HomeMy WebLinkAbout2023/03/07 - Agenda Packet - Public Art Committee CITY OF RANCHO CUCAMONGA
PUBLIC ART COMMITTEE AGEDA
March 7, 2023 — 5:30 P.M.
10500 CIVIC CENTER DRIVE, RAINS CONFERENCE ROOM
RANCHO CUCAMONGA, CA 91730
A. CALL TO ORDER
Al. Roll Call: Bryan Dopp, Jaymie Leslie, John L. Machado, Jr., Leslie Matamoros, Paula Pachon
B. PUBLIC COMMUNICATIONS
This is the time and place for the general public to address the Public Art Committee on any item listed on
the agenda. State law prohibits the Public Art Committee from addressing any issue not previously included
on the Agenda. Public Art Committee may receive testimony and set the matter for a subsequent meeting.
Comments are to be limited to three minutes per individual.
C. COMMITTEE BUSINESS
Cl. Oaths of office for Committee Members Dopp and Pachon
C2. Consideration to approve the minutes of December 6, 2022.
C3. Verbal update on the status of the Public Art Fund.
C4. Verbal update on the Utility Box Beautification Program.
C5. Verbal update current fiscal year project ideas.
C6. Verbal update on proposed projects for next fiscal year.
C7. Verbal update on the Public Art Strategic Plan.
D. ADJOURNMENT
CERTIFICATION
I, Katie Bailey, Management Analyst II, or my designee, hereby certifies that a true, accurate copy of the
foregoing agenda was posted on March 2, 2023 at least seventy-two(72) hours prior to the meeting per
Government Code 54954.2 at 10500 Civic Center Drive, Rancho Cucamonga, California, and on the City's website.
&a&i_ 5a44�_, —
Katie Bailey 61
Public Art Committee Liaison
City of Rancho Cucamonga
PUBLIC ART COMMITTEE
MINUTES December 6,2022
5:30 p.m.
A. CALL TO ORDER
The City of Rancho Cucamonga Public Art Committee held a regular meeting on Tuesday,December 6,2022
in the Raines Conference at City Hall,located at 10500 Civic Center Drive,Rancho Cucamonga,California.
Chair Leslie Matamoros called the meeting to order at 5:45 p.m.
Present:Committee Members Bryan Dopp,Jaymie Leslie,John Machado(arrived after consideration to
approve minutes),Paula Pachon,and Leslie Matamoros
Absent:N/A
Also present were Erika Lewis-Huntley,Management Analyst III;Katie Bailey,Management Analyst II;and
Monica Mahoney,Consultant with Gemini Projects.
B. PUBLIC COMMUNICATIONS
No public communications were made.
C. COMMITTEE BUSINESS
C I.Consideration to approve the minutes of June 7,2022
MOTION:Moved by Jaymie Leslie,seconded by Bryan Dopp to approve meeting minutes of June 7,2022.
Motion carried 3-0(AYES:Dopp,Leslie,and Matamoros.NOES:None;ABSTAIN:Pachon;ABSENT:
Machado).
C2.Update on the status of the Public Art Fund.
MOTION:N/A
Katie Bailey,Management Analyst II,provided an update on the status of the Public Art Fund balance;total
$558,966.75
C3.Update on the Utility Box Program.
MOTION:N/A
Katie Bailey,Management Analyst II,provided an update on Phase 2 of the Utility Box beautification Program.
Katie shared the plan to release a Call for Artist for Phase 2 of the program and the proposed artist fee.PAC
members recommended increasing the artist fee and shared best practice considerations for artists that might not
have graphic design experience.
C4.Update on the Public Art Strategic Plan.
MOTION:N/A
Katie Bailey,Management Analyst II,provided an update on the status of the Public Art Strategic Plan.Katie
reviewed and solicited feedback on the draft and shared preliminary booklet designs.Discussion focused on
processes for the commissioning of Public Art,the role of the PAC in the public art process,additional definitions
needed to clarify concepts,and the need to review the plan for inclusive language.PAC members expressed a
need for more time to provide additional feedback on the plan and City staff gave a December 20th deadline for
PAC members to review the document and provide additional feedback.
Public Art Committee Minutes
December 6,2022
Chair Leslie Matamoros adjourned the meeting at 8:15 P.M.
Respectfully submitted,
Katie Bailey
Public Art Committee Staff Liaison
2
RANCHO
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Creative Placemakeing
Public Strategic Plan
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`Art is the highest „ F
expression of the
human spirit"
JOYCE CAROL OATS
PREPARED BY: �.
The City of Rancho Cucamonga _.
IN CONSULTATION WITH:
Monica Lynne Mahoney, MLA,
GEMNI Projects:Envonmental Art,Design+Educati CommUNITYPainfDay2~'' Cityof RC.us
hi
Our vision is to build on our success
as a world class community, to create
an equitable, sustainable, and vibrant
city, rich in opportunity for all to thrive.
CITY OF RANCHO CUCAMONGA VISION STATEMENT
2 Comm UNITY Paint Day Los Amigos Intersection Project by Vincent Jimenez,Rancho Cucamonga.
4 _
.ilProps 7,Amy Maloof.Photo by ML Mahoney.
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41
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(� City of Rancho Cucamonga Vision Statement......................... .................................................... ...
Purpose. _ _ ......... _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _........... •
ZAcknowledgments............................................................................. ..... .................
wExecutive Summary................................................................................................................................... •
What This RC Public Art Plan Accomplishes....................................................................................................10
zIntroduction..................................................................................................................................................
O The RC Public Art Plan.................................................................................................................................13
Whatis Public Art.......................................................................................................................................14
U What is Creative Placemaking.......................................................................................................................15
Whatis Creative Placekeeking.......................................................................................................................16
Composition of the Public Ordinances...........................................................................................................17
HIntegration with Other Planning Documents...................................................................................................18
OVision and Core Values.............................................................................................................................. 19
OurVision..................................................................................................................................................19
WOur Core Values..........................................................................................................................................19
20
Coals, Strategies, and Measures ............................................................................................................
Goal 1: Build Awareness and Keep Momentum..............................................................................................20
Goal 2: Art in Infrastructure..........................................................................................................................21
Q Goal 3: Promote the Local Creative Economy..................................................................................................22
Goal 4: Create Diverse, Equitable,and Inclusive Programming...........................................................................23
Goal 5: Prioritize Community-Centric Art........................................................................................................24
ProgramAdministration ..........................................................................................................................
Rolesand Responsibilities............................................................................................................................25
Setting Priorities-Public Art Opportunities.....................................................................................................28
Processes for the Public Art Collection ...............................................................................................
Process for Commissioning Public Art............................................................................................................31
Considerations for Purchasing Existing Art......................................................................................................35
Process for Accepting Donations and Loans...................................................................................................36
Documentation and Maintenance of Works of Art ...........................................................................................37
DeaccessioningArt....................................................................................................................................38
Funding.................................................................................................................................................... 39
Appendix.......................................................................................................................................................
AppendixA-Definitions.............................................................................................................................40
Appendix B- Project Plan Template..............................................................................................................41
Appendix C-Call for Artists Template............................................................................................................43
Appendix D- Project Conclusion Checklist....................................................................................................46
Appendix E-RC Public Art Outreach Methods and Results Summary................................................................47
Appendix G-State and Federal Laws............................................................................................................58
Appendix H- Resources and Tools................................................................................................................ 62
- �W- "W. Chalk&Brews event of VGCC
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The page left intentionally blank.
PURPOSE
The purpose of the City of Rancho Cucamonga's
Creative Placemaking & Public Art Strategic Plan
("RC Public Art Plan") is to establish a roadmap ,
for developing a stronger sense of place,
a higher quality of life, and a more competitive
economy through the integration of public art
into the community.
The goals, strategies, and measures outlined herein
k.
provide a common guideline for decision-making. *�
They should be used as a framework for the future
of public art in the City of Rancho Cucamonga.
'tfmppaa note ommunify,Rancho Cucamonga
6
COMMUNITY MEMBERS,we would like to acknowledge and thank the many members of the community of
Rancho Cucamonga and the arts and culture leaders who gave their time to provide us with invaluable information,
insights, and input throughout the Rancho Cucamonga public art ("RC Public Art") community outreach process.
Their perspectives have been critical to developing the RC Public Art Plan. This list includes those community members
who provided their names while participating. We also recognize the countless others who engaged during this process.
Alba Cisneros* Gerald Clark* Rich Deely*
Alexis Perez Guadalupe Galindo Rosie Lovato
Amoha Bhale Heather Zappia Sant Khalsa*
Amy Yoon James Curtis Sean McPherson
Annette Johnson* Jana Cook Seth Pringle*
Ashley Tirona Jenny Gesiriech Sheryl Wilkeson
Barbara Drake* Jenny Kane* Starlette Shelton
Barbara Marin Jim Rawitsch* Susan Harden
Barbara Bahai Jose Juarez* Susan Sluka Kelly*
Beatrix Balmonte Josiah Bruny* Takbir Rahman
Brad Howe* Joy McAllister* Teresa Gonzalez
Carla West Joyce Jacobson Terri Musa
Charlotte Su Karla Villanueva Tory Tepp*
Chloe Pena Letitia Fernandez Ivins* Ursula Garcia
Chris Toovey* Linda Ceballos Victoria Jones
Concepcion Barragan LuAnna Jauregui
Craig Howard* Manuela Amaya
Crystal Muljadi Margaret Aichele*
Dan Romero* Margarita Diaz
Danielle Simmoore Mark Rush
Deborah Allen Mayen Alcantara*
Debra Alleyne* Michael Muse
Denise Turner* Misty Burruel*
Diane Gunter Nanette Hart
Diane Thomas Natalie Boehm
Dina Romero* Nisreen Makati
Don Smith Heidi Leland
Elise Tarver Paige Garcia
Elizabeth McSwain Peri Lynch Howard*
Frena Harris Rebecca Trawick*
*Artists,public art experts,and cultural leaders in the community Public Art Mappy Hour Community Engagement,Rancho Cucamonga. 7
/1 CITY COUNCIL
L. Dennis Michael, Mayor
Lynne B. Kennedy, Mayor Pro Tem
Ryan A. Hutchison,Council Member
Kristine D.Scott,Council Member
wAshley Stickler,Council Member
FW0Ll%o AFAK 1.30�.vivnvn I I ME ("PAC")
Leslie Matamoros, Public Art Committee Chair,Curator of Exhibitions City of Ontario Museum of History&Art
U John Machado, Public Art Committee Vice-Chair, Founder The Arts Area,Art History Professor,Chaffey College
Jaymie Leslie, Public Art Committee Member,Artist
Bryan Dopp, Public Art Committee Member, Planning Commissioner, Educator n
Paula Pachon, Public Art Committee Member, Board Secretary, Rancho Cucamonga Community&Arts Foundation
wLinda Bryan, Former Public Art Committee Member, Rancho Cucamonga Community&Arts Foundation Member
Lauren Verdugo, Former Public Art Committee Member,Artist
Lou Munoz, Former Public Art Committee Member, Retired Planning Commissioner
CITY STAFF
O John Gillison,City Manager
Elisa Cox,Assistant City Manager
Z Matt Burris, Deputy City Manager
Lori Sassoon, Deputy City Manager(former)
RC P11R1 WART CARF TPAM
U Erika Lewis-Huntly, Management Analyst III
Joanna Marrufo,Community Programs Coordinator
Q Clarence de Guzman, Management Analyst I
Hope Velarde, Management Analyst I
Allison Town,Community Affairs Coordinator
Annette Mumolo,Senior Community Affairs Coordinator
Katie Bailey, Management Analyst II
Morgan Chavez, Management Aide
%.QNSULTAim i
Monica Lynne Mahoney, MLA. Founding Director GEMINI Projects: Environmental Art, Design+ Education
8 Public Art Mappy Hour Community Engagement,Rancho Cucamonga.
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EXECUTIVE
SUMMARYF�05 ,
� . .
The General Plan Update,completed in December r A. .
4 of 2021,outlines a long-term goal for the City
of Rancho Cucamonga to become the cultural �
f
and economic hub of the Inland Empire, rich in r
; .
opportunity for all who live,work,and play in the
city to thrive. Public art plays an important role in
the City's progress towards that goal by enhancing
placemaking efforts,supporting efforts to improve
overall quality of life,and expanding opportunities
for community engagement.
In 2017,the City of Rancho Cucamonga adopted
its first public art ordinance,which established .Y =fir
policy for both the City and private developers
- to fund and implement new public art projects �—
as the City grows into the future (the"Public Art
Program"). In 2018,City appointed the Public Art
: -' Committee(PAC) to serve as an all-volunteer group
:_ . of community professionals who advise the City
Council on the implementation of the Public Art
Program. Finally, in 2019,City Council approved the
fxk. PAC's recommendation to complete a public art
plan,and City staff, led by the RC Public Art Core
Team, launched an 18-month community outreach `
f program that guided the development of this
. P 9 g P
RC Public Art Plan.
This RC Public Art Plan establishes the RC Public Art , .
Ii
€�y Program's vision,core values,and goals, and provides
guidance on implementing and maintaining a public
= art program within the City.
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What This RC Public Art Plan
AccomplishesO,
Confirms the RC Public Art Program
Vision and Core Values
Vision
T This RC Public Art Plan will support the goal of establishing the City of Rancho
Cucamonga as the cultural hub of the Inland Empire by equitably bringing art to
l ' � 7 the public realm that engages, inspires, and reflects our diverse cultural and artistic
] heritage while empowering the community through a variety of art and cultural
amenities.The RC Public Art Program should engage artistic excellence,fosterjoy,
inspire civic pride, and ignite a sense of wonder and excitement.
� 1
Core Values
The public engagement process for the RC Public Art Plan identified core values
a that guide the RC Public Art Plan: Diversity, Equity,Communit ,and Inspiration.
These core values have been woven throughout the RC Public Art Plan's strategic
goals,strategies, and measures to ensure that the City provides engaging and
unique public art that reflects our diverse community and is equitably distributed
across Rancho Cucamonga.
Establishes Program Goals
Goal 1: Build awareness of the RC Public Art Program and keep project momentum
Goal 2: Integrate art into infrastructure
-� Goal 3: Promote the local creative economy
Goal 4:Create diverse,equitable,and inclusive programming
Goal 5: Prioritize community-centric art
Sets Priorities Identifies Priority Areas and Selection Criteria
The RC Public Art Plan establishes priority areas for public art placement, including General Plan
for • Focus Areas, historic community centers, bike and pedestrian paths, parks, green spaces,and major
Programming thoroughfares, intersections,and City gateways.
When selecting public art placements,the RC Public Art Plan recommends priority be given to
Art that supports - locations that are that high visible, high accessible, and contribute to the placemaking priorities
- PC Public •• - portfolio outlined in the General Plan.
should be used to link neighborhoods,
hel
increase the vibrancy and
economic. of our cultural Provides Implementation Guidelines
• animate public spacesThe RC Public Art Plan provides guidance on procuring public art, including process outlines
in a way that inspires community for commissioning new art, purchasing existing art, accepting public art donations and loans,
members . engage . take maintaining public art,deaccessioning public art, maintaining public art records, and maintaining
p of areaswhere they live, and leveraging funding for the RC Public Art Program.
play.
Attract . . retain regional artists: Roles and Responsibilities
- PC Public Art Programportfolio The RC Public Art Plan identifies critical stakeholders in the public art process and outlines the
should include works commissioned respective responsibilities of each group, including RC Public Art Staff',the Public Art Committee,
localby -. . the City Council,the City Manager,Art Selection Panels, Future Groups,and other City departments.
programming .- - .
to attract . retain artists to the
region.
diverseArt that reflects the City's ,x.population -
PublicPC programming .
reflect the diversity in our community
and equitably represent our cultural
` ` T rkT*
PublicArt for and by the community:
The RC Program
include projects supporting initiatives
such as mental d physical
wellcommunity-led art-being,
� INTRODUCTION
In 2017,the City of Rancho Cucamonga (the City) `
adopted its first public art ordinance.The Creative
Placemaking & Public Art Ordinance (Ordinance No.
912) established milestone policy for both the City
and private developers to fund and implement new I ' '
. public art projects as the City grows into the future. ,
t, To guide the implementation of the Public Art
Program, in 2018,the City appointed the PAC to serve I
as an all-volunteer group of community professionals
who advise the City Council regarding the selection, l
purchase, placement,and maintenance of art
installed by the City or on City property.
�— The PAC's recommendation to move forward with
F developing the RC Public Art Plan was approved by
City Council in 2019.City staff, led by the RC Public
�..r Art Core Team,worked closely with consultant y
I _
Monica Lynne Mahoney, MLA,City Leadership,the ,
Public Art Committee,and diverse community
stakeholders to develop the RC Public Art Plan. _
12 _
LinMotion by Patrick Shearn/Poetic Kinetics.Brandenberg Gate,Berlin.iStock.
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The RC Public Arts Plan
RC Public Art seeks to activate the City's vision for
the future, to create an equitable, sustainable, and
vibrant city, rich in opportunity for all to thrive.
With that vision in mind, and through robust community input, the RC Public Art Plan -
establishes the vision, core values, and goals for the RC Public Art Program, in addition + . .
to recommendations for the commissioning, review, implementation, and maintenance
of public art projects across the City.
The RC Public Art Plan is shaped by a rich community outreach process led by the RC Public
Art Core Team,who facilitated a multifaceted engagement program to gain valuable feedback
over 18-months.The outreach process was successfully implemented during the COVID-19
pandemic. It included numerous stakeholder interviews, affinity group meetings, a robust
community survey, and online and in-person outreach maps to pin locations and learn about the
types of public art the community desires.The public outreach provided insight into the heart and
spirit of the many neighborhoods that comprise the community and has been foundational to the
RC Public Art Plan's core.
The RC Public Art Plan is a resource to help guide City staff and the RC Public Art Program into action
and is intended to be a living document that can be reviewed and utilized by RC Public Art Staff and
the PAC.The RC Public Art Plan is part of the General Plan Update process, the City's new comprehensive
development plan that serves as a blueprint for the City's future.Together, the General Plan and the RC Public
Art Plan ensure that creative placemaking and public art are integrated into overall planning and development
objectives well into the future and provide guidelines for the City for the public art process. Finally,this RC Public
Art Plan coincides with the City's Climate Action Plan ("CAP"),weaving together the arts, culture, climate, health,
and well-being for years to come.
What is Public Art?
Public art is original works of temporary or permanent art designed and/or created by an artist
or artist-led team. Public art lives in the public realm and is visibly and/or physically accessible.
Chalk&Brews event at VGCC Artwork in Rancho Cucamonga,William Vasta
Public art can take shape in many ways and forms as long as it remains Types of Public Art
free and accessible to the public.At its very best, public art brings the • Murals • Memorials&
community together. It provides a nexus of community pride,celebrating • Mosaics Commemorative Spaces
a place's unique and enduring qualities and its people. •Structural Wraps • Literary Arts
• Earthworks& Environmental Art • Interactive Art
Public artwork can be contemplative,engaging,fun, interactive,and •Streetscapes& Functional Art • Performative Art
awe-inspiring. It may honor and tell stories about the past,enrich and inform .Sculptures • Playscapes
the present,and envision and activate the future. It occupies public places
such as community centers, parks,open spaces,streets,alleyways,trails, Paintings Community Gardens
bus stops, bridges,transportation infrastructure,and private developments • Photographs • Festivals and Art Walks
accessible to the public for free. • Fine Crafts:wood, metal,clay, • Mixed Media
glass,and other materials, both • New Media
functional and nonfunctional
14
'..20
Creative Placemaking happens when...
partners from public, private, nonprofit, and
community sectors strategically shape the .
physical and social character of a neighborhood, �.F 0 0
town, tribe, city, or region around arts and 4
cultural activities. Creative placemaking A- I
animates public and private spaces, {
rejuvenates structures and streetscapes, �� �4; 0
improves local businesses viability and public
safety, and brings diverse people together
to celebrate, inspire, and be inspired. :
-Ann Markusen and Anne Gawda, National Endowment `
Art's Mayors' Institute on City Design.z
In line with this definition and the General Plan's goals for placemaking,the RC Public Art Plan aims to use the placement of public art and cultural
programming as a means to link neighborhoods, help increase the vibrancy and economic viability of our cultural centers, and animate public spaces
in a way that inspires community members to engage with and take ownership of spaces where they live,work and play.
The RC Public Art Plan will prioritize creative placemaking in both General Plan Update focus areas and other areas of historical and cultural relevance
as identified by the RC Public Art Plan outreach.
What is Creative Placekeeping?
[Placekeeping is] the active care and
maintenance of a place and its social fabric
by the people who live and work there. It is
not just preserving buildings but keeping the
cultural memories associated with a locale alive,
while supporting the ability of local people to
maintain their way of life as they choose.
U.S.Department of Arts and Culture
The City of Rancho Cucamonga recognizes the need to equitably honor
the diverse cultural heritage of Rancho Cucamonga and amplify voices
and cultural legacies that have been erased or marginalized in the past.
Creative Placekeeping provides a framework for this work, keeping the past,
present,and future alive as a vibrant part of the identity and growth of the
city.These principles will be integrated into RC Public Art through programs
and initiatives that aim to preserve and maintain Rancho Cucamonga's rich
development and cultural history for our community members.
https://usdac.us/blogac/2017/12/11/creative-pIacemaking-pIacekeeping-and-cultu raI-strategies-to-resist-displacement
16
Composition of the
Public Ordinances
� 111{ y
The Placemaking & Public Art Ordinance
A 1 66 IN IN., s
was established to ensure both the City and iF 1s FI
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private developers could fund and implement ,. „ , I. Igo me;
N
�� i F NJ IN J1 aF
new public art projects to enhance the City. 9 11 S:i� N
iit J Nir
This ordinance aims to expand access to public art throughout 99
Rancho Cucamonga.To support this effort, developers subject to ; 4
the ordinance have three requirement options - F
1. PROVIDE PUBLIC ART 2. DONATE ART 3. PAY AN IN-LIEU FEE
at any development, to the City for public to the Public Art
that meets or exceeds display that meets or Trust Fund equal to
the minimum value exceeds the required the minimum value
as defined in Rancho minimum value of of the art work that
Cucamonga Municipal the art work or a would otherwise
Code Section performance bond for be included in the
17.124.020.C. the same amount and development project.
in a form approved by
the city attorney,or
Monies donated to the Public Art Trust Fund will be used to acquire, install, and maintain public art and placemaking programs throughout
Rancho Cucamonga.This RC Public Art Plan will establish procedures for commissioning and acquiring public art using Public Art Trust Fund
funding and further serves as a resource for artists, the public, and developers.
Applicable Rancho Cucamonga,California Municipal Codes:17.124.010,17.124.020,17.124.030,17.124.040,17.124.050,17.124.060,17.124.070,3.72.010,3.72.020,3.72.030,02.26.010,02.26.020
Integration with Other
Planning Documents
General Plan Update
10. ` '� The RC Public Art Plan was developed to support the General Plan Update,which identifies the
need for public art and cultural opportunities in major activity centers to create vibrant, high-value
places where community members live,work,and play.The General Plan Update envisions a future
where Rancho Cucamonga distinguishes itself as the cultural and economic hub of the Inland
Empire, utilizing public art, placemaking, and diverse cultural opportunities to strengthen the
culture, history, and character of the City's distinct neighborhoods and public spaces.
Climate Action Plan
The CAP outlined goals,strategies,and measures to guide the City's climate resilience strategy
through 2040.Where possible,the RC Public Art Plan outlines the integration of public art into
CAP-related projects and prioritizes art placement and art types that minimize environmental
impact, inspire and educate the community on climate action, and contribute innovative solutions
_ to the City's climate action goals.
Healthy RC Strategic Plan
The RC Public Art Plan is rooted in the principles and values of the award-winning Healthy RC
program.The RC Public Art Plan has incorporated the values of Healthy RC,such as wellness,
�P inclusion, and innovation,throughout the program objectives. It has set goals that center
community-driven art that enhances a sense of place, resilience,and well-being, among all that live,
work, and play in the community.
Future Planning Documents and Updates
RC Public Art Staff will collaborate with applicable departments as the City develops new plans
Q = or during regular updates to existing plans.This will ensure that the strategies and measures for
❑ = integrating public art and placemaking projects into City-owned and managed spaces have been
❑ = considered and are incorporated. Plans include:
Urban Forestry Management Plan;
•Trail Implementation Plans;
• Parks and Recreation Master Plan;
•Active Transportation Plan;and
Economic Development Strategic Plan.
Our Core Values
Vision and The core values identified below reflect the public art themes and preferences gathered from the
public outreach efforts conducted in 2020 and 2021.These values will guide the implementation of
VALUES the first edition of the RC Public Art Plan,which serves as a roadmap to achieving the program's vision,
core values, and goals.
Our /0 DIVERSITY VN COMMUNITY
PublicThe PC • establish �� RC Public Art will engage a RC Public Art will help create a sense of
the City • • - as variety of artistic approaches and belonging and connection throughout
the cultural • of the inland - participating artists to encourage the community, prioritizing community-
by equitably bringing art to the unique contributions to civic life driven programming that creates new
public realm that engages, - and reflect our diverse community. opportunities for people to experience
and reflects - - cultural and and engage with art and artists.
artistic heritage while empowering EQUITY
the community through a variety of art
• cultural amenities. _ Public PC RC Public Art will support the
INSPIRATION
g q YYP g
CitY's goal of equity b providing RC Public Art will inspire community
• Program engage _
the opportunity for everyone to connections through the creation of
excellencepride, ignite foster _ inspire civic_ _ participate in, or benefit from, innovative and vibrant public spaces,
promoting creative expression in all
excitement. art and cultural amenities and � p g p
• programming across all areas mediums,fostering community pride
of the city. in urban and natural spaces, and
visionThis • _• by and supportsenhancing equitable quality of life.
the City's General Plan vision to create
an equitCommunity Survey
city,rich in opportunity for all to thrive. Ranh core values that should guide the Public Art & Placemahing Strategic Plan.
Community Forum,Rancho Cucamonga.
UNITY34%
T, 45%
r
COMPASSION
M&L&EMPATHY
'S
• . ' ' • - - - • - - • 01 milq I I I N
. STRATEGIES & MEASURES
SU -Curate Core Projects That Support the City's Commitment to
Placemaking Though the Integration of Art Throughout the Community
M1.1.1 Expand the existing temporary exhibit program at City Hall to include additional
_ • •- _• _ - City facilities,community partners, and artists
• _• _ • _ M1.1.2 Establish a murals and mosaics program, prioritizing key locations as identified in the
• •• - _ • • RC Public Art Plan and aligned with General Plan envisioned projects
.- . 0 M1.1.3 Establish an open space and connectivity public art integration program that prioritizes
- public art in parks,open spaces, and areas used to improve access and connection points
for pedestrians and bicycles,as identified in Volume 2 of the General Plan
•- - • •• - M1.1.4 Curate a literary art-inspired program and integrate public art and artists in the branch
• - - • •- -• - - libraries and other City and community partner sites
- ■ - S1.2-Engage and Educate the Public on RC Public Art
• M1.2.1 Develop a community engagement work plan that establishes a community engagement
• calendar, identifies relevant stakeholder groups to facilitate outreach and information
sharing, and allocates funding for outreach and engagement efforts
M1.2.2 Create and regularly update a public art map
M1.2.3 Solicit regular feedback from the community, including historically underrepresented
community members,to identify areas of interest for art types and art locations to update
planning documents
4_ M1.2.4 Establish a public art community liaisons program comprised of community members
who serve as volunteer public art ambassadors
0. ,` GOAL 1 PERFORMANCE MEASURES
f � ti
G TARGET YEAR 2025
Pilot a public art community liaisons program through Healthy RC
� �.. { kq
V TARGET YEAR 2030
Install three (3) permanent murals or mosaics in key priority areas
Install three (3) functional art pieces along existing bike/pedestrian trails
M Expand the temporary art exhibit program to one (1) library and two (2) additional City-owned
+ facilities and spaces
4 y
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STRATEGIES & MEASURES
S23 -Commission Artwork That Enhances People's Experience in Public Spaces
Through Artistic Excellence and Diversity in Creative Expression t.
M2.1.1 Include a minimum of one (1) public art and placemaking project in pedestrian, bike,
and trail development projects. Prioritizing functional and environmental art
M2.1.2 Commission a Histories of Rancho Cucamonga series with projects focused on telling the
stories of the area known today as Rancho Cucamonga from prehistory to present day.
Projects to be located in focus areas as identified in the Setting Priorities section and aligned `with General Plan Update projects
• M2.1.3 Partner with and assist City departments in incorporating public art into capital 1
improvement project proposals implemented by the City
r
S2.2-Integrate Public Art into Infrastructure Projects r '
M2.2.1 Formalize and expand the utility box art program into new utility box installations I .
along bike and pedestrian thoroughfares
M2.2.2 Include public art projects in City-run urban design and planning proposals
M2.2.3 Integrate public art into City-run transportation infrastructure projects accoon Mistersa os migos ar
M2.2.4 Incorporate public art into City-run urban gardens and green spaces
GOAL 2 PERFORMANCE
MEASURES
TARGET YEAR 202S
_ * Complete two (2) urban garden
*: #
i , . ��. •,� I or green space projects
L Complete fifteen (15) utility box wraps
TARGET YEAR 2030
Aill Complete two (2) Histories of Rancho
gem Cucamonga projects
w # 4
,#`t • F7.
f N i5
P4
Y .
Plot
n k — Tile Wall at Los Amigos Park,created by
„•z:m��, �,�..� — - _ students of Los Amigos Elementary School
Promote the Local Creative Economy
GOAL 3 Develop incentives and programming that attract arts and culture-focused enterprises and support,
. build a diverse creative class that lives and works
STRATEGIES & MEASURES
S3.1 -Attract and Retain Local and Regional Artists
M3.1.1 Develop and implement an Artist in Residency program
M3.1.2 Encourage and support existing arts organizations in the development of local artist
and maker spaces
_ M3.1.3 Identify locations for a youth-centered artist and maker spaces and develop a program
to promote and encourage youth to engage in the arts
M3.1.4 Establish a call for artist evaluation criteria that prioritizes local and regional artists
# M3.1.5 Partner with local and regional arts organizations on public art and placemaking grants and
of projects that support local artists in advancing their careers while contributing to the arts in
Rancho Cucamonga
M3.1.6 Establish a public artist roster through,or in partnership with,existing local and regional
+, arts organizations so that entities (businesses, developers,organizations) interested in
producing or installing public art have a source to hire or curate from local and regional talent
S3.2-Support the Existing Local Creative Economy
M3.2.1 Leverage existing arts organizations as hubs of creative activity
M3.2.2 Identify arts-driven enterprises and developers for creative economy partnerships
' o 'a M3.2.3 Establish an art walk program that invites local artists and
artisan groups to temporarily display existing pieces
Vol
GOAL 3 PERFORMANCE MEASURES
TARGET YEAR 202S
Establish an Artist in Residency program
r' Locate and build youth-centered artist and
maker spaces as part of City initiatives
i
Launch the inaugural art walk program in one (1)
of the General Plan Update focus areas —
populationCreate Diverse,, Equitable, and Inclusive Programming
GOAL 4 Public art projects that improve access to art and creative placemaking opportunities and
reflect our diverse
STRATEGIES & MEASURES IR
S4.1 -Commission Art that Engages with and Celebrates the City's Cultural _
and Artistic Heritage and the Future of the Community -
M4.1.1 Develop programs that represent and amplify the diverse voices of Rancho Cucamonga
Expand existing oral history library project to additional City facilities, interviews,and topics
Work with Community Services Department and community organizations to plan and t
implement RC Public Art funded or supported projects,events, and celebrations
around marquee historical and cultural moments in Rancho Cucamonga's history, and
nationally recognized cultural celebrations
• M4.1.2 Establish partnerships with civic,cultural,and educational institutions that address
,.r
issues of equity and inclusion in the arts
r
• M4.1.3 Commission temporary or permanent works of art and establish programming that
foregrounds our farming,agricultural, and culinary heritage CommUNITYPaintDay,Rancho Cucamonga.
S4.2-Ensure Access to Public Art Projects is Equitable and Inclusive for GOAL 2 PERFORMANCE
Both Artists and Community Members MEASURES
M4.2.1 Complete an audit for priority public art locations and a timeline for implementing
new initiatives that better accommodate diverse audiences TARGET YEAR 2025
M4.2.2 Provide materials and training opportunities to assist artists with the public art Complete art placement audit and
proposal process integrate recommendations for
improving the accessibility of art for
M4.2.3 Utilize public art to support placemaking in historically underserved communities diverse audiences into RC Public Art
M4.2.4 Commission innovative temporary and permanent art installations that engage and strategic plans
are accessible to the disability community,youth,older adults, and other community
members with accessibility needs TARGET YEAR 2030
M4.2.5 Provide equitable and unique opportunities for public art and placemaking projects Complete two (2) temporary or
across the three historical communities of Alta Loma,Cucamonga, and Etiwanda permanent art installations that
celebrate cultural moments in Rancho
Cucamonga's history and/or nationally
recognized cultural celebrations
Complete five (5) RC Public Art projects
in historically underserved communities
Prioritize Community-Centric Art
GOAL 5 Public art that contributes to creative placemaking and projects that engage, and are completed
in partnership with, community members.
- - STRATEGIES & MEASURES
S5J -Art Created for and by the Community
M5.1.1 Establish annual opportunities for community to create public art through City-hosted programs
M5.1.2 Commission community art pieces that acknowledge and represent the unique cultural identities
of Rancho Cucamonga
M5.1.3 Fund interactive art programming at art-related events and celebrations
M5.1.4 Commission artists that specialize in intergenerational projects that bring age groups together
in various settings
S5.2-Art that Promotes Mental and Physical Health and Well-Being
map
• M5.2.1 Launch a mental and physical health art series within the temporary art exhibit program
M5.2.2 Integrate wellness themes into a variety of art types
M5.2.3 Develop an arts engagement and graffiti prevention program, in partnership with Public Safety,that
contributes to a sense of place through the hands-on creation of public art murals in the community
S5.3-Art that Promotes a Sustainable and Resilient Community
W � M.3.2.1 Commission temporary or permanent works of art and establish programming that benefits or
i contributes to the City's climate action strategies such as water conservation,energy reduction,
and reducing urban heat island effect
1E M5.3.2 Include criteria in the art selection process that encourages artists to use environmentally
preferred materials
M5.3.3 Commission artists to develop innovative projects around our regional climate and
geophysical profile such as sunshine,Santa Ana winds,earthquakes,water infrastructure
and flooding,wildfire,and biotic community/ecosystem
r
0 GOAL 5 PERFORMANCE MEASURES
TARGET YEAR 2025
Launch the arts engagement and graffiti prevention program
I V TARGET YEAR 2030
Commission mental and physical health art series through the temporary art exhibit program and
i complete a minimum of one (1) project
sComplete five (5) City-hosted community art projects
Public Art Staff
PROGRAM DESCRIPTION
RC PUBLIC ART PROGRAM MANAGER
(Management Analyst II-City Manager's Office at time of adoption)Administration
Program manager responsible for administering and facilitating the Public Art Program,
including the RC Public Art Plan and administrative guidelines.Serves as the staff contact
for the Public Art Committee
Roles • MANAGEMENT ANALYST I -ART PROGRAM (recommended staffing)
Primary staff person responsible for managing the day-to-day RC Public Art Program.This
Responsibilities staffing position is a critical enabler for the completion of the RC Public Art Performance
• RC Public Art Staff Measures and implementation of the RC Public Art Plan
RESPONSIBILITIES
• Public Art CommitteeMaintain relationship and communication with the Public Art Committee (PAC). Updating
them on City staff and news, issues, requests,and changes. Liaises between the PAC and
Council• City other City departments and meets regularly with the Chair of the PAC
Manager• City Manage all aspects of commissioning, purchasing, installing, and deaccessioning works of
art in collaboration with City staff and the PAC, including but not limited to:
• City Departments Drafting project plans;
• Art Selection Panels Managing all Request for Qualifications ("RFQs") and Request for Proposals ("RFPs")
processes for commissioning public art;
All play essential roles selecting, Organizing artist responses;
implementing, Organizing and facilitating PAC meetings;
projects.public art _ following Working with legal to prepare and negotiate contracts;
section will clarify _ach entity's Convening necessary City staff for technical reviews of art proposals;
roles _nd responsibilities regarding Coordinating installations between artists/artist-led teams and City departments
PC Public Art. and inspecting work; and
Managing the City's public art catalog, including maintenance and conservation of
City-owned public artwork
Oversee the review of works being considered for deaccession or re-siting
Ensure all City public art policies and procedures are followed
Submit an annual budget work plan to the PAC that includes recommendations to the
City Manager and Council regarding public art acquisitions, placement, relocation,and
deaccession; public art donations; implementation of and revisions to the RC Public Art Plan
and administrative guidelines; allocations of the Public Art Trust Fund
Work with applicable City departments for the inclusion of public art in all development
plans, and applicable upgrades,or remodels
Develop and implement the community engagement work plan to inform and engage
the public about the City's public art collection
(continued on next page) IG
Public Art Staff(continued) Public Art Committee (PAC)
Develop and implement RC Public art DESCRIPTION
data collection and management process; The PAC consists of five members appointed by the City Council.
including but not limited to: RESPONSIBILITIES
RFQs and RFPs submissions,with Review and recommend the RC Public Art Plan and any periodic revisions to procedures and
support from, and in compliance with, guidelines for implementation
the City of Rancho Cucamonga Review and recommend an annual work plan and budget to the City Manager and City Council,
Procurement Department's policies recommending that public art projects be consistent with the RC Public Art Plan vision, core
and procedures; values, and goals
Maintenance schedule; Participate in the selection of artists and art pieces through representation on ad hoc art
Art locations and mapping; selection panels
Archive; Meet at least quarterly to review and make recommendations to the RC Public Art Staff,
Deaccession list; and City Manager, and City Council regarding the Public Art Program and policies relating to
public art acquisitions, placement,and removal of public art by the City; public art donations;
Community feedback implementation of and revisions to the RC Public Art Plan and administrative guidelines;
Recommends, prepares, and administers allocations of the Public Art Trust Fund; and collaboration with artists,arts groups, and educational
professional services necessary to implement institutions on art programming
the RC Public Art Plan
Assist in writing necessary grant applications City Council
and managing grant awards to support the DESCRIPTION
mission of RC Public Art Program The Rancho Cucamonga City Council is comprised of four members elected by the voters in their
Serve as the point of contact for inquiries respective districts and the Mayor who is elected at-large.
about public art from members of the public
RESPONSIBILITIES
Reviews and makes the final decision on whether to approve and adopt the RC Public Art Plan
Approves all permanent public art on City-owned property purchased with City funds above a
$35,000 threshold
Approves all permanent public art donations
Approves the deaccession of works of art
Approves annual City budget that includes Public Art Trust Funds and other applicable allocations
to support the RC Public Art Program
City Manager
DESCRIPTION
The City Manager is responsible for the day-to-day business of City operations and is appointed
by the Mayor and City Council.
RESPONSIBILITIES
Implementation of the RC Public Art Program and approval of revisions to the guidelines
Advisor to the City Council on issues relating to public art with the advisory recommendation of®
RC Public Art Staff and PAC
Other Functional Departments
O.E., PLANNING, PUBLIC WORKS SERVICES, ENGINEERING,
COMMUNITY SERVICES, ETC.)
DESCRIPTION
City departments that oversee or are responsible for City spaces wherer
public art may reside.
RESPONSIBILITIES
Meet with RC Public Art Staff to review upcoming Capital Improvement {
Projects and identify opportunities for public art integration HISTORIC
Serve on Art Selection Panels for projects that impact their department's
areas of responsibility
Conduct routine inspections of artwork, as outlined in the RC Public Art 66
Plan,within their authority to determine if maintenance is needed and
communicate those maintenance needs to the RC Public Art Staff
Act as a liaison between the RC Public Art Staff and/or PAC and
commissions, advisory boards, and/or committees under their areas of
responsibility regarding public art projects :3`
Art Selection Panels
DESCRIPTION
Art Selection Panels are ad hoc committees formed for each public art Future Groups
project undertaken by RC Public Art Staff.The Panel is comprised of 3-5 (PUBLIC ART COMMUNITY LIAISONS)
members, including one (1) representative from the City Department where
the art will be sited or the City Department leading the Capital Project, one DESCRIPTION
(1) member of RC Public Art Staff, and other subject matter experts and Public Art Community Liaisons will act as volunteer public art
individuals with project-specific experience,such as existing and former PAC and placemaking ambassadors,comprised of representatives
members,or other qualified arts,design, and education-related professionals, from Healthy RC community programs and other interested
or City representatives, as needed. community members. Liaisons will be nominated by RC Public
Art Staff, PAC members, or other cultural arts professionals, as
RESPONSIBILITIES appropriate,and serve as RC Public Art ambassadors in the
Participate in adhoc panels formed for a limited period and charged with neighborhoods where projects will be integrated.
recommending artists for individual projects or groups of projects
RESPONSIBILITIES
Participate in an orientation meeting to be briefed on the project Act as community hosts and help build connections between
Review artist qualifications and select finalists or interviews or concept public art, artists, and the community
proposals Help foster civic programs and offer expert community guidance
Review artist concepts or interview artists and recommend a final selection throughout the project
to RC Public Art Staff Introduce the artist in residence,short-listed,or contracted artists
to the community
Setting Priorities - Public Art Opportunities
Identifying locations for public art is LOUTION
PRIORITIES
critical to the public art process. RC Public
Art Staff should ensure that site locations
are equitably distributed throughout the
community and that art is placed in areas !
with high visibility and traffic. Location �•-•-•-•- _�_,_._._._. ;
priorities for public art will align with the
I I
RC Public Art Plan goals and meet the
criteria of public visibility,equitable access,
and public safety. 1 I + r}1 I
7 1 1 1 1
1
Through the initial public - '
outreach and in consultation V ; ; ; I �
1 �
with the General Plan -, ; Alta 'a
CraP'P., -iJ I Etiwand3
Update, the RC Public Art
Plan has identified priority - -
locations throughout the - +
City and location types for
1 1 r 1 1 r
the placement of public art. '
A 1 Rancho
Cucamonga 1 _ ICJ
Public spaces in these areas are eligible 1 1 —————i
for public art and placemaking programs ' ' I I —————
# I i Kase
and should guide the current strategic
planning phase and be updated IN I I !'
periodically.
Site Prioritization Process
The locations listed on previous page represent a broad range of sites with numerous opportunities
for permanent siting and temporary display of public art. Public art placement should be prioritized
in areas that allow visibility from the public realm and public access. RC Public Art Staff should also
evaluate whether the locations selected will allow for a diversity of art types or contribute to the
HIGH PRIORITY AREAS■ expansion of art typess throughout the community.To effectively utilize public art funds,the following
-Area surrounding Victoria Gardens criteria have been established to review and prioritize sites during the site selection process:
- Central Park PLACEMAKING AND PUBLIC VISIBILITY-
- Civic Center
Priority should be given to locations that are highly visible and contribute to the placemaking priorities
_ • Hill Gateway/Park established in the General Plan.
EQUITY
MEDIUM ' ' Priority should be given to locations that allow for an equitable distribution of art throughout the public
• Northwest Alta Loma realm and access to a variety of art types
•Area surrounding Chaffey -. - Does the site/location improve access to art for underrepresented community members?
• • . Heights TownDoes the site and/or project add to the diversity of art locations or artistic approaches around the city?
• Southwest Cucamonga INTEGRATION INTO CAPITAL PROJECTS:
• HART District Priority should be given to sites where public art can be integrated into the construction process for
•Alta Loma Townanticipated community improvement projects overseen by the City
OTHER LOCATION PRIORITIES
and Pedestrian
Major Thoroughfares
Neighborhood -
• Gateways and Major Intersections
Public Art Planning
RC Public Art Staff should utilize the RC Public Art Plan to guide objectives
and work streams for City planning mechanisms such as the existing five-year
strategic services plan and the City's annual operating plan.
STRATEGIC SERVICES PLAN
RC Public Art Staff should complete a Strategic Services Plan ("SSP") that identifies
. 1 the RC Public Art priorities, performance indicators,and objectives for the upcoming
r five-year period, based on the goals,strategies, and measures outlined in the RC
Public Art Plan
5
The SSP should include, but is not limited to,the following elements:
An artwork site plan that identifies and prioritizes locations for the placement
of public art in City-owned or managed spaces for the next five years
Updates to the public art goals,strategies,and measures, as needed
A plan outlining the frequency and means for public input and stakeholder
engagement
�I;_ �
Plans for program expansions
ANNUAL PUBLIC ART OPERATING PLAN
RC Public Art Staff should establish an Annual Operating Plan ("AOP"),coinciding
t "r with the fiscal year,that provides a detailed overview of RC Public Art Plan priorities
and anticipated expenditures
` ,`� .-� = — The AOP should include, but is not limited to,the following elements:
A list of projects that are expected to start in the next fiscal year, projects
carrying over from the previous fiscal year,and any special art projects as needed
Rancho Cucamonga ei f
Including completed art project plans
Internal or external partnerships required to complete the projects listed
and the roles and responsibilities of those partners
Projected costs and funding sources for new art projects
- Any expected and maintenance needs and projected costs
Any expected deaccessioning of art pieces and projected costs
Any expected special services and projected costs
Lo oc s, �ctoAa Gardens _
Processes for the Public Art Collection
i nis secxion wni outline the general processes for procuring,maintaining,cleaccessioning,and funding works in the PC Public Art collection.
Process for Commissioning Public Art
The following summarizes the standard process for commissioning public art.This process applies to permanent and temporary public art projects
funded in whole or part by the Public Art Trust Fund or City funds and managed by RC Public Art Staff. Most projects will be run through an RFQ process.
Under limited circumstances, RC Public Art Staff may run an RFP process. In this instance, participating artists will be compensated for developing a
concept proposal before the final artist is selected. The following steps will include the process for RFQ and RFP projects in areas where they diverge.
1. PROJECT PLAN 2. ARTIST POOL AND ENGAGEMENT METHOD
The initial step for commissioning public art is to develop a Once the Project Plan has been approved through the AOP process and is ready
Project Plan.The Project Plan must provide a comprehensive for bid, RC Public Art Staff will determine the artist pool and engagement methods
overview of the proposed art project and act as a reference for the Call for Artists in partnership with the PAC and applicable City departments.
point to ensure that the art project achieves the intended
purpose.The Project Plan should be completed by ARTIST POOL EXAMPLES
RC Public Art Staff,with input from the PAC and applicable Open Call-Open to all artists
City Departments as part of the AOP process. Limited Competition-Call or artists open to an existing artist pool from sources
PROJECT PLAN ELEMENTS such as an artist registry or past Call for Artist respondents
(see appendix B for plan template) Public Art Committee Recommendation- Invitational or limited invitational to
Project Introduction select artists as recommended by the Public Art Committee or other respected
arts and culture organizations
• Project Location Overview
Project Goals ENGAGEMENT METHODS
Artist Scope of Work RFQs:The RFQ process is based on a review of the artist's qualifications and past
Artist Eligibility work; it does not require that artists prepare a concept proposal for consideration.
With an RFQ, once the final artist is selected,the City executes a design contract
Art Selection Criteria and Recommended Art Selection with the artist.The artist then completes,and is compensated for, a concept
Panel Members
proposal
Project Schedule RFPs:The RFP process requires artists selected as finalists to provide a concept
Budget and Applicable Funding Sources proposal based on the site location,goals, and priorities identified in the Call
Community Engagement, Marketing, and Communications for Artists.Artists will be compensated for the concept proposal,and the
Needs compensation amount and scope of the proposal should be included in the
Call for Artists
3. CALL FOR ARTISTS
Once applicable City Departments have reviewed the Project Plan,artist pool,
and engagement method, RC Public Art Staff will develop the Call for Artists.
CALL FOR ARTIST ELEMENTS
(see Appendix C for Call for Artists template)
Call Summary Deadline
Project Description Submission Address
Art Goals or Criteria Selection Process
Site Location Plans Selection Criteria r .
Art Location Description Project Timeline
Budget Sources for Additional Information
Artist Eligibility Resources for Questions
•Application Requirements
4. REVIEW INITIAL RESPONSES AND SELECT FINALISTS
Art Selection Panel, identified in the Project Plan,will review the pool of
applicants against the selection criteria for the project and recommend up
to five (5) finalists for review and approval. Note,the City does not review
or evaluate public art based on content or viewpoint. The Art Selection
Panel will then conduct reference checks and proceed to artist interviews
or concept proposal development and review, based on whether the
engagement method selected is an RFQ or RFP.Art Selection Panels may
also opt to conduct studio visits during this phase. If the pool of candidates
is too limited or not enough candidates meet the selection criteria,the Arti
Selection Panel may recommend extending the Call for Artist period before
recommending finalists for review and approval.
COMMUNITY ENGAGEMENT
Once the finalists are chosen,the Art Selection Panel may ask the artists to 4
participate in a site visit before conducting interviews or concept proposal `• :`
development.This site visit may include a tour of the site location and
surrounding neighborhoods and informal meetings with key stakeholders
(i.e.,community members, local businesses,City department members,
Healthy RC Steering Committee members,etc.)
® Seattle Center Skatepark,Perri Lynch Howard
5. SELECT THE FINAL ARTIST
Once the interviews and/or concept proposal reviews are completed,the Art Selection Panel
will recommend a final artist to RC Public Art Staff.These recommendations will utilize criteria
established during the Project Plan and Call for Artist process to evaluate and rate the artists
and applicable proposals based on the RFQ or RFP criteria listed below:
RFQ
Selection of the final artist should include a review process that is built from,
but not limited to,the following criteria:
The artist's past work showcases their innovation and mastery of skills and techniques ;w
The artist has a demonstrated understanding of the project goals and an interest in
developing a project that is consistent with those goals and appropriate for the site
t�
The artist has experience with projects of a similar scale and budget,where
applicable.Artist qualification requirements should align with the project's scope _ +I %Vf Jr R', „ 0C r "ATI L
and provide opportunities for early-career and emerging artists when appropriate ` n ' " `'"" z x +Pr"„ A.flMrf,, E��
The artist can identify and has proficiency in the use of materials appropriate for public
installation at the project site � ����� �
rr1C�'�1�1C`�AClGl��� , �R-
RFP
Jos
proposal that s built from but nSelection of the final artist lot limited to,the following cd include a review process riteria:ar the project concept '/ } "'" JONES
r
The artist has a demonstrated track record of delivering projects on time,within budget,
and of high quality and can provide references for past work.Artist qualification requirements
should align with the project's scope and provide opportunities for early-career and emerging
artists when appropriate
The artist's proposal demonstrates the feasibility of the project being completed on time and
within the identified budget
The artist's proposal takes into consideration all stages of project management, including but not
limited to sub-contractors, fabrication, and installation
The artist's proposal demonstrates artistic excellence, innovation, and clarity of vision
The artist's proposal clearly articulates how the piece will meet the identified goals of the project
The artist's proposal demonstrates a clear understanding of the suitability of the work for the site, including:
Conceptual compatibility;
Material,form, and scale; and
Contribution to the site's characteristics (historical,cultural,ecological,current or proposed use,etc.)
The artist's proposal identifies potential site issues such as permitting,access to necessary utilities,
installation staging,weather,safety, and maintenance requirements
b. EXECUTE THE ARTIST AGREEMENT
Once the Art Selection Panel makes its final recommendation,
RC Public Art Staff will execute the final agreement.This process
will vary between RFQ and RFP processes,as outlined below. << ;
RFQ
Once the interviews are completed and the final artist is
recommended, RC Public Art Staff will place the artist under a
design contract to develop a formal concept proposal.The concept ry-'
proposal elements should be outlined in the Call for Artists and .}
include,at a minimum,the following elements:
Written project description;
Detailed overview of project materials fabrication techniques;
Requirements for site preparation, including any relevant
..
infrastructure needs;
A rendering or three-dimensional model of the work;and
A detailed project budget and timeline
Once the Art Selection Panel has completed the concept proposal 7. MONITOR FINAL DESIGN AND FABRICATION
review, including the artist's response to any Art Selection Panel The artist will regularly contact RC Public Art Staff during the final design and
identified technical concerns or feedback, RC Public Art Staff fabrication phase to further refine the design and complete any necessary
will approve the concept proposal and work with applicable City permitting or review by a licensed engineer in the State of California. Once
Departments to enter into an agreement with the artist to develop completed,the artist will provide a final design, including any necessary
the final project design to fabricate and install the work. approvals or permitting,to RC Public Art Staff for final review and approval.
RFP
Once the Art Selection Panel has completed the concept proposal 8. OVERSEE INSTALLATION AND CONCLUDE THE PROJECT PLAN
review, including the artist's response to any Art Selection Panel RC Public Art Staff will work with the artist to ensure that all necessary site
identified technical concerns or feedback, RC Public Art Staff permits,and applicable site permissions,are completed before installation.
will approve the concept proposal with the applicable City Additionally, RC Public Art Staff will ensure that all site preparation or essential
Departments and enter into an agreement with the artist to infrastructure, not provided by the artist as outlined in the artist agreement, is
develop the final project design and to fabricate and install in place and will manage the coordination and scheduling of the installation
the work. with applicable City Departments and property owners.Once installation is
complete, RC Public Art Staff will begin the process to conclude the Project
To the extent possible, all RC Public Art-related contracts should Plan.This process includes confirming maintenance needs,collecting
align with the Americans for the Arts Agreement for Commission of manufacturer warranties and any outstanding documentation from the artist,
Public Artwork recommendations and applicable State or Federal listing the work on the Public Art Map and Database, hosting a dedication,
laws such as the California Art Preservation Act and Visual Artists and more.The project lead can utilize the Project Conclusion Check List under
Rights Act. Appendix D to complete the project closeout task list.
0
Considerations for Purchasing Existing Art
1. DEVELOP A PROJECT PLAN 5. EXECUTE THE AGREEMENT
Include the same elements as outlined in the Process for Commissioning Once the artwork has been selected,the City will enter into an
Public Art section agreement of sale with the seller. Depending on the artwork's
value, the sale agreement would need to be approved by the City's
2. ESTABLISH SELECTION procurement department or City Council and would need to be
Establish Art Selection Panel and determine selection criteria. compliant with all relevant procurement codes.
3. INVITE ARTISTS OR OTHER APPLICABLE INSTITUTIONS 6. OVERSEE INSTALLATION AND CONCLUDE
Invite private collections,curators,galleries,etc. to submit images and THE PROJECT PLAN
information about existing and available art. RC Public Art Staff will work with the artist to ensure that all
Information should,at a minimum, include: necessary site permits,and applicable site permissions are
Relevance to RC Public Art vision, core values, and goals; completed before installation.Additionally, RC Public Art Staff
Asking price; will ensure that all site preparation or essential infrastructure, not
Dimensions; provided by the artist, is in place and will manage the coordination
Weight; and scheduling of the installation with applicable City departments
Materials; and property owners. Once installation is complete, RC Public Art
Current condition; Staff will begin the process to conclude the Project Plan as outlined
Current location; in the Project Conclusion Check List under Appendix D.
Fabrication date;
Maintenance and conservation requirements;and
Art handling and transportation requirements
4. SELECT THE ART
The Art Selection Panel should review artwork based on the selection criteria
provided by the RC Public Art Staff that includes, but is not limited to,the following:
The artwork poses no safety or liability concerns;
The artist,or applicable party, has provided a report with the appropriate
maintenance and conservation needs,and the City is comfortable with
those expected needs and associated costs;
The artwork meets the identified goals and objectives of the project plan;
The artwork is in line with the vision,core values, and goals of the
RC Public Art Plan (note,the City does not review or evaluate public art
based on content or viewpoint);
The artwork scale,form, materials,and/or media are physically and
aesthetically appropriate for the proposed site;
All costs related to the applicable commission,shipping, and installation
are known and can be covered by the identified project budget;and
The work is legally for sale to the City by the seller
Process for Accepting Donations and Loans
Public art donated to the City for permanent display or loaned to the City for temporary works play a role in the RC Public Art Plan and should meet specific
criteria. Public art can be donated in compliance with the Placemaking & Public Art Ordinance (Rancho Cucamonga Municipal Code Section 17.124.020) or
from corporate or individual donors on an ad hoc basis.The following outlines the process for approving public art donations and temporary art loans.
1. MEET WITH THE POTENTIAL DONOR 2. DOCUMENTATION REVIEW
RC Public Art Staff will discuss the proposed gift or loan with the donor and provide the Once the donor provides the required submission
list of required submission materials,which include, but are not limited to: materials, RC Public Art Staff will convene an Art
Written description and drawings, renderings,and photos of the proposed donation or loan; Selection Panel to review the donation and make a
Specifications of the artwork including:
recommendation to City Council to approve or decline
• the proposal.
Relevance to RC Public Art vision,core values, and goals;
Dimensions; Donation Review Criteria should include but are not
Color; limited to:
Weight; The artwork is in line with the vision and core
Materials; values of the RC Public Art Plan (note,the City
Current condition; does not review or evaluate public art based on
•Current location;
content or viewpoint);
Fabrication date; The artwork media,scale, aesthetics,and site
Maintenance and conservation requirements and expected costs; and usage are appropriate for the proposed site;
Art handling and transportation requirements; The artwork has no environmental concerns and
Background on the artist and documentation of the artist's qualifications; has been evaluated for long-term durability
Proposed location for the artwork, including required site improvements and display method; against climate,theft,and vandalism;
Current appraisal of existing artwork; Maintenance needs and expenses are known, and
Proposed timeline for installation (and loan duration for temporary pieces); costs over time are not prohibitive to maintainingthe work; and
Restrictions or conditions for the donation or loan; The artwork poses no safety or liability concerns
Documentation of artwork ownership, including a statement of authority and intent to
transfer ownership or authority to loan the artwork to the City legally; 3. APPROVAL AND INSTALLATION
Written statement noting which costs associated with shipping and installation will be If approved, RC Public Art Staff will work with the
borne by the individual or group proposing the donation and which costs the individual donor to ensure that all necessary site permits,and
or group would ask the City to incur.The City is mindful that these costs can be barriers applicable site permissions are completed before
to inclusion, and all expenses related to public art donations, including but not limited installation.Additionally, RC Public Art Staff will work
to the below,will be equitably negotiated: with the donor to ensure that all site preparation or
Shipping and art handling costs and insurance; essential infrastructure is in place and will manage the
Installation (and removal of loans or temporary works); coordination and scheduling of the installation with
Permitting and inspections; applicable City Departments and property owners.
Identification markers; Once installation is complete, RC Public Art Staff will
Lighting needs;and begin the process to conclude the project as outlined
Site modifications in the Project Conclusion Check List under Appendix D.
Documentation and Maintenance of Works of Art
PUBLIC ART DOCUMENTATION
RC Public Art Staff will maintain the City's public art collection documentation in the
Clerk's office. Documentation of each work will be prepared by the RC Public Art Staff
and should include the following:
An accession form documenting:
Accession number-,
Each piece in the RC Public Art catalog should receive a unique Accession Number
Accession date;
Title of the work;
Artist name,date of birth,and death, if applicable;
Medium(s);
Dimensions;and _
Location;
Artist,donor, or applicable seller contact information;
Information regarding the fabrication, installation,and maintenance requirements of the work of art;
Photographic record of the artwork;
Executed contracts,deeds of gift, loan agreement,transfer of title, or other documents as applicable; 1
Applicable copyright agreements;
Maintenance,conservation,or historical records, as applicable;and
Form of deaccession,as applicable
MAINTENANCE
The RC Public Art Staff, in partnership with applicable City departments,will be responsible for the regular
review and maintenance of acquired works, in line with the maintenance requirements agreed upon
between the artist and the City. Maintenance for RC Public Art will be funded by the Public Art Trust Fund i
or applicable City departments otherwise identified in the Project Plan. In partnership with relevant City
r ;Departments, RC Public Art Staff should conduct a complete Public Art Survey every five (5)years, in line �;, •
with the SSP schedule,to identify any additional maintenance or conservation needs and include the -^
findings in the SSP. If a work of art is damaged by weather,vandalism, accident, or other causes, RC Public
Art Staff will make a substantial effort to contact the artist and enter discussions and negotiations about
repair and conservation.The artist or lead artist on a team should be consulted first and, if appropriate,
paid for proper repairs or included in consultations about all repairs, methods, and materials needed for
restoration or conservation. If the artist is not available,deceased,or otherwise dispossessed, an artist or
arts expert in the field or art type should be contacted and retained for necessary repairs or to assist in the
identification of expert professionals who are qualified to carry out the repairs or conservation in a way that
does not alter or compromise the original intent of the artwork.
Deaccessioning Art
Deaccessioning is the formal process of permanently removing an object from the RC Public Art collection. Before deciding to deaccession art,special
considerations should be made,such as the length of time the art has been displayed,the impact of deaccessioning on the artist,the impact of
deaccessioning if the work has been donated, and the quality and condition of the work. In general, pieces in the RC Public Art collection should be
retained if the work maintains physical integrity, usefulness, and relevance to the purpose and location it was commissioned for,and as long as the City
can properly preserve and maintain the material in a cost-effective manner.
IDENTIFYING ART FOR DEACCESSION
A careful and impartial evaluation of the work should be completed by RC Public Art Staff and the PAC and include:
A good-faith effort to inform the artist or the artist's estate that the artwork is being considered for deaccession;
A review of all pertinent accession documentation, including a review of legal documents by the City Attorney;
A written recommendation for deaccession by an independent art professional such as a curator,conservator, historian,or architect;and
A review of any pertinent written correspondence, media coverage,and other evidence of public opinion
CRITERIA FOR DEACCESSION
The use or design of the site has been or will be altered in a manner that the artwork is no longer compatible with the site and cannot feasibly be relocated;
The work in question no longer meets the scope or vision of the RC Public Art Plan;
The work has deteriorated or been severely damaged such that restoration is impractical, unfeasible, or would render the work false;
The work no longer exists due to theft,vandalism,accident,or natural disaster;
The art has become a danger to public safety;
Maintenance needs for the artwork have changed and are cost-prohibitive; and
Significant adverse reaction to the artwork from community members has continued for an extended period (at least five (5)years)
OPTIONS FOR DEACCESSION
Sale;
Removal and storage;
Removal and disposal; or
Return to the Artist: In all cases of deaccession,the artist should be given the first option to take the work back through purchase,exchange,or other
means deemed appropriate by the City
PROCESS FOR DEACCESSION
Once it's determined that a work of art in the RC Public Art Collection meets one or more criteria for deaccession, RC Public Art Staff should:
Have an appraisal of the artwork be completed by a neutral third party if the work's estimated value exceeds$5,000, or as recommended by the PAC
Include a written report in the AOP that articulates the reasons for deaccessioning, including an overview of reasons for not relocating the piece elsewhere
within the City,and the recommended method for deaccession
The PAC will then review and recommend that the deaccession move forward
The City Manager,or designee will then evaluate the deaccession recommendation during the AOP review process,or on an ad hoc basis if the work
poses a public safety risk, and approved or directed to City Council for approval
If approved by the City Council, RC Public Art Staff will move forward with deaccession,and a record will be kept with the documentation for the City's
art collection
IG
Funding
Funding for public art should come from diverse sources.The City should prioritize funding projects from the Public Art Trust Fund and leverage the fund by
proactively writing grants and soliciting funding from multiple sources to support RC Public Art goals, in addition to making requests from other applicable
City funds to support special projects and staffing needs.
PUBLIC ART TRUST FUND
Monies,as required by the Public Art Ordinance,originate from eligible developers who elect the option to donate to the in-lieu Public Art Trust Fund
RC Public Art should utilize the Public Art Trust Fund to acquire and maintain public art and creative placemaking opportunities for the RC Public Art
Collection,so long as the site selection and opportunity meet the criteria outlined herein
In general,the Public Art Trust Fund should be used for..
The design, acquisition, installation, maintenance,and insurance of temporary and permanent public artwork and RC Public Art Program displays by
the City or on City property
Art education programs for the community conducted on City property; provided that not more than five percent of the fund's annual budget shall be
used for this purpose
Administrative costs reasonably related to either of the preceding purposes
Public Art Trust Fund Management
RC Public Art, in collaboration with applicable City Departments,will manage the Public Art Trust Fund to maximize its civic benefit and for the sole
purpose of establishing the RC Public Art Program according to the vision,core values,goals, and measures herein
No Public Art Trust Fund monies may be used for projects outside the scope of the RC Public Art Plan or allocated to other City Departments for use
on projects other than public art
RC Public Art Staff will make every effort to leverage the funds for matching grants and other opportunities to maximize the impact and stability of
the fund over time
The RC Public Art Program will utilize funds from the Public Art Trust Fund in a manner that fosters fiscal sustainability and supports the stability of
the RC Public Art Program over time
Transparency
RC Public Art Staff should routinely work with the City Manager, Planning Department Director,or other applicable staff to identify and track planned,
potential, or confirmed incoming donations as development projects enter the planning and permitting pipeline or as donors, grantors,or other
funders come forward to support the program
GRANTS
Public Art, in collaboration with applicable City departments or community partners,should seek grants to help fund projects that support the goals,
strategies, and measures outlined in the RC Public Art Plan
PRIVATE FUNDING
The City should seek funding from individuals,corporations,foundations,or other organizations to support the acquisition of public art or implementation
of public art programming and any activities necessary to maintain those programs
Private funding should align with the goals and values of the RC Public Art Plan
GENERALFUND
When applicable, RC Public Art Staff should utilize the AOP process to request General Fund support for projects or staffing needs that fall outside the
parameters for Public Art Trust Fund use
APPENDIX A - DEFINITIONS
Acquisition: A one-of-a-kind artwork added to the Creative Economy According to the United Nations Acquisition of artwork for temporary
City of Rancho Cucamonga's Public Art Collection Conference on Trade and Development(UNCTAD),3"the or long-term display in public spaces,as
through commission, purchase,or donation. creative economy has no single definition. It is an evolving differentiated from rotating exhibits.
concept which builds on the interplay between human
A practitioner of the arts who has a creativity and ideas and intellectual property, knowledge Local and Regional Arts Organizations:
reputation among peers as a person of artistic and technology. Essentially it is the knowledge-based Entities based in Rancho Cucamonga or
excellence through a record of exhibitions, public economic activities upon which the'creative industries' the greater Southern California region that
commissions,sale of works,or educational are based". UNCTAD defines the following industries support artists,creators,and the general
attainment. as the"lifeblood of the creative economy:"Advertising, cultural community.These organization
Local Artist- Artists that current) reside in the architecture,arts and crafts,design,fashion,film,video, typically provides programs and services
y photography, music, performing arts, publishing, research that enhance the cultural sector in a variety
City of Rancho Cucamonga and surrounding of ways,such as awarding rants, providing
communities. &development,software,computer games,electronic y g g P g
publishing,and TV/radio. programming,and connecting artists with
Regional Artist: Artists that reside within local opportunities.
San Bernardino County, Riverside County, Los Deaccessioning:The permanent removal of a work from
the City of Rancho Cucamonga Public Art Collection by Public Art:Original works of temporary or
Angeles County,and Orange County. selling,donating,or destroying it. permanent art designed and/or created by an
Artist Pool:A preselected pool, roster,or stable of artist or artist-led team. Public art lives in the
qualified artists that make artwork that supports Donatio, Acquisition of artwork through the acceptance public realm and is visibly and/or physically
the vision,values,and goals of a city or project. of a donation of funds to purchase or commission accessible to the public. Public art can take
artwork or the acceptance of actual artwork from an shape in many ways and forms as long as it
ArtworM An aesthetic creation of a permanent individual or organization. remains free and accessible to the public.
or temporary medium or combination of media Direct Purchase:Selection and purchase of an existing Temporary Art Works of art created to be
resulting from the skill and creativity of an artist piece of artwork ready for display. in a public place for a limited period,as
or artists.
identified and agreed upon by the City and
Commissioi Selecting an artist or artist-led Display:The temporary showing of a work of art. the artist or artist-led team.
team and providing payment for the creation ' Design:The phase of a public art project in which Request for Proposals(RFP) A document
and installation of a piece of artwork, usually the artist finalizes the design, placement, installation soliciting Concept Proposals from artists
for a specific site. specifications,and cost estimate and has relevant or an artist roster for a specific public art
Community Garden:A food-producing garden components prepared and stamped by a licensed project.An RFP invites a group of artists to
on public or private land that provides hands- engineer. submit a location-specific proposal to be
on opportunities for community members to Refers to aesthetic objects that serve reviewed by the Art Selection Panel.
plant, maintain and harvest a plot of vegetables utilitarian purposes.This art can include a broad range Request for Qualifications(RFQ):A
and edible plants. In the context of public of objects, including but not limited to furniture, lighting, document soliciting qualifications from
art,community gardens are a subcategory of shelters, bollards, bike racks, benches, play equipment, artists for a specific public art project.
environmental art and/or public practice as they and more. An RFQ invites artists to send their
provide opportunities for artists to engage in qualifications to be reviewed by the Art
these spaces through the design and creation Healthy RC: Established in 2008, Healthy RC is a Selection Panel but does not require a
of community gardens and relevant public comprehensive City-Community partnership committed specific proposal to be submitted until the
programming and environmental artwork. to long-term policy,systems,and environmental changes
to support healthy living and a sustainable community. final artist is selected.
Concept Proposal:A public art project phase Healthy RC focuses on eight community health priorities: Siting:The permanent installation of a
in which an artist or artist-led team creates healthy eating &active living,education &family work of art.The temporary or permanent
an initial proposal and conducts a preliminary support, mental health,economic development,clean installation of a work of art in a particular
L
stimate. environment, healthy aging,disaster resiliency,and site such as on a building,entrance, plaza,
community connections&safety. intersection, path or roadway, bridge or
neighborhood,etc.
APPENDIX B - PROJECT PLAN TEMPLATE
RIC Public Art Project Outline
PROJECT NAME:________________ AOP YEAR:FY202__/2__ ARTIST REQUIREMENTS
aUse this template to build the RC Public Art Project Outlines for inclusion with Artist Scope of Work
the AOP.Once approved this outline will be updated and maintained throughout
the project timeline,including a copy submitted to the City Clerk's Office at the a Outline the work that the artist will be expected to complete as part of the project
conclusion of the project.Remember to save a new version of the file BEFORE award(design,fabrication,installation of the work,working with a CIP project or
updating the referenced sections. design team,etc.)
INTRODUCTION Artist Eligibility
Identify any sp ligibility qui ments the artist must meet in order to be
aProvide a brief overview of the project covering the project location,project type eli pr 'ect. '.e.,expe 'enc pecific art mediums,emerging artists,
(i.e.,public art and creative placemaking programming,permanent artwork, regional artis , c.)
temporary artwork,etc.),budget funding source,and the timeline for project
completion Que do s to ns er i clude:
•Must the tist li /wo in a er i raphic area or is the call open to
Art Site Overview artis nationally?
the call only open to professional artists or are students eligible?
aProvide an overview of the project I ation in luding I ati use, roject ite, r ist teams eligible for the project?
applicable capital improvement pr ject or plans,loca ion i s s or nce ns t at
could impact the completion of th project
Must the artist have completed a project with a similar budget,scale,and scope?
If you are seeking to reach out to certain types of artists,include that overview
Project site location here.For example,if the commissioning organization is seeking to reach out to
Project site current and expected use emerging artists,include a statement such as"professional artists who are new
Overview of CIPs or plans that are associa the proposed public art to the field of public art."Or if the project is one that will involve a high level of
site or that are anticipated in future years(if applicable) community interaction in a specific setting,include a statement such as"artists
•Include points of contact for the CIP and any necessary reference materials who have experience interacting with community are encouraged to apply".
Site concerns or issues that could impact project completion(if applicable)
Project Goals Art Selection Criteria and Recommended Art Selection
Panel Members
aOutline the project goals including how the project aligns with the RC Public Art
Vision and the RC Public Art Plan Goals,Strategies,and Measures it supports and B Outline the selection criteria that will be included in the Call for Artist and
recommendations for the Art Selection Panel
what gap in the RC Public Art Collection this project will fill
Selection Criteria
Goal#1:
•Art Selection Panel
Goal#2:
•RC Public Art Staff Member:
Integration into the RC Public Art Plan:
•Art Site Representative:
Benefit to RC Public Art Collection:
•Other Applicable City Representatives/Community Members:
APPENDIXFOR ARTISTS TEMPLATECONTINUED
PROJECT SPECIFICS
Project Schedule
aSummarize the anticipated project timeline from start to finish.In the table that follows,include all important dates related to the project,broken down by date and duration.
Description Start Date End Date Duration
Project Start
Milestone 1
Milestone 2
Phase 1 Complete
Milestone 3
Project End
Budget and Applicable Funding Sources
V Provide an outline of the proposed budget for the project,including specifics on design,fabrication/installation,and maintenance,if known
Budget and Applicable Funding Sources
aProvide an overview of how this project will be incorporated into the annual community engagement work plan,including community outreach needs,anticipated events
(i.e.,groundbreakings,openings,dedications,etc.),public participation needs(i.e.,meet the artist opportunities,public input on location/art type%tc.)
40
APPENDIX ■ ARTISTS TEMPLATE
RC Public Art Call For Artists
FOR INDEPENDENT CONTRACTORS Art Location Description
aThe template provides an outline for the Call for Artist Summary in line with the Public Art a A description of where the art will be within the project site.Sometimes
Network Artists Selection Resource Guide(2073).Notes in the green boxes should be used the location for art is predetermined by the funder,commissioning
as reference materials for the section and are pulled from the resource guide linked above. organization,or community before a Call for Artists is distributed.If this
Remember to save a new version of the file BEFORE updating the referenced sections. applies to your project,provide a highly detailed description of where the
art will be located within the site,especially for an RFP.The description
should include,but not be limited to:Engineering and architectural
CALLSUMMARY information about the location's structure,materials used at the location,
visibility within the site,and lighting information.If the art location is not
aA brief project summary.The Call Summary helps artists quickly decide whether they predetermined,state whether or not the artist will be free to participate
are interested or eligible for the call and lets organizations posting the call decide how it in selecting the art site.
should be promoted.Include the project name,commissioning organization,application
deadline,project timeline,budget,geographic eligibility requirements,and whether it is Budget
an RFQ or RFP.
The am u of nding al Jpectat'
for the project.
Project Description �51
rlys ate the udget fo t is expected to be covered(not
pre' cts h ve t eof project costs covered by the art
aAn overview of the artist's scope of services.Describe wh it is a desig -team ro ect et)
commission for new work,integrated art functional art replace functio al it ms, ast
plan,artist residency,purchase of eyWig art r anoth r ty e o portu "ty.1 ude a For instance,in a design-team project,the budget may include only
description of the organization ove nc project the costs of artists'fees and travel.In the commissioning of art
project costs may include the artist's fee,travel,engineering,materials,
Project Type fabrication, transportation,documentation,and oversight of
About the City of Rancho Cucamonga installation but not actual installation costs.
Often costs for insurance,taxes,studio overhead,and miscellaneous items
Art Goals or Criteria are not included in an artist's budget by the artist or commissioning
agency.It should be clear from the beginning which costs may legitimately
BList the goals and objectives for the art as established in the RC Public Art Project Overview be included in the artist's budget and which are covered by others.
Document.The specificity of the objectives will vary by commissioning organization and
reflects the characteristics of each project The list can be broad-e.g.,create a sense of
place within the community-or specific-e.g.,design streetscape elements that reflect Artist Eligibility
the industrial history of the neighborhood. a Review the eligibility requirements detailed in the Project Outline
Site Location Plans If the project is seeking to reach out to certain types of artists include that
overview here.For example,if the commissioning organization is seeking
aSite plans,maps,photographs,or other visual information of the site or art location. to reach out to emerging artists,include a statement such as"professional
Describe the site's function;include what activities will happen there and who uses it. artists who are new to the field of public art."Or if the project is one that
Be sure to include whether or not the site is open to the public,or if the public can see but will involve a high level of community interaction in a specific setting,
not enter the site.Include a description or history of the site and community where the art include a statement such as"artists who have experience interacting with
will be and list additional resources for the artist to research.Note whether the artist will community are encouraged to apply."
be included in the final decision on the site within a given location,or if the site has been This section should also include an equal opportunity statement.
identified by the City,prior to the Call for Artist
Photos/plans/maps/other visuals 40
CALL FOR ARTISTS TEMPLATECONTINUED
Application Requirements Deadline
aThe list of materials artists should send by mail or online with their applications. The date when an application must be either received or postmarked.List
Be very specific about the information artists should include with their application since B the date by which an application must be either received at the mailing
it determines how it is presented to the panel reviewing applicants and selecting artists. or online address or postmarked.Be sure to state if overnight or express
Typical application requirements include: delivery is NOT permitted.
Visual support materials
Annotated lists Submission Procedures and Address
Statement of interest,often restricted to a number of words(e.g.200 words)
Resume or short biography a The address to which the application is submitted or mailed.Include the
Self-addressed stamped envelope(SASE)for the return of hardcopy materials online address or mailing address.
Project proposal(for RFPs) If overnight or express shipping is allowed,be sure that the address is not
Visual support materials can include digital images in specific formats,slides,videos,CDs, a post office ba
e ate address for this type of delivery.
and prints or photocopies.If requesting digital images,list the number of images artists may If only o sa cceptable,clearlystate that there will be
submit and how they should be labeled.If a panel is reviewing digital images,CDs or video, mai d s
in addition to the number of images be specific about length of time for moving images
and the formats the panel will be capable of viewing.Identify the number of copies of
support materials the artist is to include(example below). Se ect o PrExamples: A scripti nns will be reviewed and an artist
•For visual art,up to a total of 10 images of past orkon CD.AIIi ges mu e i selected.In lu of people who are on the selection panel,
a JPEG format(.jpg),and 1024 e s(1 22 inch s)o the ongest 'de, matted as identifie n Outline
at 72 pdi.Each image filena e m named as f I ws: tist's I t n first Include the number,or range,of finalists that will be selected and what
initial,underscore,and num er c responding th n be n th im ge ' t will be required of the finalists,including interviews,proposals,dates for
(e.g.smithp_Ol.jpg).No pers al website ill reviewed.If usi g Ma be s e presentations,and travel.Typically,there are three finalists,but no more
to use the appropriate Windo me e to sion s ith _ g"rather than five.
than"smithj_01")
If finalists are subject to interview,state if a fee and travel expenses are
•For performance or media art ideo d mantation formatted on a DVD covered as well as timeline for interviews and who will participate in the
as a Windows Media Player or Quic ime file without an auto start menu. interview process and make the final artist selection.
Each CD/DVD can contain up to 3 video samples,with a total running time
of no more than 10 minutes for all samples collectively. If proposals are required,provide artists with information about what is
included in a proposal,timeline,budget,etc.,and fee for proposal,travel,
•For media art,audio documentation must be formatted on a CD/CD-R containing and presentation,and decision-making schedule.
up to 5 audio samples,with a total running time of no more than 10 minutes for all
samples collectively.
Selection Criteria
The annotated image list allows the artist to describe the visual support material e
and usually includes..description,material,location,budget,client or commissioning A list of the criteria established in the Project Outline that will guide
organization,and any other relevant project information.The statement of interest allows the evaluation of applications.
artists to introduce themselves and describe their specific interest in a project their Listing the selection criteria establishes the priorities of the artist
potential approach to the project or creating public art,answer anyspecific questions selection panel.
presented in the RFQ and describe any past relevant experience.
The list also assists artists when considering whether they should apply
If artist teams may apply,clearlystate ifyou require additional visual support materials, for a project.For example,if the criteria for the RFQ includes artistic
resume,and references for each team member.If you are inviting and paying artists to excellence,evidence of working in the field of public art for more than
develop proposals,clearly list the types of submission materials you would like the artist to five years,and experience working in community settings,artists new
submit to best present their work to the review panel.Typical proposal submission materials to public art will be informed that their qualifications are not a good fit
include:project description,drawings,renderings,model,photographs,materials list,budget for the project.
timeline,references,fabrication,installation,and maintenance information.
CALL ■ APTISTS TEMPLATECONTINUED
Meets Does Not
Criteria Criteria Meet Criteria Comments
Artist Qualifications
Ex.Training or demonstrated expertise in the medium(s) used for the piece
Ex.Commission/Experience with permanent large-scale outdoor work
of similar scope/materials
Artist Concept/Design
Ex.Artwork is site specific and site appropriate
Ex.Original and does not infringe upon any copyright
Project Timeline
The timeline that the project will follow from artist selection top ject mp etion. e init I timDelme s ould e i e i the Pr Outline
The timeline includes dates for the following mF/eston ,as they ply:Su issi de fin pan I review,fina 'st n ation,interview schedule,proposal presentations,
final artist selection,contract, gn view phabn ation an ins Ilation s h dul for rt co rdinated wit project construction,and completion date
Sources for Additional Information
Description S rt D En a Duration
a A list of resources the artist may consult for additional project information
on the project,site,commissioning organization,community,area history,
Submission Deadline etc.Providing artists,a list of resources they can consult about different
aspects of the project can help them decide if they want to apply and if
Panel Review their work is a good fit with the project parameters.In the case of an RFP,
the list can be a launching point for research.Include website addresses,
Finalist Notification publications,contact information for organizations,and other information
that would be helpful and relevant to artists as they research the project.
Interview Schedule
Proposal Presentations Accessibility Requirements for the Project
a An overview or statement of considerations for accessibility that the artist needs
Final Artist Selection to consider and integrate into the concept proposal and finished design.
Contract Resources for Questions
Design Review Phases a The contact information for the person or organization to be called if the
artist has questions or needs additional information.Be clear about whether
Fabrication And Installation telephone calls or email inquiries are accepted or if questions may only be
submitted by fax or email.Also state if there is a deadline by which questions
Completion Date must be submitted.
APPENDIX • CONCLUSION CHECKLIST
RC Public Art - Project Conclusion Checklist
PROJECT NUMBER:
PROJECT MANAGER:
PROJECT LOCATION:
ARTIST NAME:
PROJECT INSTALLATION DATE:
Below is the list of tasks that need to be completed,with relevant documentation i ded in a ublic Art Project Packet,
after the project is installed and prior to closing out the ad mi as in of the C li Art Project.
Collect From the Artist/Seller/Donor D
❑Maintenance Protocol for the Artwork
❑List of materials used in the creation rtwork
❑Documentation of manufacture4wa�m4ies fora two om onen s(if lica le)
❑List of fabricators used in the crew ion o t e or an contact fo ma on
❑Transfer of title for the artwork or other um nt tion confir e transfer of ownership of the artwork from the artist to the City
❑Any outstanding project document tion,incl in igh-resolution digital photography
Signage and Communication
❑Complete installation of on-site signage+add photo to the project packet
❑Update the Public Art Map on the City website with a project overview:
Artist Name(Birth Year+ Death Year,when applicable)
Artwork Name+Description
Materials+Mediums
How it was procured: Donation, Public Art Ordinance(developer installed), RC Public Art Acquisition,etc.
Photo
Location
Final Steps
❑Enter the project and all applicable materials into the collection database through the City Clerk's office
❑Host a dedication or relevant public event to formalize the project completion
40
RC Public Art Outreach Methods OUT REA�CHP ublic METHODS
Overall,theArt Core
Team implemented four(4)
and Results Summary primary methods for collecting
public input that ultimately
OUTREACH SUMMARY informed the vision,core values,
Gathering Voices: The RC Public Art Outreach Process and goals for the RC Public
Art Plan.The following section
Community Voices are at the heart of the RC Public Art outreach process.The goal of this outreach effort provides a brief overview of the
was to provide creative and accessible ways for all community members to engage in the process,give outreach methods implemented.
in-depth feedback,and identify a range of community priorities to inform the future of placemaking and
public art in Rancho Cucamonga.The outreach strategy included the development of the RC Public Art
Core Team,which was comprised of staff members from multiple departments
that oversaw the development and implementation of the RC Public Art 3
Outreach Methods.The RC Public Art Core team utilized existing partnerships
MONTHS
and outreach strategies established through the City's award-winning
City-Community partnership, Healthy RC,to guide the RC Public Art DATA COLLECTION
Outreach Process.
During the outreach period,community members had various
online, in-person, and place-based opportunities to comment on
what they wanted to see from a public art program in the City.These
engagement opportunities included surveys,'mappy hours;affinity ` r
groups, and one-on-one interviews.The outreach process was developed 82%
to ensure that diverse,equitable,and inclusive arts&culture language was OF SURVEY RESPONDENTS
integrated into the RC Public Art Plan and the larger General Plan Update. LIVE IN RANCHO
642
y�. A SURVEY PARTICIPANTS
0 A
0
p A
R
6 Pop-up AFFINITY �16 30 OO
O
'MAPPY HOURS' 61GROUPS ONE-TO-ONE INTERVIEWS DATA POINTS COLLECTED
155 COMMUNITY PARTICIPANTS 97 COMMUNITY PARTICIPANTS WITH STAKEHOLDERS
IG
RC Public Art Survey "
A Multilingual community survey was made available online and in print.
Survey respondents provided valuable insights on topics ranging from
art placement and art types to what core values the program should A mural can make a street
adhere to.A total of 642 participants completed the survey both corner into a social hotspot.
online and in-person,with 70%of those respondents indicating that
they lived within Rancho Cucamonga. We saw this happen with
the intersection and sidewalk
RC Public Art Mappy Hours art project. To have these
Six (6) RC Public Art Mappy Hours, bilingual interactive pop-up
events,were facilitated by RC Public Art Core Team members and pockets of joy sprinkled
held at the following locations throughout the city: Biane Library, throughout the city would
Day Creek Senior Villas, Haven City Market, Los Amigos Park, Red Hill
Park,and the Epicenter Stadium.These events provided a safe,outdoor, be marvelous!
in-person method to collect public input on preferred art types and
locations during the pandemic.Community members could pin preferred -COMPASSIONATE COMMUNITY
locations for public art placement on a city map and provide feedback on MEMBER,AFFINITY GROUP 1
preferred public art types with color-coded stickers on posters.Overall,
155 community members participate in the Mappy Hour outreach program.
RC Public Art One-to-One Stakeholder Interviews
Sixteen (16) one-to-one interviews were conducted throughout the strategic
planning process with Public Art Committee members, local and regional
community members,and local, regional,and national subject matter experts.
These interviews established a baseline of connections in the community,
helped generate early leads to other community members who could
be beneficial to the strategic plan, and assisted with the creation of the y
Affinity Groups,where the interviewees were recruited as subject
matter experts to join these groups later in the outreach process.
{h f
RC Public Art Affinity Groups
ASix (6) affinity groups were organized to discuss special topics
based on emerging themes from survey data,the General Plan
Update findings,and one-to-one interviews.Subject matter experts .
and community representatives were recruited to dive deeper into
the emerging topics and to provide expert recommendations for the _
strategic plan.Affinity Group members identified themes and made core
recommendations. In total there were 97 individuals participated in the
RC Public.
Chalk&Brews,Rancho Cucamonga
Li
AFFINITY GROUP 1 AFFINITY GROUP 4
Diversity, Equity& Inclusion Youth Voices for Public Art
Participants from this RC Public Art Affinity Group were members of the Participants from this RC Public Art Affinity Group were
Compassionate Communities Subcommittee.The Compassionate Communities members of the Healthy RC Youth Leaders Program and
subcommittee is primarily comprised of residents, faith-based groups,and other the Teen Advisors Program from Sam and Alfreda Maloof
community stakeholders.Through various initiatives like creating a community Foundation for Arts and Crafts.The purpose of this affinity
garden, hosting community conversations on racial justice and social equity, group was to include youth voices in the process and better
and painting sidewalk art centered around unity,the group aims to improve understand what types of art and arts programming they
community connectedness,create a sense of belonging for everyone,and inspire would like to see incorporated in their community.
others to be kinder and more empathetic to one another.
UP 5
AFFINITY GROUP 2 ThelN Creative Economy
Emerging Survey Data Discussion Local and Regional Arts&Culture Leaders, including members
Participants from this RC Public Art Affinity Group were the Healthy RC Steering of the Public Art Committee.The purpose of this affinity
Committee members.The Healthy RC Steering Committee consists of various group was to discuss the creative economy and gather
stakeholders, including non-profits, businesses,faith-based,schools, Universities, recommendations from subject matter experts for arts
healthcare,staff, and residents.The purpose of this Affinity Group was to drive integration in the city and the development of arts &culture
survey engagement and to make recommendations on future public art outreach districts or hubs.
through the lens of diversity,equity, and inclusion.
AFFINITY GROUP 6
AFFINITY GROUP 3 The Artist's Perspective
Placemaking &Public Art in Southwest Rancho Cucamonga Participants of this RC Public Art Affinity group were subject
Participants from this RC Public Art Affinity Group were Campeones Para la matter experts in public art and represented regional
Comunidad members. Campeones Para la Comunidad/Community Champions program administrators, consultants,and public artists.The
is aCity-facilitated civic engagement program that has provided Latino residents Purpose of this affinity group was to receive feedback and
with leadership training and encouragement to participate in local government recommendations for best practices for public art program
activities.The purpose of this RC Public Art Affinity group was to understand the administration, including art types and placement,community
work that Campeones Para la Comunidad does and how the arts can be woven engagement, and local/regional artist engagement.
into the existing fabric of the neighborhoods in the southwest area of Cucamonga.
ID
KEY RESULTS FROM 'OUTRE.ACH MET - ODS CULTURAL
w_ - .�..-�,._ :. VALUES AUDIT
-Ink,
A. '` = r- Why conduct a
cultural audit?
People are the heart of our city,
- f and like a mosaic,the cultural
and natural assets of a city
Which best reflect what we value.
What is your race? describes you? A cultural audit is an essential
Placekeeping tool to help us
better understand the assets
Other 603 and strengths we should protect,
011% Asian/Asian American ESPONDENTS enhance,and build upon.The
05% Black/African American identification of our assets
••• - in Rancho Cucamonga through a cultural audit tells an
' • • • _ and work in Rancho Cucamonga essential story about the existing
or Alaska Native& Native Hawaiian
or Pacific Islander) •, Visit Rancho
• •• places that people value and
enjoy.These assets are central to
Work in Rancho Cucamonga the cultural identity and vitality
RESPONDENTS of our city.They already make
Rancho Cucamonga a great
22% What is your • - place to live,work and play.
The cultural audit also serves
to identify potential gaps that
17% 404 What is might need to be addressed that
RESPONDENTS your could help increase the vibrancy
gender?
� of city life.
RESPONDENTS
Female
:tT S
. -
Ilion
0 4% Prefer not to answer
Others
50
What places in the city
f you valueabout important places
you visit with your familyand
- and where you take out of town guests.
PERFORMING ARTS � #° .� { i � �Oo/p
THEATER, .�,
CHAFFEY COLLEGE RC SPORTS
•t� CENTER
PAUL A. BIANE &ARCHIBALD
����.-,.. �,,� �•+ '� � ' - LIBRARIES
31
HISTORICAL WINERIES MF
(JOSEPH FILIPPI, '��� 7-7
VIRGINIA DARE) �� �, �
.-
COMMUNITY PARK p/° ,-:.•� _
SAM &ALFREDA
47 .
&GARDEN '�
51
SENSE OF PLACE MIND MAPPING RESULTS:
'INTENTI .
_ .environmentthoughtful planning and integration of arts,
cultur
,and
sense of • DIVERSITY. • RELATIONSHIPS:
belonging and of cultures,generations,voices, interaction and
physical
connectedness languages, backgrounds social connection - •
vitality and wellness
• HISTORY OF PLACE: • NATURE:
agriculture, orchards, mountains,open space,
vineyards,etc. and trails
• . . . . . . . . . . . . . . . . . . . . . . . . . . . .•
• BALANCE: • PEACE:
of energy and vibrancy unity,safety,joy,
of place with quiet time, acceptance
relaxation, and rejuvenation
EQUITY-pro"
DENTIT
INCLUSION:
of arts,entertainment& HUMAN accessibility and
cultural experiences_ sense of pride, ALE- - barriers
and place,exploration, C��
L I A and freedom walking, biking,and
pedestrian-friendly
EDUCATION: places
learning,growing77
SURVEY PREFERRED ART TYPES
Explore the types of public art and placemaking projects
you would like to see and experience in our community.
Y
78% 58%
*_tea 5� '
MURALS INFRASTRUCTUREg
&MOSAICS ART
75% 56 .. :a..
TEMPORARY SOCIAL PRACTICE
PROJECTS &CIVIC ENGAGEMENT
(Interactive Art,Performances, Spoonbridge and Cherry,Minneapolis Sculpture Garen
Festivals&Art Walks)
53
74% SPORTS
STREETSCAPES &PLAYSCAPES
&FUNCTIONAL ART
51%
68% SCULPTURE
EARTHWORKS PARKS
&ENVIRONMENTAL ART/
COMMUNITY GARDENS % +�
50
LITERARY ARTS - "
65% (Poetry,Spoken Word,Readings) r` 96 M
NEIGHBORHOOD SIGNATURE/ICONIC SIGNATURE
PROJECTS SCULPTURE : :: �.•`:' '*F«
60% 41 :�T, F �;
F J � a
RENEWABLE
MEMORIALS & _ - -
ENGERY ART COMMEMORATIVE SPACES
Van Gogh,Roosegoarde
53
MAPPY
HOURS
MAPPY HOUR OVERALL SURVEY AND MAPPY HOUR LOCATION PREFERENCES
ART TYPE High Concentrations
OP
P -UP
RESULTS
PREFERENCES These are areas with the highest concentration of requests for art placement.
• Earthworks Victoria Gardens Red Hill Gateway and Community Park
Temporary Art Civic Center Central Park
•
The RC Public Art
_ _am Medium Concentrations
launched the"Mappy Hours" • Infrastructure Art These are areas with smaller clusters of requests for art placement.
pop-up program,a series of •Streetscapes Southwest RC Neighborhoods Chaffey College
multi. - - Renewable Art Northwest RC Neighborhoods Etiwanda Neighborhoods
•
HART District
outreach events that engaged Sculpture
families, _ Other Priority Locations
"nd niors in Theses specific location types had higher concentrations of requests for art
a fun • Neighborhood Projects p yp 9 q
• engaging public art placement and can be found throughout the city.
mapping _ • Murals/Mosaics Neighborhood Parks Major intersections and thoroughfares
several Gateways into the City Major Bike and Walking Paths
concentration - - identified
for art placement, COMBINED SURVEY AND MAPPY HOUR LOCATION PREFERENCES
as shown in the map.
_iwl0 •
1
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rONE-TO-ONE INTERVIEWS AFFINITY GROUPS
Key Takeaways and Key Takeaways and Recommendations
Recommendations AFFINITY GROUP 1
Diversity, Equity& Inclusion
mk,A . Include and support local artists, particularly those with multiple abilities,disabled,
Identify and support local and regional seniors,and all ethnic and racial backgrounds,with more voices of the LGBTQIA+
artists and include emerging to established community, and representatives from different cultural groups
artists in the program Prioritize a community-driven public art program to include murals,existing Community
Stories Project, literacy and literary arts,art therapy for vulnerable groups like at-risk teens,
Collaborate with existing arts and culture seasonal exhibitions,street fairs,food sovereignty projects, hands-on art projects
leaders to develop projects and plans Diversify and strengthen partnerships with existing arts organizations,such as Chaffey
College visual and performing arts department
Convene a city leadership discussion with the Diversify funding to enhance the public art budget
Arts Connection of San Bernardino County
• Prioritize environmental justice/sustainabilitythrnugh the arts
GrOW a vibrant creative economy, particularly
the visual arts AFFINITY GROUP 2
Emerging Survey Data Discussion
Be InCIUSIVe of all communities,cultures, Increase in-person RC Public Art outreach to help identify
voices by balancing placemaking and more public art locations.Some members had difficulty
placekeeping efforts in all neighborhoods and with the online platform and the interactive map in the -
ensuring access to and distribution of art online survey.This recommendation resulted in the
creation of in-person Mappy Hours outreach events
work with local Indigenous groups to to drive additional survey engagement and to collect
reinvigorate the stories of the first peoples of deeper data about locations for public art and why
Rancho Cucamonga and their cultural heritage, Focus engagement on the communities in Southwest
Cucamonga,after all, is a Tongva word �- __ IIO
Cucamonga, particularly youth and teen engagement
cultivate relationships and build trust with Prioritize food access, address food deserts,and �# s
Indigenous communities over time,and offer integrate the arts
S
compensation for Indigenous people's ideas Expressed the desire for murals,sidewalk art,colorful
and time. industrial buildings,traveling art (temporary exhibitions that
move throughout the city to unify neighborhoods through the
Develop a creative class to help establish arts),and community gardens
the city as a cultural and economic hub.This Focus on Los Amigos Elementary School, Los Amigos Park, Industrial parks,
includes incentives for affordable housing and more open spaces for active, healthy lifestyles
developments,work-live lofts,and zoning
to allow for multiple use and adaptive reuse Transition STEM to STEAM.STEM programs should integrate an "A'for the Arts
development that favors artistic production in education
AFFINITY GROUP 3
Placemaking & Public Art in Southwest Rancho Cucamonga
Safe Streets should be a top priority: Public art measures that help calm and focus traffic,such as
painted crosswalks and intersections, artfully designed sidewalk bump-outs and signage
Prioritize artful and creative lighting at night,especially along Arrow Route and 8th street
Prioritize a hub to gather and implement small neighborhood scale street and/or sidewalk art festivals
• • • • • and cultural exchanges to enjoy ethnic foods and music together as a neighborhood community
• - - • • • Utilize a neighborhood-driven public art process to preserve resident agency
_ Work with Public Safety to establish a Public Art&Creative Placemaking Action Plan for Southwest
• • • • Rancho Cucamonga and an overall graffiti prevention and public art engagement program
• • • 0 - 0 Establish places and events for neighbors to meet and celebrate the predominant Latin and Hispanic
• - - • - • - art,cultures,food traditions, and languages
Test the application of the community engagement structure and methods that the City uses with
• 0 -0 • • the Campeones para la Comunidad to other historically underserved groups such as the local
• • - • • - Indigenous communities (Tongva,Serrano,Cahuilla, Luiseno) and other groups such as Asian American
groups and all groups who have been historically responsible for the development and stewardship
• • • ' of Rancho Cucamonga and its resources
• AFFINITY GROUP 4
Youth Voices for Public Art
Youth expressed the need for opportunities to actively engage in the arts such as reading,writing,
poetry, painting,drawing, playing music,and dance as forms of creative expression and self-care,
especially during the pandemic
Establish locally owned arts&culture hubs throughout the City so that all residents are within a
1� reasonable walking or biking distance of these locations
Include youth and young adults in the creation of murals at sports facilities and other areas where
youth are most active
Youth Leaders prioritized underutilized or vacant places in their discussion,calling out the need for
uplifting areas that show suburban blight around their homes.They mentioned specifically that many
strip malls have this problem
_ Build on existing festivals such as the farmers market at Terra Vista by developing a food and art festival
Establish more professional development opportunities for youth to perform music in a public setting
40 Develop engagement opportunities in the arts to give youth productive things to do, help revitalize
areas,and act on the issues they are most concerned about,such as climate change and social justice
Prioritize art that is educational in some way
s
AFFINITY GROUP 5
The Creative Economy Local and Regional Arts &Culture Leaders
Support and encourage the decentralization of the arts and culture to foster different
kinds of art& placemaking disciplines to naturally group in different areas of the city. %
Encourage hubs or districts to grow by creative/artistic discipline. For example, _
performing arts and literary arts are already well established at the Victoria r, , �.. Y %
Gardens Cultural Center, part of Focus Area #1,"Downtown Rancho Cucamonga." '
Concentrating the performing arts, in that area could foster the critical mass that
helps each entity within that hub or district create its own ecosystem and identity,
to support each other, and share resources
Provide the built infrastructure with rent control and economic incentives to
support a diverse range of types and capacities to flourish within the hub or ?�
district
•Track,observe,and support naturally occurring creative &cultural activity in
neighborhoods during all placemaking and public art outreach programs,and offer ,.
more arts&culture events that are co-created with the neighborhood community ,
Establish and maintain an arts&culture events calendar to support rather than compete } '
with neighboring hubs and activities. Schedule in a way that gives the community
offerings from different hubs at different times during the week and weekends
AFFINITY GROUP F
The Artist's Perspective- Best Practices from Public Installation
to Community Engagement
Prioritize the commissioning of local artists
Provide expert project management support to artists while not interfering with the creative vision
of the artist(s)
Included a community engagement effort for every RC Public Art project allowing artists and RC Public
Art Staff engage with the community before the final designs are completed to develop a community
connection to the art and artist(s)
Diversify funding sources to ensure robust budgets long-term and help build partnerships
Build partnerships with regional agencies and non-profits
Identify and recruit local and regionally based artists
Identify and approve locations for public art ahead of time so that these locations are insured for future works
of public art after any change in leadership
Review the composition of the City's current Public Art Committee and plan for expansion as the program grows
so that it's representative of the community
Retain the services of an arts attorney
State and Federal Laws
California Art Preservation Act
CALIFORNIA CIVIL CODE§987
1. The Legislature hereby finds and declares that the physical alteration or destruction of fine art,which is an expression of the artist's personality, is
detrimental to the artist's reputation, and artists therefore have an interest in protecting their works of fine art against any alteration or destruction;
and that there is also a public interest in preserving the integrity of cultural and artistic creations.
2. As used in this section:
a. "Artist" means the individual or individuals who create a work of fine art.
b. "Fine art" means an original painting,sculpture,or drawing,or an original work of art in glass,of recognized quality, but shall not include work
prepared under contract for commercial use by its purchaser.
c. "Person" means an individual, partnership,corporation, limited liability company, association or other group, however organized.
d. "Frame" means to prepare, or cause to be prepared,a work of fine art for display in a manner customarily considered to be appropriate for a
work of fine art in the particular medium.
e. "Restore" means to return,or cause to be returned,a deteriorated or damaged work of fine art as nearly as is feasible to its original state or
condition, in accordance with prevailing standards.
f. "Conserve" means to preserve, or cause to be preserved, a work of fine art by retarding or preventing deterioration or damage through
appropriate treatment in accordance with prevailing standards in order to maintain the structural integrity to the fullest extent possible in an
unchanging state.
g. "Commercial use" means fine art created under a work-for-hire arrangement for use in advertising, magazines, newspapers,or other print and
electronic media.
3.
a. No person, except an artist who owns and possesses a work of fine art which the artist has created,shall intentionally commit, or authorize the
intentional commission of, any physical defacement, mutilation, alteration, or destruction of a work of fine art.
b. In addition to the prohibitions contained in paragraph (1), no person who frames, conserves,or restores a work of fine art shall commit,or
authorize the commission of, any physical defacement, mutilation, alteration,or destruction of a work of fine art by any act constituting gross
negligence. For purposes of this section,the term "gross negligence"shall mean the exercise of so slight a degree of care as to justify the belief
that there was an indifference to the particular work of fine art.
4. The artist shall retain at all times the right to claim authorship,or,for a just and valid reason,to disclaim authorship of his or her work of fine art.
To effectuate the rights created by this section,the artist may commence an action to recover or obtain any of the following:
a. Injunctive relief.
b. Actual damages.
c. Punitive damages. In the event that punitive damages are awarded,the court shall, in its discretion,select an organization or organizations
engaged in charitable or educational activities involving the fine arts in California to receive any punitive damages.
d. Reasonable attorneys' and expert witness fees.
e. Any other relief which the court deems proper.
5. In determining whether a work of fine art is of recognized quality,the trier of fact shall rely on the opinions of artists,art dealers, collectors of fine art,
curators of art museums, and other persons involved with the creation or marketing of fine art.The rights and duties created under this section:
a. Shall,with respect to the artist,or if any artist is deceased, his or her heir, beneficiary,devisee, or personal representative,exist until the 50th
anniversary of the death of the artist.
b. Shall exist in addition to any other rights and duties which may now or in the future be applicable.
c. Except as provided in paragraph (1) of subdivision (h), may not be waived except by an instrument in writing expressly so providing which is
signed by the artist.
IG
6.
a. If a work of fine art cannot be removed from a building without substantial physical defacement, mutilation,alteration, or destruction of the
work,the rights and duties created under this section, unless expressly reserved by an instrument in writing signed by the owner of the building,
containing a legal description of the property and properly recorded,shall be deemed waived.The instrument, if properly recorded,shall be
binding on subsequent owners of the building.
b. If the owner of a building wishes to remove a work of fine art which is a part of the building but which can be removed from the building
without substantial harm to the fine art, and in the course of or after removal,the owner intends to cause or allow the fine art to suffer physical
defacement, mutilation, alteration,or destruction,the rights and duties created under this section shall apply unless the owner has diligently
attempted without success to notify the artist,or, if the artist is deceased, his or her heir, beneficiary,devisee,or personal representative, in
writing of his or her intended action affecting the work of fine art,or unless he or she did provide notice and that person failed within 90 days
either to remove the work or to pay for its removal. If the work is removed at the expense of the artist, his or her heir, beneficiary, devisee,or
personal representative,title to the fine art shall pass to that person.
c. If a work of fine art can be removed from a building scheduled for demolition without substantial physical defacement, mutilation, alteration,or
destruction of the work, and the owner of the building has notified the owner of the work of fine art of the scheduled demolition or the owner
of the building is the owner of the work of fine art, and the owner of the work of fine art elects not to remove the work of fine art,the rights and
duties created under this section shall apply, unless the owner of the building has diligently attempted without success to notify the artist,or, if
the artist is deceased, his or her heir, beneficiary,devisee,or personal representative, in writing of the intended action affecting the work of fine
art,or unless he or she did provide notice and that person failed within 90 days either to remove the work or to pay for its removal. If the work is
removed at the expense of the artist, his or her heir, beneficiary,devisee,or personal representative,title to the fine art shall pass to that person.
d. Nothing in this subdivision shall affect the rights of authorship created in subdivision (d) of this section.
7. No action may be maintained to enforce any liability under this section unless brought within three years of the act complained of or one year after
discovery of the act,whichever is longer.
8. This section shall become operative on January 1,1980, and shall apply to claims based on proscribed acts occurring on or after that date to works of
fine art whenever created.
9. If any provision of this section or the application thereof to any person or circumstance is held invalid for any reason,the invalidity shall not affect any
other provisions or applications of this section which can be effected without the invalid provision or application, and to this end the provisions of this
section are severable.
CALIFORNIA CIVIL CODE,SECTION 989
1. The Legislature hereby finds and declares that there is a public interest in preserving the integrity of cultural and artistic creations.As used in this
section:
a. "Fine art" means an original painting,sculpture, or drawing,or an original work of art in glass,of recognized quality,and of substantial public
interest.
b. "Organization" means a public or private not-for-profit entity or association, in existence at least three years at the time an action is filed
pursuant to this section, a major purpose of which is to stage,display,or otherwise present works of art to the public or to promote the interests
of the arts or artists.
c. "Cost of removal" includes reasonable costs, if any,for the repair of damage to the real property caused by the removal of the work of fine art.
2. An organization acting in the public interest may commence an action for injunctive relief to preserve or restore the integrity of a work of fine art from
acts prohibited by subdivision (c) of Section 987.
3. In determining whether a work of fine art is of recognized quality and of substantial public interest the trier of fact shall rely on the opinions of those
described in subdivision (f) of Section 987.
4.
a. If a work of fine art cannot be removed from real property without substantial physical defacement, mutilation, alteration,or destruction of
such work, no action to preserve the integrity of the work of fine art may be brought under this section. However, if an organization offers
some evidence giving rise to a reasonable likelihood that a work of art can be removed from the real property without substantial physical
STATE AND FEDEPAL LAWSCONTINUED
defacement, mutilation, alteration,or destruction of the work, and is prepared to pay the cost of removal of the work, it may bring a legal
action for a determination of this issue. In that action the organization shall be entitled to injunctive relief to preserve the integrity of the
work of fine art, but shall also have the burden of proof.The action shall commence within 30 days after filing. No action may be brought
under this paragraph if the organization's interest in preserving the work of art is in conflict with an instrument described in paragraph (1) of
subdivision (h) of Section 987.
b. If the owner of the real property wishes to remove a work of fine art which is part of the real property, but which can be removed from the
real property without substantial harm to such fine art, and in the course of or after removal,the owner intends to cause or allow the fine art
to suffer physical defacement, mutilation,alteration, or destruction the owner shall do the following:
a. If the artist or artist's heir, legatee,or personal representative fails to take action to remove the work of fine art after the notice provided
by paragraph (2) of subdivision (h) of Section 987,the owner shall provide 30 days' notice of his or her intended action affecting the
work of art.The written notice shall be a display advertisement in a newspaper of general circulation in the area where the fine art is
located.The notice required by this paragraph may run concurrently with the notice required by subdivision (h) of Section 987.
a. If within the 30-day period an organization agrees to remove the work of fine art and pay the cost of removal of the work,the
payment and removal shall occur within 90 days of the first day of the 30-day notice.
b. If the work is removed at the expense of an organization,title to the fine art shall pass to that organization.
b. If an organization does not agree to remove the work of fine art within the 30-day period or fails to remove and pay the cost of removal
of the work of fine art within the 90-day period the owner may take the intended action affecting the work of fine art.
5. To effectuate the rights created by this section,the court may do the following:
a. Award reasonable attorney's and expert witness fees to the prevailing party, in an amount as determined by the court.
b. Require the organization to post a bond in a reasonable amount as determined by the court.
6. No action may be maintained under this section unless brought within three years of the act complained of or one year after discovery of such act,
whichever is longer.
7. This section shall become operative on January 1,1983,and shall apply to claims based on acts occurring on or after that date to works of fine art,
whenever created.
8. If any provision of this section or the application thereof to any person or circumstances is held invalid,such invalidity shall not affect other
provisions or applications of this section which can be given effect without the invalid provision or application,and to this end the provisions of
this section are severable.
Visual Artist Rights Act
TITLE 17 UNITED STATES CODE,SECTION 106A:
RIGHTS OF CERTAIN AUTHORS TO ATTRIBUTION AND INTEGRITY
1. Rights of Attribution and Integrity.
Subject to section 107 and independent of the exclusive rights provided in section 106,the author of a work of visual art—
a. shall have the right—
a. to claim authorship of that work,and
b. to prevent the use of his or her name as the author of any work of visual art which he or she did not create;
b. shall have the right to prevent the use of his or her name as the author of the work of visual art in the event of a distortion, mutilation, or other
modification of the work which would be prejudicial to his or her honor or reputation; and
c. subject to the limitations set forth in section 113(d),shall have the right—
a. to prevent any intentional distortion, mutilation,or other modification of that work which would be prejudicial to his or her honor or
reputation,and any intentional distortion, mutilation,or modification of that work is a violation of that right, and
b. to prevent any destruction of a work of recognized stature,and any intentional or grossly negligent destruction of that work is a violation
of that right.
40
2. Scope and Exercise of Rights.
Only the author of a work of visual art has the rights conferred by subsection (a.) in that work,whether or not the author is the copyright owner.
The authors of a joint work of visual art are co-owners of the rights conferred by subsection (a.) in that work.
3. Exceptions.
a. The modification of a work of visual art which is a result of the passage of time or the inherent nature of the materials is not a distortion,
mutilation,or other modification described in subsection (a.3.A.).
b. The modification of a work of visual art which is the result of conservation,or of the public presentation, including lighting and placement,of
the work is not a destruction,distortion, mutilation, or other modification described in subsection (a)(3) unless the modification is caused by
gross negligence.
c. The rights described in paragraphs (1.) and (2.) of subsection (a.) shall not apply to any reproduction,depiction, portrayal,or other use of a work
in, upon, or in any connection with any item described in subparagraph (A.) or(B.) of the definition of"work of visual art" in section 101,and any
such reproduction, depiction, portrayal, or other use of a work is not a destruction,distortion, mutilation, or other modification described in
paragraph (3) of subsection (a.).
4. Duration of Rights.
a. With respect to works of visual art created on or after the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990,the
rights conferred by subsection (a.) shall endure for a term consisting of the life of the author.
b. With respect to works of visual art created before the effective date set forth in section 610(a) of the Visual Artists Rights Act of 1990, but title to
which has not, as of such effective date, been transferred from the author,the rights conferred by subsection (a.) shall be coextensive with,and
shall expire at the same time as,the rights conferred by section 106.
c. (3) In the case of a joint work prepared by two or more authors,the rights conferred by subsection (a.) shall endure for a term consisting of the
life of the last surviving author.
d. All terms of the rights conferred by subsection (a) run to the end of the calendar year in which they would otherwise expire.
S. Transfer and Waiver.
a. The rights conferred by subsection (a.) may not be transferred, but those rights may be waived if the author expressly agrees to such waiver
in a written instrument signed by the author.Such instrument shall specifically identify the work, and uses of that work,to which the waiver
applies, and the waiver shall apply only to the work and uses so identified. In the case of a joint work prepared by two or more authors, a waiver
of rights under this paragraph made by one such author waives such rights for all such authors.
b. Ownership of the rights conferred by subsection (a.)with respect to a work of visual art is distinct from ownership of any copy of that work,or
of a copyright or any exclusive right under a copyright in that work.Transfer of ownership of any copy of a work of visual art,or of a copyright
or any exclusive right under a copyright,shall not constitute a waiver of the rights conferred by subsection (a). Except as may otherwise be
agreed by the author in a written instrument signed by the author, a waiver of the rights conferred by subsection (a.)with respect to a work of
visual art shall not constitute a transfer of ownership of any copy of that work,or of ownership of a copyright or of any exclusive right under a
copyright in that work.
-SOURCE-(ADDED PUB.L.101-650,TITLE VI,SEC.603(A),DEC.1,1990,104 STAT.5128.)
TITLE 17 UNITED STATES CODE,SECTION 113
1. Ina casein which—
a. a work of visual art has been incorporated in or made part of a building in such a way that removing the work from the building will cause
the destruction,distortion, mutilation,or other modification of the work as described in section 106A(a.3.), and
b. the author consented to the installation of the work in the building either before the effective date set forth in section 610(a.) of the Visual
Artists Rights Act of 1990, or in a written instrument executed on or after such effective date that is signed by the owner of the building and
the author and that specifies that installation of the work may subject the work to destruction,distortion, mutilation,or other modification,
by reason of its removal,then the rights conferred by paragraphs (2.) and (3.) of section 106A(a.) shall not apply.
IG
STATE AND FEDEPAL LAWSCONTINUED
2. If the owner of a building wishes to remove a work of visual art which is apart of such building and which can be removed from the building without
the destruction, distortion, mutilation,or other modification of the work as described in section 106A(a)(3),the author's rights under paragraphs (2.)
and (3) of section 106A(a.) shall apply unless—
a. the owner has made a diligent, good faith attempt without success to notify the author of the owner's intended action affecting the work of
visual art,or
b. the owner did provide such notice in writing and the person so notified failed,within 90 days after receiving such notice,either to remove the
work or to pay for its removal. For purposes of subparagraph (A),an owner shall be presumed to have made a diligent,good faith attempt to
send notice if the owner sent such notice by registered mail to the author at the most recent address of the author that was recorded with
the Register of Copyrights pursuant to paragraph (3). If the work is removed at the expense of the author,title to that copy of the work shall be
deemed to be in the author.
3. The Register of Copyrights shall establish a system of records whereby any author of a work of visual art that has been incorporated in or made part
of a building, may record his or her identity and address with the Copyright Office.The Register shall also establish procedures under which any such
author may update the information so recorded,and procedures under which owners of buildings may record with the Copyright Office evidence of
their efforts to comply with this subsection.
-SOURCE-(PUB.L.94-553,TITLE I,SEC.101,OCT 19,1976,90 STAT.2560;PUB.L.101-650,TITLE VI,SEC.604,DEC.1,1990,104STAT.5130.)
�wl:1 ig o 101 P-,,§:
Resources and Tools
The following resources are provided as sample guides and best practices the City of Rancho Cucamonga should consider when reviewing,developing,
or revising public art policies and procedures:
Public Art Administrators Website,Americans for the Arts
Public Art Best Practices (2016),Americans for the Arts
Public Art Contract Example,Americans for the Arts
Sample Public Art Management Plan,Wheatridge,CO
Sample Public Art Management Plan, Las Cruces, NM
Sample Public Art Management Plan, Keller,TX
Sample Public Art Management Plan, Eugene,OR
Sample Public Art Strategic Plan,San Francisco Arts Commission (2014-2019)
Sample Public Art Policy, Fredericksburg,VA
Sample Public Art Placement and Prioritization, Montgomery County Public Art Trust (2016)
Sample Public Art Master Plan Goals,Colorado Springs, CO
Sample Public Art Master Plan Goals, Napa,CA
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