacent elements of the streetscape, in-
cluding the sidewalk itself, should not be compromised.
Public art should:
h. Maintain a minimum sidewalk width on pedestrian volumes
i. Minimize the potential for concealment and anti-social
activities
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APPENDIX A: Policies and Procedures
j. Maintain clearance from above and below ground utilities
Public art should avoid:
k. Sharp edges, points, projections, or pinch-points which
may cut, puncture or cause injury by impact, catch passing
pedestrian clothing or entrap limbs
l. Obstructing the function of benches, bus shelters and
crosswalk ramps
m. Utility access points or valves
n. Obstructing pedestrian access to traffic signal push
buttons
o. Overhead parts which present a hazard to pedestrian
traffic (i.e., it’s necessary to follow the minimum sign
height requirement)
p. Unsafe climbing opportunities for children/adults
3. Electrical and Mechanical Considerations
a. All electrical, mechanical and engineering components
must be approved by the Director of Public Works.
b. All electrical elements and built-up electrical devices must
be certified by a professional engineer; upon completion, a
sealed as-built drawing may be required from the Director
of Public Works
c. Any connections to a City street lighting circuit must be
approved by the Director of Public Works
d. No connection will be permitted to City Traffic signal
circuits
e. The junctions of components moving relative to one anoth-
er must not create such hazards to people as pinch, crush
or shear points.
IV. Artist/Artwork Criteria
A. AESTHETICS
1. Public art projects are open to any professional artist whose
residency meets the guidelines set forth in the RFP/RFQ for
which he or she is applying. Members of the project consul-
tant’s firm or anyone employed thereby, members of the selec-
tion panel, or employees of the City of Ashland shall be exclud-
ed from consideration.
2. Artists shall be selected on the basis of the appropriateness of
their proposal to the particular project and its probability of
successful completion, as indicated by the merit of their past
work. In the case of the design team approach, an artist’s will-
ingness to fully participate in a collaborative process shall also
be considered criteria for selection. All public art projects are
budgeted for a predetermined amount.
3. In making its selection, the selection panel shall bear in mind
the purposes of the Public Art Commission, always aiming to
achieve the highest aesthetic quality.
4. The selection panel shall, in making its selection, give due
consideration to the appropriateness of the proposed design in
terms of its scale, form, content and design with respect to its
immediate and general, social and physical environment.
5. The selection panel shall also give due consideration to the
proposed design’s materials and construction issues — asking
questions regarding durability, maintenance, public access,
appropriateness, safety and security.
6. The aforementioned criteria are the minimum aesthetic crite-
ria on which the selection panel shall base its selection. Other
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APPENDIX A: Policies and Procedures
criteria may be established by the Public Art Commission as
dictated by a project’s particular requirements. Any additional
criteria shall be outlined in the selection panel’s written in-
structions.
B. ARTIST SELECTION CONSIDERATIONS
1. Criteria to be used when considering acquisition of artwork by
either purchase or commission shall include, but not be limited
to the following:
a. Artistic quality. Due consideration will be given by members
of a selection panel (see Section V below) and the PAC to the
strength of the artist’s concept, vision and craftsmanship.
b. Context. Consideration should be given to the architectur-
al, historical, geographical and socio-cultural context of
the site.
c. Media. All art forms will be considered, including disciplines
and media that are of specific duration and which survive
only through documentation after the life of the piece has
ended.
d. Permanence. Due consideration shall be given to structural
and surface soundness, and to inherent resistance to theft,
vandalism, weathering, and excessive maintenance or re-
pair costs.
e. Public Safety. Each work shall be evaluated to ensure that
it does not present a hazard to public safety.
f. Diversity. The PAC shall actively seek artwork from artists
of diverse racial, sexual and cultural identities. The pro-
gram shall also strive for diversity in style, scale, media
and numbers of artists represented. There shall be encour-
agement of exploratory types of work as well as established
art forms.
g. Feasibility. Proposals shall be evaluated for their feasibil-
ity and convincing evidence of the artist’s ability to suc-
cessfully complete the work as proposed. Factors to be
considered include, but are not limited to: project budget,
time line, artist’s experience, soundness of materials, and
City/County zoning/construction/design guidelines.
h. Duplication. Artists are required to warrant that their
artwork is unique — an edition of one, or part of a limited
edition.
C. Design Team Project Considerations
In addition to the above criteria, additional criteria to be consid-
ered for selecting artists for design teams shall include but not be
limited to the following:
1. Proven ability to work effectively in collaborative situations
2. Experience in architecture or landscape-based projects
3. Experience working with design professionals and integrating
artistic concepts into construction documents
V. Selection Process
Once a decision is made to add artwork to a building or site, consider-
ation of the appropriate media (sculpture, landscape design, painting,
etc.) should be developed along with criteria (environmental, struc-
tural, aesthetic, etc.) for the work. This might be very specific or left
open for the artist to develop ideas. Once this phase is completed, the
process for selecting an artist begins. There are two primary ways to
select artists: Requests for Proposals (RFPs) and invitationals.
Request for Proposal (RFP) — Once a new project has been defined and
the criteria set, requests for proposals are sent to artists regionally,
nationally, or globally or a combination of the three. These requests
specify the information and format the artist must follow to submit his
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APPENDIX A: Policies and Procedures
or her proposal. Generally, background information (resume, slides of
earlier work, newspaper articles, etc.) is requested along with sketches
and a written description of the project. Cost range for selecting art-
ists: $500–$50,000. In addition to artist’s fees, material costs, con-
struction and installation costs, and housing when applicable, there
are also expenses related to the selection process. Selection commit-
tee members are sometimes paid an honorarium for their efforts. If
artists are selected nationally there may be airfare and hotel costs,
and finalists (3–5) may receive an honorarium for final proposals.
Invitational — The RFP process (above) is time-consuming. In some
cases, rather than reviewing a large number of proposals, a smaller
number of artists can be invited to submit proposals. These artists
can be located through a variety of means including review of current
public works, contacting local arts organizations, speaking with local
arts professionals and/or contacting national organizations. Although
this is the same basic selection process as the RFP, it reduces the of-
fice work and time needed to interview a large number of artists. Cost
range for selecting artists: $1,000–$75,000. Invitational projects often
include artists with established careers, which usually means they
come at a higher expense. Cost also reflects miscellaneous expenses
like daily stipends for visiting finalists, hotel costs, airfare, etc.
A. SELECTION PANEL
The selection panel will consist of art professionals and enthusi-
asts, neighborhood residents of the proposed site, general com-
munity members, City administrators (e.g., Public Works Depart-
ment members), etc. The makeup of the panel will be chosen on the
merit of value provided to the selection of each specific project.
B. CALL FOR ENTRIES
The commission will issue either an RFP (request for proposal) or an
RFQ (request for qualifications) as the call for entries. The process
for public awareness of each public art project shall be developed
and tailored for that project. Methods for communication of the
public art opportunity may be through the Internet, print, public
service announcements, and/or other appropriate channels to en-
sure that the right population becomes aware of the opportunity.
Enough time must be planned for public awareness and to allow for
timely distribution of the call for entry message(s).
VI. Funding
A. STRATEGIES
Success for any public art program is determined, in large part, to
the reliability and depth of funding. In Ashland, funding for pub-
lic art will be a blend of private and public funding systems. The
mechanism to offer that sustained level of monetary resources will
be a portfolio of sources which, in aggregate, will create viable and
long-term resources to fund and proliferate public art in the
Ashland community.
Some of the sources of funding for the Ashland Public Arts Commis-
sion may include:
1. A percentage of the City’s budget that is spent on construction
and renovation of public facilities, parks, and selected capi-
tal improvement projects in the already “built environment”
— streets, bridges, sidewalks, etc. It should also be considered
in the price of purchased facilities and remodeling costs.
2. A line item in the City’s budget approved by the City Council
each year.
3. Initiatives to encourage private development projects to
dedicate a percentage of overall budgets to public art.
4. Other contributions and gifts by corporations, foundations or
private individuals.
B. FISCAL MANAGEMENT
The Ashland Public Art Commission must have the authority to
“pool” public art funds to ensure it is directed toward projects
with greatest visibility, or to projects with the greatest need for
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APPENDIX A: Policies and Procedures
aesthetic design treatment. The direction of funds toward specific
projects will result in a program that truly addresses both public art
and the larger goals of the community.
The Public Art Commission will accept funding from the variety of
sources listed above. The fiduciary responsibility of the fund will
be held by the City of Ashland.
VII. Artist Contracts
The City of Ashland adheres to the ORS 279ABC, which refers to all
public contracting, goods and services, and public improvements.
A contract is the formal agreement between the City of Ashland (COA)
and the artist that outlines what is required and expected of each
party. Contracts include all the information necessary for a clear un-
derstanding between the artist and the City. The contract will detail
the commission amount, the artist’s expected payment date, the
party responsible for payment, and the procedure by which the artist’s
designs and maquettes will be reviewed and approved. Schedules for
fabrication, transportation, and installation of the artwork and the
responsibility of the City in maintaining the completed work will also be
detailed. Although there will be a standard contract, flexibility within
its structure will address the particulars of each project.
In cases where artists are not familiar with contracts or binding agree-
ments, City administrators will take time to walk the artist through the
process ensuring that the requirements and expectations are clear,
especially with regard to budgets and time tables.
A. CONTRACT TERMS
The following items will be added to the existing COA artist con-
tracts or modified as follows:
B. TITLE AND OWNERSHIP
The artist retains all rights and interest in the artwork except for
rights of ownership and possession, which are passed to the City
upon final acceptance. The artist warrants that the artwork is
his/her sole and original creation, and does not infringe upon any
copyright or trademark. If the commissioned artwork is one of a
multiple edition, the warranty will be modified to state this fact.
C. REPRODUCTION RIGHTS/COPYRIGHT
The artist retains all rights under the Copyright Act of 1976. Howev-
er, the artist agrees not to make an exact duplicate or permit oth-
ers to do so, except by written permission of the City; the artist also
grants the City the irrevocable license to make two-dimensional
reproductions for promotional purposes. In turn, the City agrees
to give the artist the appropriate credit on all such promotional
pieces. The credit will include the copyright symbol, the name of
the artist, the title of the piece, and the date of completion.
D. WARRANTIES/RISK OF LOSS
The artist warrants that:
1. The artwork is made of quality materials;
2. The artwork is free of defects; and
3. The artwork will remain in good condition for 10 years under
normal conditions with routine maintenance.
Additionally, the artist will remedy at his/her own expense any
defect that occurs during the first year after installation. Finally,
the artist warrants that the artwork will not contain any physical
characteristics which would pose a hazard to public safety.
E. FABRICATION AND INSTALLATION
Because no two public art projects are exactly alike, the fabrica-
tion and installation stipulations required of artists in their con-
tracts will be fairly general in nature. In terms of fabrication, the
contract will stipulate reasonable durability and protection of
materials, such as the use of anti-graffiti coatings on all works.
The COA call for artists (RFP or RFQ) may outline certain material
preferences for maintenance. Artists will supervise fabrication to
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APPENDIX A: Policies and Procedures
assure quality-control warranties of the contract. Fabrication
requirements will include, at minimum, that:
1. Artworks be free from defect;
2. Artworks be made of high-quality materials;
3. Craftsmanship be of high quality; and
4. The artist, the COA, and the Stakeholders Committee review the
fabrication of the work while in progress.
Installation responsibilities between the artist, the City, and the
commissioning City agency will be detailed in contracts. For instal-
lation, the artist’s methods will be approved by the commissioning
City agency and, if necessary, a state-licensed engineer (particu-
larly when artists are responsible for paying for the installation,
such as with artist–community collaborations). The permanence
of the installation will be the issue of that approval, and specific
requirements will be imposed, such as the use of safety hardware
for hanging a suspended artwork. In addition, the following points
will be considered:
1. The artist will approve site preparation before installation
begins;
2. Artwork is to be installed when it is in no danger of being
damaged by on-site construction work;
3. Standards and requirements set forth by the commissioning
City agency for installation should be adhered to; and
4. The artist is responsible for loss or damage to artwork prior
to its installation on City property.
F. MAINTENANCE
The artist will submit maintenance requirements and guidelines for
the artwork to the City, developed in conjunction and cooperation
with the COA and/or the commissioning City agency. In turn, the
City will maintain the artwork and make decisions regarding repairs
and restoration based on the maintenance guidelines submit-
ted, and in consultation with the artist when necessary (as per the
Visual Artists Rights Act of 1990). The City agrees that it will not
intentionally destroy, damage, alter, or modify the artwork, and
that the artist will be informed of any alteration to the artwork.
G. RISK MANAGEMENT
The artist shall provide and maintain policies of comprehensive
general liability insurance in specified amounts to be determined
by the City, covering the period from which the art is being installed
until the final acceptance by the City. The City and the architect
will be named as the insured on all insurance policies.
Assignment of the insurance responsibility prior to, during, and
after installation is clarified in contracts. The more information
the Office of Risk Management receives the more helpful it can be.
The following points should be considered:
1. To reduce the City’s liability, fabrication will be done off-site
whenever possible;
2. The engineer who signs off on the artist’s drawings must verify
that the final artwork has been built to specifications, by in-
specting the artwork after installation;
3. The artist is responsible for providing general liability insur-
ance when the artwork is in transit, being delivered, and being
installed; and
4. The artist is responsible for any damage to the artwork until
installation on City property.
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APPENDIX A: Policies and Procedures
H. DOCUMENTATION
The artist must attach a detailed description of the project with
approved designs and drawings to the COA upon completion of the
work. Under the present agreement, the City also stipulates that
the artist is responsible for providing photo documentation. The
City may wish to consider assuming the responsibility of photo
documentation for archival and public-affairs purposes.
I. DE-ACCESSION
De-accessioning may be addressed by referring to the approved
de-accessioning policy or by specifically addressing the issue
directly in the contract. De-accessioning public art must consider
the federal regulations set forth in the Visual Artists Rights Act of
1990.
J. SIGNAGE
The City will prepare and install a plaque at the site that identifies
the artist, the title of artwork, copyright symbol, date of comple-
tion, size of the work, and medium.
K. CONTRACT ENFORCEMENT
Performance requirements identify whether or not artists are in
compliance with the stipulations of the contract. There must be set
guidelines if an artist is late, over budget, or completes the proj-
ect ahead of schedule. These requirements may be tied to budget
allocations. When the artist is under contract to the architect, the
architect is responsible for the enforcement of that contract.
L. TERMINATION OR CANCELLATION OF CONTRACT
The agreement terminates if the underlying construction project is
canceled. The City may also terminate the agreement if the artist
willfully or negligently fails to fulfill any of the covenants, agree-
ments, or stipulations of the agreement in a timely manner. If
the artist is not able to produce an acceptable design in a timely
manner, the body with which the artist has contracted (the archi-
tect or the COA) has the right to terminate the contract by giving
written notice to the artist of its intent. The artist shall have thirty
(30) days to cure the default by producing an acceptable design. If
the artist defaults, all finished and unfinished drawings, sketches,
photographs, models, and maquettes of the work shall become the
City’s property in payment for damages caused to the City by the
default on the part of the artist (project cost overruns, etc.).
The City must pay the artist for any work completed up to the point
of termination as stipulated by the payment schedule. The remain-
ing monies revert back to the COA to finance the completion of the
artwork when feasible. The City may withhold a reasonable amount
of payment to the artist until the exact amount of any damages is
determined.
Should an artist’s contract be terminated by the City due to negli-
gence or noncompliance on the part of the artist, the City has the
right to consider that artist ineligible for any future art projects
funded by the City.
M. PROJECT DELAYS
If the artwork is ready on time, but the construction project is late,
the commissioning City agency should pay all maintenance and
storage costs for the artwork until it can be safely installed. When
an artist completes a work before the completion date agreed upon
in the contract, the artist will be responsible for storage charges.
Should the construction project be completed on schedule, but,
due to conditions beyond reasonable control, the artist is late
producing the finished artwork, it will not be considered a breach of
contract, and the City will grant a reasonable extension of time to
the artist. If the City incurs costs by such a delay, the contingency
fee (see below) will be used to cover these charges.
N. CONTINGENCY FEE
Ten percent of the total art project budget will be set aside as a
contingency fee to cover unforeseen and unavoidable expenses
associated with the artist’s completion of the project. If the con-
tingency fee is not adequate to cover such costs, a renegotiation
of the budget terms of the contract and/or an option to terminate
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APPENDIX A: Policies and Procedures
the contract can be considered. If the contingency fee is not used,
it can be either added to the artist’s design fee, or set aside for
emergency conservation of the artwork.
VIII. ACCEPTING GIFTS
A. DONATIONS OF ART
There has been in the past and expectedly in the future generos-
ity within our community in the area of donations of artwork. It is
inherently the jurisdiction and responsibility of the Ashland Public
Art Commission to accept, care, and manage these important con-
tributions. As the curator of the City’s public art, the commission
must be responsible for all art donations. All decisions to accept
or decline public art shall rest with the PAC, as the designee of the
City Council. The Public Art Commission will use the same criteria
for accepting and/or declining donated art that it uses for acquir-
ing new pieces of art for Ashland (see Section IV above).
Anyone wishing to donate existing artworks must contact the
Public Art Commission.
The process for donating existing artworks:
1. The donor contacts the Commission to discuss the potential
gift and provides photographs of the work, or the work itself.
2. The Commission then evaluates the potential usability of the
artwork according to PAC Master Plan criteria and the criteria in
Section IV; or a selection panel may be assembled to determine
the suitability of a donated piece of art.
3. An up or down vote will then be conducted to decide accep-
tance and the vote will be recorded in commission minutes as
per normal procedure.
4. If the PAC accepts the gift, the donor is acknowledged
(if agreeable) in plaques and promotional materials.
5. If the artwork is declined, the donor will be notified with a
formal “thank you” note with the reason for the decision.
Anyone wishing to donate a newly commissioned piece of artwork
will be handled as follows:
1. The donor contacts the PAC and is invited to a meeting to
discuss the idea for the commission and the process of
commissioning.
2. The PAC evaluates the donor’s concept and either accepts or
rejects the concept for further process work, or a selection
panel may be assembled to determine the suitability of a do-
nated piece of art.
3. If accepted, the full spectrum of PAC criteria would be followed
with consideration to site, safety, etc.
4. The donor (or his/her selected artist) will then follow the process
for implementing a piece of public art as articulated above.
5. If the donor is indeed commissioned to proceed with the proj-
ect, full project fees will be deposited for the project with the
City Fund to be drawn on by the artist to ensure uninterrupted
completion of the artwork.
6. These funds should also include any monies required for plaques
and/or other promotional material needed for commissioning.
B. DONATIONS OF CASH
Donations of cash will be an important resource to the work of
creating public art in the Ashland community. As a policy, all cash
donations will be welcomed — with or without stipulations — and
deposited in the Public Art Commission Trust Fund.
All monies donated to the Ashland PAC will be held in the PAC’s gen-
eral fund without risk of redirection of funds for other City purposes.
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APPENDIX A: Policies and Procedures
All donors will be provided receipts for their donations for tax pur-
poses and monies will be accounted for using generally accepted
accounting procedures.
IX. Education
The Ashland Public Art Commission may engage in educational activi-
ties within the Ashland community to further the appreciation and
understanding of the visual arts. This education may be conducted
through a variety of methods, but all programs provided through the
PAC will follow the following procedure:
1. Topics and events for education will be generated from the com-
munity and discussed and prioritized by the PAC.
2. The role of the PAC will be to determine suitability of the education in
alignment with the mission and values of the Public Art Commission.
3. Once a topic is identified and accepted by the PAC, the PAC will
develop a project plan in concert with the requesting party(s). The
project plan will, at a minimum, determine time lines, resources
(people and funding), and key deliverables toward the successful
implementation of the education program.
4. The PAC may outsource the education program through commu-
nity providers, or it may participate directly in the execution of the
educational program.
If funding is required, the PAC will either use general funds, or work with
the community to generate donations or charges at the door to cover
the costs of the education program. If the funding should come from
the general funds, the PAC must prioritize the spending for education
rather than for new commissions of public art.
After the educational program is conducted, the PAC will ensure that
there is a proper evaluation process utilized to accomplish all of the
program’s goals.
X. De-accession
When a work of public art in Ashland is considered to have lived its use-
ful life, has become culturally unacceptable, damaged, or in any other
way inappropriate for exhibition in Ashland, it shall become de-ac-
cessed and removed from the community as public art that is no longer
sanctioned.
The Ashland Public Art Commission is responsible for managing the de-
accession process for the City of Ashland. The process for removing art
will be as follows:
When a situation arises in which a particular piece of public art is
deemed as “ready for removal,” the Public Art Commission will deter-
mine whether a community referendum needs to be generated, or if a
simple decision by the City Council would be appropriate for the remov-
al. Once approval is obtained, the Public Art Committee will commence
the removal process.
If the art is reusable, the PAC may determine that a process of dona-
tion may be most appropriate for the piece. The PAC may contact other
communities, post a notice in Ashland to generate interest within the
community, or contact other local agencies, businesses or groups to
see if they may be interested in a donation.
If the art has potential resale value, the PAC may initiate a public auc-
tion or sale of the piece. When there is a sale of public art, the pro-
ceeds will go into the general fund of the PAC for future commissions of
art.
If the art is any way deemed non-reusable, the PAC will remove the art
from the community and dispose of it in an appropriate fashion.
B1
Public Forums (February 8, 2007 and February 14, 2007)
Display ads in the Daily Tidings and Mail Tribune (the ad ran twice in
each paper)
> News release (generated front-page story day of first event and follow-
up story day after first event)
> PSA (a 30-second public service announcement ran from Monday Feb 5
through Thursday Feb 14 on random spots on CNN, ESPN, History Chan-
nel, and local affiliates NBC, ABC, CBS, etc.)
> News item on City’s Web page
> Community Event on-line posting (JPR, KTVL, KDRV, KOBI)
> Article in January City Source (city monthly newsletter mailed to every
utility account in Ashland, approximately 10,000)
> Insert in Chamber of Commerce newsletter (delivered to 900 Chamber
members on February 1)
> Speakers Bureau (brief mention by PAC at local service clubs and
surveys distributed; Soroptomist, Rotary, American Association of
University Women-AAUW)
> Main Street banner (February 5, 2007 through February 12, 2007)
Questionnaires
Printed 2,500
Distributed all but approximately 100+
> Ashland Public Library
> Insert Chamber of Commerce newsletter
(delivered to 900 Chamber members on February 1)
> Posted on-line City’s Web site
> HeartFeast
> Ashland HS Winter Arts Festival
> SOU Classes (Survey of Art History, Activist Art, Intro to Metal Smithing)
> Creative Writing Group
Locations with Flyers and Questionnaires
Ashland Food Co-op
Plaza
Market of Choice
Shop ‘N Kart
SOU Library
SOU Art Building
SOU Marion Addy
Galleries and Businesses with Surveys:
Naturals
Nimbus
Blue Heron Gallery and Gifts
Web*sters, INC.
Art and Soul
Houston’s Custom Framing and Fine Art
Davis & Cline Gallery
Gallerie Karon
Illahe Design Studio and Gallery
Studio A.B.
Bohemia Gallery and Framing
American Trails
SOU Library
The Living Gallery
Hanson Howard Gallery
Mountain Meadows (no surveys, but informed residents of availability)
APPENDIX B: Public Outreach
C1
APPENDIX C: Questionnaire Results
Online Survey Results: Final 06/01/2007
C2
APPENDIX C: Questionnaire Results
Hardcopy Brochure Results: Final 06/01/2007
C3
APPENDIX C: Questionnaire Results
Grand Total: Final 06/01/2007
APPENDIX D: Final Report on Public Meetings and Focus Groups, By Adrienne Graham, Leapfrog Training and Facilitation
D1
Citizens’ Input on Public Art in Ashland
BACKGROUND
In order to gather information on citizens’ ideas and suggestions about
public art in Ashland the Ashland Public Arts Commission contracted with
a local consulting firm, Leapfrog Training & Facilitation, to design and
facilitate two public and two focus group meetings. In both sessions,
citizens were asked to brainstorm ideas, giving them the freedom to make
suggestions without requiring that they consider the feasibility of the
ideas. This report will summarize and analyze the findings of those meet-
ings, and will be used to help shape a Master Plan for Public Art to be pre-
sented to the Ashland City Council.
Note: Quantitative information was gathered via a hardcopy and Web-
based survey. While survey and survey results are not a part of this report,
they are referenced.
Description of the Public Meetings and Focus Group Sessions
PUBLIC MEETINGS
The purpose of the public meetings was to have local residents discuss
three questions: possible 1) types, 2) location and 3) funding for public
art in Ashland. The meetings were structured as “town cafés.” Participants
were divided into groups of four to six for 10–15 minutes of discussion
about what type of public art they would want (Public Arts Commissioners
and community volunteers served as table facilitators). After this initial
round of discussion, participants were divided into new groups to build on
the initial ideas about types of public art. This process was then repeated
for the location and funding for public art.
Please see APPENDIX A (page D5) for detailed results of the public meetings.
FOCUS GROUPS
Residents who had participated in the public meetings and/or had filled
out the survey were invited to attend two focus groups held in May. Like the
public meetings, the focus groups were held at different times of the day
to accommodate a variety of schedules. Eighteen residents participated.
Focus-group participants started with a warm-up question: to what degree
public art benefits a community. Potential responses ranged from “very
beneficial” to “not at all beneficial.” They then discussed three questions
to build on what had been learned from the public meetings and survey. To
further explore types of public art that best fit Ashland, participants were
asked what is meant by the “uniqueness” of Ashland. To help determine
which of the many locations suggested for the placement of public art, par-
ticipants were asked what criteria should be used to determine the location
of public art. And to further explore public funding, participants discussed
how they felt about possible sources of public funding for public art.
Please see APPENDIX B (page D9) for detailed results of the focus
group sessions.
Results of Public Meetings and Focus Groups
TYPES OF PUBLIC ART
There were many ideas for possible types of public art in Ashland, ranging
from murals, sculptures and functional art to “whimsical works that might
surprise you” and “interactive pieces that might engage you.” The most
common ideas were:
> Temporary Art
> Murals
> Art That Complements Existing Items in the Community or is Functional
(e.g. in sidewalks, on utility boxes)
> Interactive and “Touchable” Art
> Environmentally Concerned Art (e.g. uses recycled materials
or alternative energy)
To further explore ideas for possible types of public art for Ashland, a sur-
vey question was posed to ask if public art should contribute to “Ashland’s
uniqueness.” A high percentage of respondents answered “yes,” prompt-
ing a question to focus group participants to describe what “Ashland’s
uniqueness” means to them.
APPENDIX D: Final Report on Public Meetings and Focus Groups, By Adrienne Graham, Leapfrog Training and Facilitation
D2
Many participants described “Ashland’s uniqueness” as contrasting popu-
lations within the community. For example, one participant described
this uniqueness in terms of the length of residency in Ashland, and noted
some observed contrasts between the more recent members of the com-
munity and long-term residents. Another participant framed “Ashland’s
uniqueness” in terms of different populations and described how public
art should respond: Ashland is a ‘tourist town’ and public art should amuse
and entertain; and it is a ‘college town,’ with a respect for education, so
public art should challenge one’s thinking.
Several participants ascribed a “vibrant, artsy, intelligent” flavor to the
town and suggested that public art should “engage people and make them
think.” However, they cautioned that “uniqueness” in public art be tem-
pered—something not too “kitschy,” but something that catches the at-
tention and causes discussion while not “flouting the wishes of the general
public.”
A number of respondents stated that public art should reflect Ashland’s
history and should complement the City’s historic buildings.
Finally, the importance of finding the right variety and balance of public
art to express and complement the “uniqueness” of Ashland was aptly
captured in one participant’s comment: “When you are talking about art
in a town, you are not talking about art in a museum.”
LOCATION OF PUBLIC ART
While there was a diverse mix about where to place public art, there were a
few key, common themes that emerged. One of the most common was that
public art should be located in such a way that it complements or enhanc-
es items already in our day-to-day environment. Suggestions included
a wide range of possible locations: sidewalks, utility boxes, street signs,
stairs and railings, public vehicles and buses, parking lots, bridges and on
City buildings. Some participants suggested that these locations be de-
termined by collaborating with the Public Works Department when projects
such as new sidewalks or roads, are being planned and installed.
The second most frequently expressed idea was to place public art where it
will be accessible to the greatest number of people. This would include art
that is placed in high-visibility locations, including roadways (e.g. medi-
ans, signage and banners), bikeways and walkways. Participants said that
to get “the most bang for the buck” in this time of budgetary challenges,
that public art should be placed in high visibility locations. One participant
suggested that increased exposure to public art might result in increased
appreciation and future support.
People felt that public art should include a balance of locations through-
out Ashland. Several focus group participants expressed a need for public
art to complement the surroundings. They believed that there should be
places reserved for public art in open spaces and other public areas, and
that there should be places where spontaneous and temporary art could
be created. All participants felt that there is an opportunity to welcome
visitors to our town by locating public art at Ashland’s gateways and fo-
cal points throughout the City. The sculptures in Bend’s roundabouts were
noted as examples.
Continuing the idea of balanced placement of public art throughout the
community, neighborhoods, public parks and schools were recommended
by both public meeting and focus group participants. One participant’s
sentiment was shared by many: that public art in neighborhoods would
“increase community spirit, ownership and connection.” Ownership was
also described as a means to reduce the chance of vandalism to public art.
Several participants noted that they would like to see art located in places
to invite interaction — one focus group participant said she would hope to
be able to “touch it, see it, hear it,” and others said they would simply like
to have a place adjacent to public art, such as a bench, that would provide
a place to sit and reflect.
Finally, participants acknowledged some practical considerations when
determining where to locate public art. “The size of the budget should
determine the location,” noted one participant, while “budget and size of
space” were the criteria suggested by another. Several participants noted
the opportunity to bring more public art to Ashland by requiring that it
APPENDIX D: Final Report on Public Meetings and Focus Groups, By Adrienne Graham, Leapfrog Training and Facilitation
D3
be included in developments. “We’d like to see developers make or bring
things visually pleasing to developments and buildings,” suggested a par-
ticipant. “Public art,” noted another, “should be included in construction
projects and [developers] should anticipate and include public art.”
FUNDING FOR PUBLIC ART
Public-meeting participants were asked to provide any and all suggestions
to fund public art while focus-group participants were asked to limit their
discussion sources of public funding. However, focus group participants
felt strongly about bringing more public art to Ashland while recognizing
that these are fiscally challenging times. They went beyond the frame-
work of their discussion of only public funding sources, and, like the public
meeting participants, extended a number of ideas for consideration.
Participants agreed that funding should be diverse and stable. Most par-
ticipants believed that visitors as well as residents benefit from public art
and thus both should share the costs. Diverse funding sources were sug-
gested ranging from ‘user-taxes’ such as a percentage of the hotel-motel
tax or the revival of the downtown merchant’s parking surcharge to include
a portion for public art (in the downtown sector), to fundraisers such as a
public arts Lotto or a dedicated “Public Art Donors Wall” to recognize and
thank private donors. Whatever the mix of funding, participants believed
sources that at least a significant portion of the sources should be steady
and ongoing.
PUBLIC FUNDING
Participants recognized that these are fiscally tight times for the City.
However, they felt that the City should at a minimum provide ongoing sup-
port for the work of the Public Arts Commission as well as ‘seed money’
for public art. ‘Seed money’ was seen as critical to the success of securing
funding from other sources such as private donations or grant dollars. To
generate funding or ‘seed money’, participants suggested that the City’s
budget include dedicated funding for public art. “The City,” noted one
long-time resident, “should at least contribute something as a gesture
of support.”
Examples of other sources of public funding include: require a percent-
age of the annual budget for the Public Works Department be dedicated to
public art; require that the cost be included as part of highway improve-
ments; and reallocate dollars from the meals tax as it sunsets.
PRIVATE FUNDING
Developers were the most frequently suggested source for private funding.
A number of participants felt strongly that developers should be required
to include public art in new projects. Some stated this idea in firm terms:
“Developers should carry a big burden [for public art],” and “The City
should be demanding and strict with developers.” Participants believed
that public art should be mandated in developments over a set size. They
discussed the current requirement for developments of 10,000 square foot
or more to include ‘enhancements,’ one of which can be public art, but
they felt this should be made more stringent to require the inclusion of
public art. Another participant took this idea a step further by suggesting
that public art be required as well when renovating or remodeling exist-
ing buildings. Some participants suggested that funding for public art be
included in systems development charges.
Participants provided several other suggestions for private sources of
funding. They inquired about the possibility of establishing a non-profit
organization in order to apply for and accept grants and to ensure that
public art be pursued in the community. They also believed this could pro-
vide a funding resource for artists desiring to create public art. There were
a number of suggestions for fundraisers for public arts, including holding
an art auction and selling locations dedicated for public art.
Private donors — both corporate donors as well as individual donors — were
identified as potential sources of funding. While participants acknowl-
edged that building and maintaining these relationships requires resources
(people, time and more), they believed private donors could provide an
additional stable source to the funding mix. And participants believed that
another type of private donor that has already brought public art to Ash-
land — memorial funds — should continue to provide a source of funding.
APPENDIX D: Final Report on Public Meetings and Focus Groups, By Adrienne Graham, Leapfrog Training and Facilitation
D4
After exploring the possible sources to fund public art, one participant
provided a caveat for any funding for public art: that it include mainte-
nance and repair dollars. And many participants felt strongly that a body
such as the Public Arts Commission should provide a screening and review
mechanism to ensure public art meet Ashland’s standards: “Don’t let pri-
vate money determine the content of public art.”
CONCLUSION
Ashland is recognized as a town that supports the arts. However many
participants stated that while Ashland does a great job of supporting the
performing arts, it is ‘behind the curve’ when it comes to supporting the
visual arts. “We have stimuli and ambiance from the theatre arts,” stated
one participant, “but the visual arts are missing.”
Participants hoped to see more public art in a variety of locations,
sponsored by diverse and steady funding sources. They acknowledged that
the City’s budget is stretched at this time, but felt that for the success
of public art in Ashland, ‘seed money’ from the City was essential. They
said that public art is very beneficial to a community and described ideas
for types of public art that would best suit Ashland to reflect the town’s
history, “uniqueness” and the contrasting populations that make up the
community.
These Ashland residents want to see public art that “reflects the public
spirit of the City.” Public art, they said “can be a point of civic pride.”
Planning for and creating more public art in Ashland is much like one
participant’s description of the type of public art for the town: “It needs
to have a level of sophistication; you have to commit to it.”
APPENDIX D: Final Report on Public Meetings and Focus Groups, By Adrienne Graham, Leapfrog Training and Facilitation
D5
Final Report APPENDIX A
Summary of Results of Public Meetings, February 2007
Ashland residents were invited to participate in one of two 2-hour long
facilitated sessions to provide feedback and ideas on public art in
Ashland. The following is a summary of participant responses.
Note: Similar ideas are listed as bulleted items in same row, with the cat-
egory for that idea in bold. For those items that were repeated in exactly
the same terms, the frequency of mention is designated in parenthesis to
the right of that item.
Type of Public Art:
KINETIC (3)
> Kinetic sculpture
> Kinetic (such as Rube Goldberg)
WATER
> Water piece – located in water — makes sound
> Duckpond
> Water + Kinetic – in the Creek
> Water + art + music + wind activated
INTERACTIVE; TOUCHABLE
> Interactive & whimsical
> Interactive art (students & community creating it)
> Interactive with the schools – bring work by kids in the community
> Touchable – makes me want to touch
> Touchable art
> Durable art — something you can climb and play on
COMMUNITY-BASED ART MADE BY CITIZENS
> Promote City and city artists
> Have a public art forum and create it there
> Gum Wall in San Luis Obispo – community involvement in creating the art
Type of Public Art:
COMPETITION – NATIONAL ADVERTISED INVITE SUBMISSIONS;
JURIED BY COMMUNITY
> Mt. Ashland annual competition
> Chalk art festival (ScienceWorks)
> Sculpture contest with Festival (sculpture made as you wait)
> Competitions with kids to keep them active in the next generation
ENVIRONMENTALLY-CONCERNED ART
> Recycled
> Recycled materials, donated cars, etc.
> Art for conserving energy
> Use ideas like what was done last year at SOU: environmental art that
includes cleaning up an area
> Use alternative energy, solar power, etc.
> Grass-roots art: found-objects (low cost)
MURALS (3)
> Change City regulations so murals are OK
> Murals at mid-block locations in the alley
> Murals at schools done by kids
> Murals with the approval of the Public Arts Commission
> Not murals!
TEMPORARY
> Temporary art opens more doors-can potentially be more creative
> Temporary works with community involvement (involvement not just
in selection but also in creation)
> Temporary art that can be seen by visitors
> Temporary art—put in storage at times
> Temporary would appeal to regular visitors
> Art that changes—temporary art (i.e. Christo) to play towards the
Shakespeare tourists –as they return, the art changes
> Temporary art changed yearly
> Mountable panels w/plexiglass frames that can be changed out
> Both temporary and permanent
APPENDIX D: Final Report on Public Meetings and Focus Groups, By Adrienne Graham, Leapfrog Training and Facilitation
D6
Type of Public Art:
RANDOM ART
> Random Art to be discovered – like a scavenger hunt (3)
> Art that surprises you
TECHNOLOGY RELATED ART
> Webcam
> Big video screen that alternates local artists
> Digital art that changes
FUNCTIONAL/COMPLEMENTS EXISTING DAY-TO-DAY ITEMS IN THE COMMUNITY
> Pavement art (2)
> Molds for ODOT overpasses
> Something already part of community – makes it unique
> Functional art, serves two purposes (trash cans, bus shelters)
> Functional (dual-purpose makes this an “easy sell”)
> Use rainwater collection in a piece
SHAKESPEARE RELATED
> Shakespeare mannequins for Ashland Shakespeare related (like the cows
in Chicago or bears in Grants Pass)
INTERNATIONAL ARTISTS (SOMETIMES DONATE)
> Combine with International Sculpture Association for temporary work
MAKE IT RELATIVE TO THE ENVIRONMENT
> History of the area and its geography
> Art that represents the history of the area and art that is forward-look-
ing: the Future of Ashland.
Type of Public Art:
WALKING TOUR WITH MAP AND DOCENTS
> Self-guided walking tour of public art
> Mosaic in concrete
> Sculpture garden
> Variety is good
> More contemporary art
> Educational component
> Banners
> Sound sculptures
ART SELECTION & REGULATION
> Preference to use locals in selecting artists
> Appointing a good committee that can select appropriate art &/or art-
ists
> Art impact statement
> Allow murals! Change code to allow and have Public Arts Commission
choose public art.
> Controls are important
> Public art impact statements for what developer plans to do with regards
to art (impacts & possibilities) and works with Public Arts Commission
Location of Public Art:
AS PART OF LANDSCAPE DESIGN
> Flowerbeds
BUILT IN TO BUILDINGS E.G. SOU LIBRARY
> Back wall of Community Development offices
> Firehouses
> Downtown focal points
TEMPORARY ART IN THE PLAZA
> Around the Plaza & the Info Booth
> Japanese village ideal – random works throughout;
buildings given over for art
> Definitely beyond the downtown area
> All around town, like Fountains in Kansas City, MO
FIND THINGS WE ALREADY NEED: UTILITY BOXES, BENCHES,
UNIQUE SIDEWALKS, STAIRWAY RAILS
> Utility items: boxes, dumpsters, fire hydrants
> Decorate utility boxes
APPENDIX D: Final Report on Public Meetings and Focus Groups, By Adrienne Graham, Leapfrog Training and Facilitation
D7
> Exquisite designs for utility boxes
> Art on electric boxes
> Slides next to stairs
> Street signage
> Alleyways/staircases/railings (behind the library, New Theatre, etc.)
> Sewer grates
> Street signs
> CERT boxes (Community Emergency Response Team)
> Shakespeare characters on benches you can sit next to
(but not too much Shakespeare)
SIDEWALKS
> Surprises on sidewalks
> Patterns in sidewalks and roads
> Sidewalk chalk art on Guanajuato
COORDINATE MORE WITH PUBLIC WORKS (4)
PUBLIC VEHICLES: POLICE CARS, DUMP TRUCKS, AMBULANCES,
FIRE TRUCKS, BUSES
> Paint the buses and City vehicles
PARKING LOTS
> City parking lots
> Designated space and decorated art car in each parking lot
> Art car parking space tied in with 4th of July art cars
WORKS ON BRIDGES
> North train trestle
> RR overpasses at Water and entry to town
> Near RR bridge
> Mobile pieces hanging on bridge
> Undersides of viaduct/bridge supports
> Lithia Way bridge pillars
GATEWAYS AND FOCAL POINTS/ENTRANCES TO CITY (5)
> Two entrances to Ashland (exits 14 & 19 & 11)
> Entrances with art that signifies what Ashland is all about
> Digital art at entrances
> At exit 14
> “Welcome” signs
SCHOOLS/SCHOOL YARDS
> Belleview School
> Briscoe: Geology Garden (as an example of “informative displays”)
> Rock art in the Creek
> Lithia Creek water sculpture
NEIGHBORHOOD/COMMUNITY ORIENTED
> Block Party competitions
> Meaningful art in certain locations in neighborhoods
> Neighborhood-appropriate art
COMMUNITY GATEWAYS, ENTRANCES TO NEIGHBORHOODS
> Neighborhood can feel, connections and ownership & helping
to maintain it Neighborhoods often don’t have space
> Too much art could be a hodgepodge
RAILROAD DISTRICT
> ‘A’ Street
PAINT SLATS ON WOODEN FENCE POSTS
> Carved fence posts in the community garden
NEIGHBORHOOD PARKS (one person excluded Lithia Park)
> Parks featuring different works of art
> N. Mountain Park (2)
DOG PARK
> “Commemorative Paws” for the Dog Park; also is an active social hub
> Mosaic Path at Dog Park
APPENDIX D: Final Report on Public Meetings and Focus Groups, By Adrienne Graham, Leapfrog Training and Facilitation
D8
PLAYGROUNDS
> Water sculpture in the duck pond
> Lithia Park bridges – moveable sculpture, hanging off the bridge
MEDIANS
> Siskiyou median (4)
> Ashland St – lots of potential now that it’s been updated
GARDEN ART – ECOLOGICALLY DIVERSE FLORA
> Community garden
GOLF COURSE
> Common spaces at Oak Knoll
BANNERS
> Pole banners
> Holiday banners along Main St. painted by artists like
in Santa Monica (Laddu John Dill)
RANDOM LOCATIONS
> Unexpected locations –something to be discovered
> Don’t rule anyplace out
BIKE/WALKING PATHS
> Bike path along Bear Creek
> Bike lanes
> Walking path by RR and jogging path along Lithia
> Encourage people to get out of cars
LOBBY OF THE THEATRES
> In front of the Schneider Museum
> As part of Open Space
> Important that art is designed for the space
> Collaborative property with multiple artists
> Developers to make or bring things visually pleasing in to
developments & buildings
> Look at other award winning models
> Look for sitting opportunities for contemplation/meditation
How to Fund Public Art
CREATE A STABLE SOURCE OF FUNDING
> Use multiple options, but one needs to be stable
VERY DIVERSE
> Do some of all of the six funding ideas listed in Question 3 (of the public
meeting handout, plus same ideas are listed on the survey)
> Use multiple options, but one needs to be stable
INCORPORATE FUNCTIONAL PUBLIC ART IN TO PUBLIC WORKS BUDGET
> Tie public art in to Public Works repairs, etc.
> Small % from Public Works
> Public facilities – .5% of a project to public art
> .5% from Public Works
1-1.5% HOTEL/MOTEL TAX
> Hotel tax
> Redistribute the Transient Occupancy Tax pie so a % goes to public art
> We should be able to apply for TOT funds like other non-profits
> Motel-Hotel tax (& maybe raise it) – public art is a tourist attraction
SHIFT FROM THE MEALS TAX AFTER IT SUNSETS
> Use meals tax dollars
PERCENTAGE GIVEN TO ART
> 1.5% for public art = the only way to go!
> 1% for public art at state level, handled by OR. Arts Commission
ART AUCTION
> Publicize sale of art pieces – donations from sale of art to raise money
> Have the Ashland Public Arts Commission serve as a conduit for auctions
and other fundraising activities
APPENDIX D: Final Report on Public Meetings and Focus Groups, By Adrienne Graham, Leapfrog Training and Facilitation
D9
TICKET TAX (ENTERTAINMENT-TYPE TICKETS)
BECOME A NON-PROFIT (2)
> “Friends for Public Art” – A non-profit (501-c-3) for public art, separate
from and in addition to the Ashland Public Arts Commission
> Should public arts become a non-profit?
SELL ART SPACES
MICRO-GRANTS TO ARTISTS
ASHLAND ARTS LOTTO FOR PUBLIC ART
APPLY FOR GRANTS
> Be able to apply for grants
> Can we apply for federal grants?
ESTABLISH AN “ARTS DISTRICT” (MAYBE “LIBRARY & PUBLIC ARTS DISTRICT”)
> Taxing district (Ashland-Talent-Phoenix Library & Arts District)
SDC (SYSTEMS DEVELOPMENT CHARGES) FOR PUBLIC ART
> From housing development over a certain size
> Requiring developers could be singling them out
> Require private developments of over 10,000 feet to put up art and have
> Public Arts Commission be apart of Art Selection Committee
> Private development requirement, not a choice
> Architects fee (if not doing public art in a project, a fee is charged and
goes in to a public arts fund)
> Need to determine if this is the footprint or useable space?
> If paying fees for public art, maybe provide a tax deduction as
an incentive
> Art is more difficult to add to a development than other kinds of features
AS AN ANNUAL LINE ITEM IN THE CITY’S BUDGET
> Petition for line item in City budget
> Pressure to cut back City budget
> City to match public donations
ONCE A CONCEPT OR A PROPOSAL IS DEVELOPED, GO TO CORPORATE DONORS
> Bus shelter OK for corporate donations
> Corporate sponsorship when upgrading Public Works projects
HAVE A ‘DONOR WALL’ FOR PUBLICITY OPPORTUNITIES
MORE PRIVATE FUNDING, LESS GOVERNMENT SUPPORT FOR “ART
THAT PEOPLE DON’T UNDERSTAND” PAID FOR BY THE TAXPAYERS
> Non-commercial is better
CHAMBER OF COMMERCE
> Take a piece of the Chamber pie
INCLUDE FUNDING FOR MAINTENANCE WITH ACQUISITION OF PUBLIC ART
COMPETITION BETWEEN SCHOOLS USING RECYCLABLE MATERIALS
TO EXCHANGE FOR BOTTLE DEPOSIT TO DONATE
LESS ‘RED TAPE’
Final Report APPENDIX B
Summary of Results of Focus Groups, May 2007
Two focus groups were held in May to further explore notable findings from
the public meetings and initial findings from the survey. The sessions were
1.5 hours in length; one was held early in the morning and the other over an
extended lunch hour. Participants that had attended the public meetings
and/or had filled out the survey were invited to attend. A total of eighteen
residents participated.
APPENDIX D: Final Report on Public Meetings and Focus Groups, By Adrienne Graham, Leapfrog Training and Facilitation
D10
Q1 Overall Benefit (“warm up question” – show of hands only)
Overall, how beneficial is public art to a community?
Response Group 1 Group 1
Very 8 (100%) 10 (100%)
Somewhat
Of Little Benefit
No Benefit
Q2 Ashland’s Uniqueness
“A high percentage of respondents felt that public art should contribute
to Ashland’s uniqueness as a city. What do you think that means?”
Group 1
> Two faces to Ashland:
> very sophisticated; new population; cosmopolitan
> “down-home” long-term residents
> Image of historical town with no ‘cutting edge’
> Should reflect the history
> Tourist town—should be entertained, amused
> College town—tap in to young talent
> Have a focal point—art could create this
> Art can be a point of civic pride, daring without flouting the wishes
of the general public
> Variety of places and styles—not just Shakespeare
> Should cause discussion
> Breadth and variety
> Uniqueness is not a good goal; art should be organic: come from
the schools, be functional
> Should be careful of how art symbolizes a town—should not be
‘hap-hazard’ modern
> “When you are talking about art in a town, you are not talking about
art in a museum.”
> More retirees: need to preserve Ashland from stagnation; what kind
of art is “right at that edge?”
> Protect yourself from dullness
> Needs to have a level of sophistication, you have to commit to it
> Needs to be eclectic
> Not too much “uniqueness”
Group 2
> Needs to focus on “People friendly spaces” instead of uniqueness
> Should reflect the natural environment and make value judgments
about what fits in Ashland
> It’s subjective
> Respect for historic buildings
> Art that invites exploration
> Ashland has a sense of openness
> Have stimuli and ambiance from theatre arts, visual arts are missing
> Unique regionally and nationally
> Unique natural environment
> Public spirit of the City
> Respect for education
> Individuality—lots of creative people in town
> Quality art is subjective
> Wish it could represent themes of the environment, but wouldn’t
want to limit it to just that
> Ashland is an artsy area –should reflect that and show that
it is creative and vibrant
> Vibrant, intelligent, artistic
> Engages people and makes them think
> Not diverse, but desires to reflect the world’s uniqueness
> Place to promote positive feelings and improve the quality of life
> Ashland has a sense of attractiveness—great homes, lots of art galleries
> Willingness to try new things; invites exploration; lectures and talks
> Perspective-challenging—push your perceptions
> Mix of folk art of Guanajuato piece with more abstract as well,
more accessible
> Mix of tourists and residents
> Temporary, transitory (not homeless)
> It’s like how people dress in Ashland: “Anything goes!”
APPENDIX D: Final Report on Public Meetings and Focus Groups, By Adrienne Graham, Leapfrog Training and Facilitation
D11
Q3 Location
“Respondents [to the survey and in the public meetings] indicated a wide
variety of possible locations for public art. What criteria do you think the
APAC should use to determine where to locate public art?”
Group 1
> Utilitarian: e.g. utility boxes, sidewalks, light poles
> Everywhere
> Balance around the City
> Tasteful, so that it is incorporated in to the environment
> Noticeable, but blends in
> By those neighborhoods that get engaged and involved with
it so neighborhood takes ownership
> Placed so that people can interact with it—residents and tourists—think
about not just who you want to engage but how to do so
> With limited dollars, go for where the most people will be able to see
it—the most public places
> It should welcome people: entry points and Siskiyou median
> Should be located in places that provide for transitory art and
temporary installations e.g., temporary banners that are rotated
> Should be included in construction projects and anticipate and include
public art
> It should be located in public works projects, such as sidewalk
repair, roads
> Public spaces should be prioritized for public art
> Parks (not Lithia)
> Need to loosen City regulations re: public art, but very carefully
Group 2
> Where it will be seen the most: where people walk
> Where people can sit and reflect on it: benches
> Make it accessible
> Size of budget should determine location
> Scope of the art itself should determine location
> High exposure
> Central places such as the roundabouts in Bend
> Walkway murals where people will discover it
> Something that complements the artist and the piece itself
> A location that invites engagement (touch, see, hear it)
> Need to be mindful of risk factors such as vandalism
> Consider who is going to create it (such as students doing utility boxes)
> Decide by budget and size of space
> Make it complement the environment
> Get leverage from where you place initial art to create interest
in having more
> Places that invite ownership and participation; community-created art
> Allow for spontaneous creations by community such as the Peace Fence
Q4 Funding
“Public Art relies upon public funding for adequate and stable financial
support. Sources of public funding include both the City budget (e.g.,
general fund, public works projects) that is ultimately paid for by taxpay-
ers; and other taxes and charges (e.g., development fees, hotel/motel tax)
that are passed on to other groups, including tourists and developers.
How do you feel about each of these two methods of funding Public Art?
Group 1
> Need to look to the Public Arts Commission much as we do to the Historic
Commission; have to talk to them when developing and be involved early;
> Mandatory % from developers
> Memorial funds
> Use mix of sources:
> Developments over a certain amount of square feet (requiring public art)
> Donations/contributions
> Hotel/motel tax
> Some City public funds (residents enjoy the public art)
> Combination of bequests, grants, fundraising
> Personally, no problem with funding from tax dollars—can pull a little
from various funds
> Private donors, e.g. Harry & David’s
APPENDIX D: Final Report on Public Meetings and Focus Groups, By Adrienne Graham, Leapfrog Training and Facilitation
D12
> Have 2/3 general fund and 1/3 Economic & Cultural Arts grants
> Incorporate with Public Work and street work as ‘traffic calming’ device
(people will slow down to see it)
> Revive downtown merchant’s parking surcharge and include cost for
downtown public art pieces
> From a ticket tax
> City should at least contribute something as a gesture of support
> Some City support will make obtaining grants easier
> TOT is good for this
> Is there a non-profit that artists can go through (to apply for funding)?
> Need to publicize a Public Arts fund
Group 2
> City is stretched and can’t do much more
> Can at least work on ordinances for Ashland to help support public art
> Big projects should be required to provide a % of the project for public art
> Developers should carry a big burden
> Be demanding and strict with developers
> Require public art when renovating or remodeling a building
> Wouldn’t mind an extra tax on tourists
> System Development Charges
> Don’t shy away from the private sector
> Public Works budget should include a % of funding for public art
> Include with highway improvements
> Parking meters?
> Luxury tax on more expensive homes—say over $800K
> Need seed money in the City’s budget—it’s essential that the City recog-
nize the value of the service of the Public Arts Commission and fund it
> Need City to provide ongoing source of funding—small, but in perpetuity
> Grants and foundations
> What about a sales tax?
> Don’t let private money determine the content of the art
> Have a space that is also public art, e.g. a fountain
Other Comments
> Public Arts Commission should talk with other parties when planning
for public art: SOU, OSF, Public Works, Parks Department
> Keep historical elements in mind
> Ashland is behind in funding public art
> Master Plan should be creative about location and types of art
> Master Plan should include regional as well as local art—help to expand
what we are exposed to
> Need specificity and details in the Plan
> Look to network with an learn from other cities that
have “gone before us”
> We have some great parks and open spaces to work with
> Any way to combine some funding from various budgets to generate
City funding for public art?
> Having the Public Arts Commission demonstrates the diversity of our
City and contributes to Ashland’s uniqueness
E1
Public Outreach/Participation
Facilitation $2,400.00
Display Boards $40.00
Newsletter Inserts $100.00
Main Street Banner $430.00
Questionnaire Copies $250.00
Rental Tables x 2 $320.00
Balloons $28.00
PSA $125.00
Stamps $16.40
Event Food $410.00
Display Advertising $274.00
Sub Total $4,241.93
Final Report
Graphic Design $1,875.00
Copies $200.00
Proofreading $300.00
Sub total $2,375.00
Total $6,616.93
APPENDIX E: Summary of Expenses
F1
2.17 Public Arts Commission
The mission of the Public Arts Commission is to enhance the cultural and
aesthetic quality of life in Ashland by actively pursuing the placement of
public art in public spaces and serving to preserve and develop public ac-
cess to the arts. The continued vitality of the arts in the City of Ashland is
a vital part of the future of the City as well as of its citizens. The arts are
an important part of the cultural and economic life of the entire commu-
nity of Ashland and enrich the participants in the arts as well as those who
observe them. Several organizations which exist in Ashland are active in
the arts and provide leadership to the community on arts-related matters.
The creation of a Public Arts Commission for the City of Ashland will assist
those organizations, and other organizations and individuals, to make art
a more important part of the City’s life.
2.17.010 Created
The Public Arts Commission for Ashland is created and shall have the pow-
ers and duties provided in this chapter.
2.17.020 Members; Terms
The Public Arts Commission shall consist of seven members appointed by
the Mayor and confirmed by City Council. The commission shall contain five
members from a broad spectrum of citizens including artists and those
with a background in the arts, arts organizations, education, structural
and landscape architecture, and two citizens at large. The Mayor shall also
designate a non-voting Council member as liaison to the commission. At
least five members of the commission shall reside inside the city limits.
The appointees shall have three-year terms. The original appointees shall
be appointed: two for one year, two for two years and three for three years;
thereafter all terms will be for three years. All members may vote on any
matter coming before the commission, except as the ethics laws of the
State of Oregon may provide. Any commissioner who is absent from four or
more meetings in a one-year period without being excused, shall be con-
sidered no longer active and the position vacant, and a new commissioner
shall be appointed to fill the vacancy.
2.17.030 Officers
At its first meeting the Public Art Commission shall elect a Chair and a
Vice-Chair who shall hold office for one year, except that the first Chair
and Vice-Chair shall serve until the end of the calendar year. At the first
meeting of each calendar year, the Chair or Vice-Chair from the previous
year shall preside over elections for Chair and Vice-Chair. Neither the chair
nor Vice-Chair shall serve as an officer for more than two consecutive terms.
2.17.050 Meetings; Quorum; Voting
The Public Arts Commission shall hold an official meeting at least monthly
and may hold special meetings as set by the commission. A majority of the
members constitutes a quorum for meetings. Provided a quorum is pres-
ent, any item must be approved by a simple majority of the voting mem-
bers present at a meeting to pass, unless otherwise provided.
2.17.060 Rules and Regulations
The Public Arts Commission shall establish such rules and regulations for
its government and procedures consistent with the laws of the state and
the ordinances of the City.
2.17.070 Powers and Duties
The Public Arts Commission shall be specifically responsible for, but not
limited to, the following:
A. The commission shall ensure the arts continue to be of value as an in-
tegral part of Ashland.
B. The commission shall promote the arts in Ashland to enrich the lives of
its citizens through education and demonstration.
C The commission may assist the City Council, the Ashland Parks and Rec-
reation Commission, the Historic Commission and the Planning Commis-
sion in using public art to enhance existing development in public parks
and other public lands and in public structures.
APPENDIX F: Public Arts Commission AMC 2.17
F2
D. The commission shall advise the Planning Commission, the Ashland
Parks and Recreation Commission, other City commissions and com-
mittees and City departments regarding artistic components of all
municipal government projects under consideration by the City. The
commission may also serve as a resource for artistic components of
land use developments.
E. The commission shall develop and recommend to the City Council poli-
cies and programs that would enhance and encourage the planning,
placement and maintenance of public displays of art in locations open
to the public within the community.
F. The commission shall encourage connections with other local, regional
and national organizations working for the benefit of art and preserva-
tion of artistic values, and other similar activities.
G. The commission shall recognize and encourage groups and organiza-
tions that enrich Ashland life by bringing cultural and artistic values
and artifacts to the City.
H. The commission shall pursue gifts and grants for support of arts pro-
grams and activities and the procurement of public art.
2.17.080 Compensation
Voting members of the commission shall receive no compensation for ser-
vices rendered. The commission may receive gifts, bequests or devises of
property on behalf of the City to carry out any of the purposes of this chap-
ter. These shall be placed in a special account for use by the commission.
2.17.090 Policies
A. The Public Arts Commission shall operate in the general public interest
serving the community as a whole. It shall serve no special interests.
B. The Public Arts Commission shall not endorse any commercial product
or enterprise.
APPENDIX F: Public Arts Commission AMC 2.17