HomeMy WebLinkAbout2022/12/06 - Agenda Packet - Public Art Committee �� r CITY OF RANCHO CUCAMONGA
PUBLIC ART COMMITTEE AGENDA
DECEMBER 6, 2022 - 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. Consideration to approve the minutes of June 7, 2022.
C2. Verbal Update on the status of the Public Art Fund.
C3. Verbal Update on the Utility Box Art Program.
C4. 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 December 1,2022 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.
G- G , GZ.e%��
Katie Bailey
Public Art Committee Liaison
City of Rancho Cucamonga
PUBLIC ART COMMITTEE MINUTES
June 7,2022
5:30 p.m.
A. CALL TO ORDER
The City of Rancho Cucamonga Public Art Committee held a regular meeting on Tuesday,June 7,2022 in the
Serrano Conference Room at City Hall,located at 10500 Civic Center Drive,Rancho Cucamonga,California.
Chair Leslie Matamoros called the meeting to order at 5:41 p.m.
Present: Committee Members Bryan Dopp,Jaymie Leslie,John Machado,and Leslie Matamoros
Absent: Committee Member Paula Pachon
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
Cl.Consideration to approve the minutes of March 1,2022
MOTION:Moved by John Machado,seconded by Jaymie Leslie to approve meeting minutes of March 1,2022.
Motion carried 4-0(AYES:Dopp,Leslie,Machado,and Matamoros.NOES:None;ABSTAIN:None;
ABSENT:Pachon).
C2.Update on the status of the Public Art Fund.
MOTION:N/A
Erika Lewis-Huntley,Management Analyst III,provided an update on the status of the Public Art Fund balance;
total$584,114.36.
C3.Update on the Utility Box Program.
MOTION:N/A
Katie Bailey,Management Analyst II,provided an update on the inaugural utility box wrap program.Katie
shared the three design mock ups and discussion opened regarding the development of the designs,the purpose
and the goal of the pilot program,and the involvement of local and/or emerging artists in future iterations of the
program.
C3.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 Purpose,Vision,Core Values for for the plan.Discussion on
refining the language in the Vision and Core Values to reflect learnings from public input process.
Public Art Committee Minutes
June 7,2022
Chair Leslie Matamoros adjourned the meeting at 7:15 P.M.
Respectfully submitted,
Katie Bailey
Public Art Committee Staff Liaison
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1111.1.1
City of Rancho Cucamonga's
Creative Placemaking & Public Art Plan
Draft 11 .30.2022
PREPARED BY:
The City of Rancho Cucamonga
IN CONSULTATION WITH:
Monica Lynne Mahoney, MLA, GEMINI Projects: Environmental Art, Design +
Education
City of Rancho Cucamonga Vision Statement
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.
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Table of Contents
City of Rancho Cucamonga Vision Statement 1
Purpose 5
Acknowledgments 6
Executive Summary 8
Introduction 10
The RC Public Art Plan 10
What is Public Art 11
What is Creative Placemaking 12
What is Creative Placekeeping 13
Composition of the Public Ordinances 14
Integration with Other Planning Documents 15
Vision and Core Values 16
Our Vision 16
Our Core Values 16
Goals, Strategies, and Measures 17
Goal 1: Build Awareness and Keep Momentum. 17
Goal 2: Art in Infrastructure 18
Goal 3: Promote the Local Creative Economy 19
Goal 4: Create Diverse, Equitable, and Inclusive Programming. 20
Goal 5: Prioritize Community-Centric Art 21
Program Administration 22
Roles and Responsibilities 22
Setting Priorities — Public Art Opportunities 26
Processes for the Public Art Collection 29
Process for Commissioning Public Art 29
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Considerations for Purchasing Existing Art 32
Process for Accepting Donations and Loans 33
Documentation and Maintenance of Works of Art 35
Funding 37
Appendix 39
Appendix A - Definitions 39
Appendix B - Project Plan Template 41
Appendix C - Call for Artists Template 43
Appendix D— Project Conclusion Checklist 45
Appendix E — RC Public Art Outreach Methods and Results Summary 46
Appendix G — State and Federal Laws 55
Appendix H - Resources and Tools 60
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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 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.
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Acknowledgments
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* Danielle Simmoore Josiah Bruny* Paige Garcia
Alexis Perez Deborah Allen Joy McAllister* Peri Lynch Howard*
Amoha Bhale Debra Alleyne* Joyce Jacobson Rebecca Trawick*
Amy Yoon Denise Turner* Karla Villanueva Rich Deely*
Annette Johnson* Diane Gunter Letitia Fernandez Ivins* Rosie Lovato
Ashley Tirona Diane Thomas Linda Ceballos Sant Khalsa*
Barbara Drake* Dina Romero* LuAnna Jauregui Sean McPherson
Barbara Marin Don Smith Manuela Amaya Pringle*
Barbara Bahai y Seth
Elise Tarver Margaret Aichele* Sheryl Wilkeson
Beatrix Balmonte Elizabeth McSwain
Brad Howe* Frena Harris Margarita Diaz Starlette Shelton
Carla West Gerald Clark* Mark Rush Susan Harden
Charlotte Su Guadalupe Galindo Mayen Alcantara* Susan Sluka Kelly*
Chloe Pena Heather Zappia Michael Muse Takbir Rahman
Chris Toovey* James Curtis Misty Burruel* Teresa Gonzalez
Concepcion Barragan Jana Cook Nanette Hart Terri Musa
Craig Howard* Jenny Gesiriech Natalie Boehm Tory Tepp*
Crystal Muljadi Jenny Kane* Nisreen Makati Ursula Garcia
Dan Romero* Jim Rawitsch* Heidi Leland Victoria Jones
Jose Juarez*
*Artists, public art experts, and cultural leaders in the community
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City Council
L. Dennis Michael, Mayor
Lynne B. Kennedy, Mayor Pro Tern
Ryan A. Hutchison, Council Member
Kristine D. Scott, Council Member
Ashley Stickler, Council Member
Public Arts Committee ("PAC")
Leslie Matamoros, Public Art Committee Chair, Curator of Exhibitions City of Ontario Museum of History & Art
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
Paula Pachon, Public Art Committee Member, Board Secretary, Rancho Cucamonga Community &Arts Foundation
Linda 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 Leadership Team
John Gillison, City Manager
Elisa Cox, Assistant City Manager
Matt Burris, Deputy City Manager
Lori Sassoon, Deputy City Manager (former)
RC Public Art Core Team Katie Bailey, Management Analyst II
Erika Lewis-Huntly, Management Analyst III Morgan Chavez, Management Aide
Joanna Marrufo, Community Programs Coordinator
Clarence de Guzman, Management Analyst I Consultant
Hope Velarde, Management Analyst I Monica Lynne Mahoney, MLA. Founding Director GEMINI
Allison Town, Community Affairs Coordinator Projects: Environmental Art, Design & Education
Annette Mumolo, Senior Community Affairs Coordinator
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Executive Summary
The General Plan Update, completed in December of 2021, outlines a long-term goal for the City of Rancho Cucamonga to become the
cultural and economic hub of the Inland Empire, rich in 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 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 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 program that guided the development of this
RC Public Art Plan.
This RC Public Art Plan establishes the RC Public Art Program's vision, core values, and goals, and provides guidance on implementing and
maintaining a public art program within the City.
What This RC Public Art Plan Accomplishes. . .
Confirms the RC Public Art Program Vision and Core Values:
Vision
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 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, foster joy, inspire
civic pride, and ignite a sense of wonder and excitement.
Core Values
The public engagement process for the RC Public Art Plan identified core values that guide the RC Public Art Plan: Diversity, Equity,
Community, 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
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Sets Priorities for RC Public Art Programming
- Art that supports placemaking: The RC Public Art Program portfolio should be used 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 areas where they live, work, and play.
- Attract and retain regional artists: The RC Public Art Program portfolio should include works commissioned by local and regional
artists, and programming should include efforts to attract and retain artists to the region.
- Art that reflects the City's diverse population and cultural history: RC Public Art programming should reflect the diversity in our
community and equitably represent our cultural history.
- Art for and by the community: The RC Public Art Program should include projects supporting initiatives such as mental and
physical well-being, sustainability, and community-led art projects.
Identifies Priority Areas and Selection Criteria
- The RC Public Art Plan establishes priority areas for public art placement, including General Plan Focus Areas, historic community
centers, bike and pedestrian paths, parks, green spaces, and major thoroughfares, intersections, and City gateways.
- When making selections for public art placement, the RC Public Art Plan prioritizes locations that are highly visible to the public and
contribute to the placemaking priorities outlined in the General Plan. Priority should also be given to locations that support the equitable
distribution of public art throughout the City.
Provides Implementation Guidelines
The RC Public Art Plan provides guidance on procuring public art, including process outlines for commissioning new art, purchasing existing
art, accepting public art donations and loans, maintaining public art, deaccessioning public art, maintaining public art records, and
maintaining and leveraging funding for the RC Public Art Program.
Roles and Responsibilities
The RC Public Art Plan identifies critical stakeholders in the public art process and outlines the respective responsibilities of each group,
including RC Public Art Staff, the Public Art Committee, the City Council, the City Manager, Art Selection Panels, Future Groups, and other
City departments.
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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 public art projects as
the City grows into the future.
To guide the implementation of the Public Art Program, in 2018, the City appointed the PAC to serve as an all-volunteer group of community
professionals who advise the City Council regarding the selection, purchase, placement, and maintenance of art installed by the City or on
City property.
The PAC's recommendation to move forward with developing the RC Public Art Plan was approved by City Council in 2019. City staff, led by
the RC Public Art Core Team, worked closely with consultant Monica Lynne Mahoney, MLA, City Leadership, the Public Art Committee, and
diverse community stakeholders to develop the RC Public Art Plan.
The RC Public Art Plan
The RC Public Art Plan 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 eighteen 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,
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.
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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.
Public art can take shape in many ways and forms as long as it remains free and accessible to the public. At its very best, public art brings
the community together. It provides a nexus of community pride, celebrating a place's unique and enduring qualities and people.
Public artwork can be contemplative, engaging, fun, interactive, and awe-inspiring. It may honor and tell stories about the past, enrich and
inform the present, and envision and activate the future. It occupies public places such as community centers, parks, open spaces, streets,
alleyways, trails, bus stops, bridges, transportation infrastructure, and private developments accessible to the public for free.
Types of Public Art
- Murals
- Mosaics
- Structural Wraps
- Earthworks & Environmental Art
- Streetscapes & Functional Art
- Sculptures
- Paintings
- Photographs
- Fine Crafts: wood, metal, clay, glass, and other materials, both functional and nonfunctional
- Memorials & Commemorative Spaces
- Literary Arts
- Social Practice and Civic Engagement Art
- Interactive art
- Performative art
- Playscapes
- Community Gardens
- Festivals and Art Walks
- Mixed Media
- New Media
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What is Creative Placemaking
Creative Placemaking happens when "...partners from public, private, nonprofit, and community sectors strategically shape the
physical and social character of a neighborhood, town, tribe, city, or region around arts and cultural activities. Creative placemaking
animates public and private spaces, rejuvenates structures and streetscapes, 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.1
In line with this definition and 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.
\I")
Ann Markusen and Anne Gadwa,"Creative Placemaking"(Washington,DC:Mayors'Institute on City Design and the National Endowment for the Arts,October 2010),http://www.nea.gov/pub/CreativePlacemaking-Paper.pdf
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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 Culture2
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/bioaac/2017/12/11/creative-placemaking-placekeeping-and-cultural-strategies-to-resist-displacement
2 https://usdac.us/blogac/2017/12/11/creative-placemakinq-placekeepinq-and-cultural-strategies-to-resist-displacement
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Composition of the Public Ordinances
The Placemaking & Public Art Ordinance3 was established to ensure that both the City and private developers could fund and
implement new public art projects to enhance the City.
The Ordinance aims to expand access to public art throughout Rancho Cucamonga. To support this effort, developers subject to the
Ordinance have three compliance options 1) provide public art at any development that meets or exceeds the minimum value as
defined in Rancho Cucamonga Municipal Code Section 17.124.020.C., 2) donate art to the City for public display that meets or
exceeds the required minimum value of the artwork or a performance bond for the same amount and in a form approved by the city
attorney, or 3) pay an in-lieu fee to the Public Art Trust Fund equal to the minimum value of the artwork that would otherwise be
included in the development project.
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.
3 Applicable Rancho Cucamonga Municipal Code Sections: 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, 2.26.010, 2.26.020
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Integration with Other Planning Documents
General Plan Update
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, 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 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 Forest Management Plan;
• Trail Implementation Plans;
• Parks and Recreation Master Plan;
• Active Transportation Plan; and
• Economic Development Strategic Plan.
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Vision and Core Values
Our Vision
The RC Public Art vision is to establish the City of Rancho Cucamonga as the cultural hub of the Inland Empire by equitably bringing art to
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, foster joy, inspire civic pride, and ignite a
sense of wonder and excitement.
This vision is guided by and supports the City's General Plan vision to create an equitable, sustainable, and vibrant city rich in opportunity for
all to thrive.
Our Core Values
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 the first edition of the RC Public Art Plan, which serves as a roadmap to achieving
the program's vision, core values, and goals.
Diversity
RC Public Art will engage a variety of artistic approaches and participating artists to encourage unique contributions to civic life and reflect
our diverse community.
Equity
RC Public Art will support the City's goal of equity by providing the opportunity for everyone to participate in, or benefit from, art and cultural
amenities and programming across all areas of the City.
Community
RC Public Art will help create a sense of belonging and connection throughout the community, prioritizing community-driven programming
that creates new opportunities for people to experience and engage with art and artists.
Inspiration
RC Public Art will inspire community connections and creative placemaking by creating innovative and vibrant public spaces, promoting
creative expression in all mediums, fostering community pride in urban and natural spaces, and enhancing equitable quality of life.
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Goals, Strategies, and Measures
The goals, strategies, and measures outlined in the following section identify programming and initiatives that should be prioritized by RC
Public Art Staff and the Public Art Committee when making recommendations to place art in public spaces and support the local creative
economy. These goals, strategies, and measures will help move the City toward the RC Public Art vision in a manner that aligns with the
core values of diversity, equity, community, and inspiration.
Goal 1 : Build Awareness and Keep Momentum. Establish the foundation for a world-class public
art and placemaking program and the structure to sustain it.
Strategies & Measures
S1.1 — Curate Core Projects that Support the City's Commitment to Placemaking through 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
• 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 Arts 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
• M1.2.4 — Establish a public art community liaisons program comprised of community members who serve as volunteer public art
ambassadors
Goal 1 Performance Measures
• Target Year 2025 — Pilot a public art community liaisons program through Healthy RC
• Target Year 2030 — Install three (3) permanent murals or mosaics in key priority areas
• Target Year 2030 — Install three (3) functional art pieces along existing bike/pedestrian trails
• Target Year 2030 — Expand the temporary art exhibit program to three (3) City-owned facilities and spaces
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Goal 2: Art in Infrastructure. Integrate a variety of vibrant and engaging public art throughout the
city.
Strategies and Measures
S2.1 — Commission Artwork that Enhances People's Experience in Public Spaces through Artistic Excellence and Diversity in Creative
Expression
• M2.1.1 — Include a minimum of one (1) public art and placemaking project in all pedestrian, bike, and trail development projects—
Prioritizing functional and environmental art
• M2.1.2 — Commission a series of"History of RC" projects 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 improvement project proposals implemented
by the City
S2.2 — Integrate Public Art into Infrastructure Projects
• M2.2.1 — Formalize and expand the utility box art program into new utility box installations 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
• M2.2.4 — Incorporate public art into City-run urban gardens and green spaces
Goal 2 Performance Measures
• Target Year 2025— Complete two (2) urban garden and green space projects
• Target Year 2030 — Complete two (2) History of RC projects
• Target Year 2030— Complete two (2) transportation infrastructure projects
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Goal 3: Promote the local creative economy. Develop incentives and programming that attract
arts and culture-focused enterprises, and support, retain, and build a diverse creative class that
lives and works in the City.
Strategies and 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 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 —Work with local and regional arts organizations on public art and placemaking grants and 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 in partnership with existing 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
• M3.2.3 — Establish an art walk program that invites local artists and artisan groups to temporarily display existing pieces
Goal 3 Performance Measures
• Target Year 2025 — Establish an Artist in Residency program
• Target Year 2025 — Locate and establish youth-centered artist and maker spaces as part of City initiatives
• Target Year 2025 — Launch the inaugural art walk program in one (1) of the General Plan Update focus areas
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Goal 4: Create Diverse, Equitable, and Inclusive Programming. Public art projects that improve
access to art and creative placemaking opportunities and reflect our diverse population and
cultural history.
Strategies and Measures
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
o Expand existing oral history library project to additional City facilities, interviews, and topics
o Work with the Community Services Department and community organizations to plan and 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 issues of equity and inclusion in the arts
• M4.1.3 —Commission temporary or permanent works of art and establish programming that foregrounds the region's farming,
agricultural, and culinary heritage
S4.2 — Ensure Access to Public Art Projects is Equitable and Inclusive for Both Artists and Community Members
• M4.2.1 —Complete an audit for priority public art locations and a timeline for implementing new initiatives that better accommodate
diverse audiences
• M4.2.2 — Provide materials and training opportunities to assist artists with the public art proposal process
• M4.2.3 — Utilize public art to support placemaking in historically underserved communities
• M4.2.4 — Commission innovative temporary and permanent art installations that engage and are accessible to the disabled, youth,
older adults, and other community members with accessibility needs
• M4.2.5 — Provide equitable and unique opportunities for public art and placemaking projects across the three historic communities of
Alta Loma, Cucamonga, and Etiwanda
Goal 4 Performance Measures
• Target Year 2025— Complete art placement audit and integrate recommendations for improving the accessibility of art for diverse
audiences into RC Public Art strategic plans
• Target Year 2025 — Complete two (2) temporary or permanent art installations that celebrate cultural moments in Rancho Cucamonga's
history and/or nationally recognized cultural celebrations
• Target Year 2030— Complete five (5) RC Public Art projects in historically underserved communities
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Goal 5: Prioritize Community-Centric Art. Public art that contributes to creative placemaking and
projects that engage, and are completed in partnership with, community members.
Strategies and Measures
S5.1 —Art Created for and by the Community
• M5.1.1 — Establish annual opportunities for the 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
• 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
• M.5.3.1— Commission temporary or permanent works of art and establish programming that benefits or contributes to the City's
climate action strategies such as water conservation, energy reduction, and reducing urban heat island effect
• 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 Santa Ana
winds, earthquakes, water infrastructure, flooding, wildfire, and biotic community/ecosystem
Goal 5 Performance Measures
• Target Year 2025 — Commission mental and physical health art series through the temporary art exhibit program and complete a
minimum of one (1) project
• Target Year 2025 — Launch the arts engagement and graffiti prevention program
• Target Year 2030 — Complete five (5) City-hosted community-generated art projects
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Program Administration
Roles and Responsibilities
The RC Public Art Staff, Public Art Committee, City Council, City Manager, City Departments, and Art Selection Panels all play essential
roles in selecting, implementing, and maintaining public art projects. The following section will clarify each entity's roles and responsibilities
regarding RC Public Art.
RC Public Art Staff
• Description:
o Management Analyst II
■ 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
o Management Analyst I -Art Program (recommended staffing)
■ Primary staff person responsible for managing the day-to-day RC Public Art Program. This staffing position is a critical
enabler for the completion of the RC Public Art Performance Measures
• Responsibilities:
o Maintain relationship and communication with the PAC. Updating them on City staff and news, issues, requests, and changes.
Liaises between the PAC and other City departments and meets regularly with the Chair of the PAC
o 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:
■ Drafting project plans;
■ Managing all Request for Qualifications ("RFQs") and Request for Proposals ("RFPs") processes for commissioning public
art;
■ Organizing artist responses;
■ Organizing and facilitating PAC meetings;
■ Working with legal to prepare and negotiate contracts;
■ Convening necessary City staff for technical reviews of art proposals;
■ Coordinating installations between artists/artist-led teams and City departments and inspecting work; and
■ Managing the City's public art catalog, including maintenance and conservation of City-owned public artwork
o Oversee the review of works of art being considered for deaccession or re-siting
o Ensure all City public art policies and procedures are followed
o 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
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o Work with applicable City departments for the inclusion of public art in all development plans, and applicable upgrades, or
remodels
o Develop and implement the community engagement work plan to inform and engage the public about the City's public art
collection
o Develop and implement RC Public Art data collection and management process, including, but not limited to:
■ RFQs and RFPs submissions, with support from, and in compliance with, the City of Rancho Cucamonga Procurement
Department's policies and procedures;
■ Maintenance schedule;
■ Art locations and mapping;
■ Archive;
■ Deaccession list; and
■ Community feedback
o Recommends, prepares, and administers professional services necessary to implement the RC Public Art Plan
o Assist in writing necessary grant applications and managing grant awards to support the mission of the RC Public Art Program
o Serve as the point of contact for inquiries about public art from members of the public
Public Art Committee (PAC)
• Description:
o The PAC consists of five members appointed by the City Council
• Responsibilities:
o Review and recommend the RC Public Art Plan and any periodic revisions to procedures and guidelines for implementation
o Review and recommend an annual work plan and budget to the City Manager and City Council, recommending that public art
projects be consistent with the RC Public Art Plan vision, core values, and goals
o Meet at least quarterly to review and make recommendations to the RC Public Art Staff, 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; implementation of and revisions to the RC Public Art Plan and administrative guidelines; allocations of the
Public Art Trust Fund; and collaboration with artists, arts groups, and educational institutions on art programming
City Council
• Description:
o The Rancho Cucamonga City Council is comprised of four members elected by the voters in their respective districts and the
Mayor who is elected at-large
• Responsibilities:
o Reviews and makes the final decision on whether to approve and adopt the RC Public Art Plan
o Approves all permanent public art on City-owned property purchased with City funds above a $35,000 threshold
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o Approves all permanent public art donations
o Approves the deaccession of works of art
o Approves annual City budget that includes Public Art Trust Funds and other applicable allocations to support the RC Public Art
Program
City Manager
• Description:
o The City Manager is responsible for the day-to-day business of City operations and is appointed by the Mayor and City Council
• Responsibilities:
o Implementation of the RC Public Art Program and approval of revisions to the guidelines
o Advisor to the City Council on issues relating to public art with the advisory recommendation of the RC Public Art Staff and PAC
Other Functional Departments (Le., Planning, Public Works Services, Engineering Services, Community
Services, etc.)
• Description:
o City departments that oversee or are responsible for City spaces where public art may reside
• Responsibilities:
o Meet with RC Public Art Staff to review upcoming Capital Improvement Projects and identify opportunities for public art
integration
o Serve on Art Selection Panels for projects that impact their Department's areas of responsibility
o Conduct routine inspections of artwork, as outlined in the RC Public Art Plan, within their authority to determine if maintenance is
needed and communicate those maintenance needs to the RC Public Art Staff
o 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
Art Selection Panels
• Description:
o Art Selection Panels are ad hoc committees formed for each public art project undertaken by RC Public Art Staff. The Panel is
comprised of 3-5 members, including one (1) representative from the City Department where the art will be sited or the City
Department leading the Capital Project, one (1) member of RC Public Art Staff, and other subject matter experts and individuals
with project-specific experience, such as existing and former PAC members, or other qualified arts, design, and education-related
professionals, or City representatives, as needed
• Responsibilities:
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o Participate in ad-hoc panels formed for a limited period and charged with recommending artists for individual projects or groups of
projects
o Participate in an orientation meeting to be briefed on the project
o Review artist qualifications and select finalists or interviews or concept proposals
o Review artist concepts or interview artists and recommend a final selection to RC Public Art Staff
Future Groups
Public Art Community Liaisons
• Description:
o Public Art Community Liaisons will act as volunteer public art and placemaking ambassadors, comprised of representatives from
Healthy RC community programs and other interested community members. Liaisons will be nominated by RC Public Art Staff,
PAC members, or other cultural arts professionals, as appropriate, and serve as RC Public Art ambassadors in the
neighborhoods where projects will be integrated
• Responsibilities:
o Act as community hosts and help build connections between public art, artists, and the community
o Help foster civic programs and offer expert community guidance throughout the project
o Introduce the artist in residence, short-listed, or contracted artists to the community
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Setting Priorities — Public Art Opportunities
Identifying locations for public art is 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 RC Public Art Plan goals and meet the criteria of public visibility, equitable access, and public safety.
Through the initial public outreach and in consultation with the General Plan Update, the RC Public Art Plan has identified priority locations
throughout the City and location types for the placement of public art. Public spaces in these areas are eligible for public art and
placemaking programs and should guide the current strategic planning phase and be updated periodically.
Location Priorities
• High Priority Areas
o Area surrounding Victoria Gardens o Civic Center
o Central Park o Red Hill Gateway/Park
• Medium Priority Areas
o Northwest Alta Loma a Etiwanda Heights Town Center o Alta Loma Town Center
o Area surrounding Chaffey o Southwest Cucamonga
College o HART District
• Bike and Pedestrian Trails
• Major Thoroughfares
• Gateways and Major Intersections
Site Prioritization Process
The locations listed above 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 expansion of art types throughout the
community (for more information on community-recommended art types, see Appendix E). To effectively utilize public art funds, the following
criteria have been established to review and prioritize sites during the site selection process:
• Placemaking and Public Visibility: Priority should be given to locations that are highly visible to the public and contribute to the
placemaking priorities established in the General Plan
• Equity: Priority should be given to locations that allow for an equitable distribution of art throughout the public realm and access to a
variety of art types
o Does the site/location improve access to art for underrepresented community members?
o Does the site and/or project add to the diversity of art locations or artistic approaches around the city?
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• Integration into Capital Projects: Priority should be given to sites where public art can be integrated into the construction process for
anticipated community improvement projects overseen by the City
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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
o RC Public Art Staff should complete a Strategic Services Plan ("SSP") that identifies the RC Public Art priorities, performance
indicators, and objectives for the upcoming five-year period, based on the goals, strategies, and measures outlined in the RC
Public Art Plan
o 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
■ Plans for program expansions
• Annual Public Art Operating Plan
o RC Public Art Staff should establish an Annual Operating Plan ("AOP"), coinciding with the fiscal year, that provides a detailed
overview of RC Public Art Plan priorities and anticipated expenditures
o The AOP should include, but is not limited to, the following elements:
■ A list of art 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
• Including completed art project plans
■ Internal or external partnerships required to complete the art 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
28
Processes for the Public Art Collection
This section outlines the general processes for procuring, maintaining, deaccessioning, and funding works in the RC 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: The initial step for commissioning public art is to develop a Project Plan. The Project Plan must provide a comprehensive
overview of the proposed art project and act as a reference point to ensure that the art project achieves the intended purpose. The
Project Plan should be completed by RC Public Art Staff, with input from the PAC and applicable City Departments as part of the AOP
process.
o Project Plan Elements — Internal (see Appendix B for plan template)
■ Project Introduction
■ Project Location Overview
■ Project Goals
■ Artist Scope of Work
■ Artist Eligibility
■ Art Selection Criteria and Recommended Art Selection Panel Members
■ Project Schedule
■ Budget and Applicable Funding Sources
■ Community Engagement, Marketing, and Communications Needs
2) Artist Pool and Engagement Method: Once the Project Plan has been approved through the AOP process and is ready for bid, RC Public
Art Staff will determine the artist pool and engagement methods for the Call for Artists in partnership with the PAC and applicable City
Departments.
o Artist Pool Examples
■ Open Call —Open to all artists
■ Limited competition — Call for artists open to an existing artist pool from sources such as an artist registry or past call for
artist respondents
■ Public Art Committee Recommendation — Invitational or limited invitational to select artists as recommended by the PAC
or other respected arts and culture organizations
o Engagement methods:
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• RFQs: The RFQ process is based on a review of the artist's qualifications and past 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 with the artist. The artist then completes, and is compensated for, a concept proposal.
• RFPs: The RFP process requires artists selected as finalists to provide a concept proposal based on the site location,
goals, and priorities identified in the Call for Artists. Artists will be compensated for the concept proposal, and the
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.
o Call for Artist Elements — External (see Appendix C for Call for Artists template)
• Call Summary
• Project Description
• Art Goals or Criteria
• Site Location Plans
• Art Location Description
• Budget
• Artist Eligibility
• Application Requirements
• Deadline
• Submission Address
• Selection Process
• Selection Criteria
• Project Timeline
• Sources for Additional Information
• Resources for Questions
4) Review Initial Responses and Select Finalists: The 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 Art Selection Panel may recommend extending the Call for Artist period before recommending finalists for
review and approval.
o Community Engagement: Once the finalists are chosen, the Art Selection Panel may ask the artists to 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.)
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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:
o 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
■ 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
■ The artist has experience with projects of a similar scale and budget, where applicable. Artist qualification requirements
should align with the project's scope and provide opportunities for early-career and emerging artists when appropriate.
■ The artist can identify and has proficiency in the use of materials appropriate for public installation at the project site
o RFP: Selection of the final artist should include a review process for the project concept proposal that is built from, but not limited
to, the following criteria:
■ 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
6) 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.
o 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 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
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Once the Art Selection Panel has completed the concept proposal review, including the artist's response to any Art Selection
Panel identified technical concerns or feedback, RC Public Art Staff will approve the concept proposal and work with applicable
City Departments to enter into an agreement with the artist to develop the final project design to fabricate and install the work.
o RFP: Once the Art Selection Panel has completed the concept proposal review, including the artist's response to any Art
Selection Panel identified technical concerns or feedback, RC Public Art Staff will approve the concept proposal with the
applicable City Departments and enter into an agreement with the artist to develop the final project design and to fabricate and
install the work.
o To the extent possible, all RC Public Art-related contracts should align with the Americans for the Arts Agreement for Commission
of Public Artwork recommendations and applicable State or Federal laws such as the California Art Preservation Act and Visual
Artists Rights Act.
7) Monitor Final Design and Fabrication: The artist will regularly contact RC Public Art Staff during the final design and fabrication phase to
further refine the design and complete any necessary permitting or review by a licensed engineer in the State of California. Once
completed, the artist will provide a final design, including any necessary approvals or permitting, to RC Public Art Staff for final review
and approval.
8) Oversee the Art Installation and Conclude the Project Plan: RC Public Art Staff will work with the artist to ensure that all necessary site
permits, and applicable site permissions, are completed before installation. Additionally, RC Public Art Staff will ensure that all site
preparation or essential infrastructure, not provided by the artist as outlined in the artist agreement, is in place and will manage the
coordination and scheduling of the installation with applicable City Departments and property owners. Once installation is complete, RC
Public Art Staff will begin the process to conclude the Project Plan. This process includes confirming maintenance needs, collecting
manufacturer warranties and any outstanding documentation from the artist, listing the work on the Public Art Map and Database,
hosting a dedication, and more. The project lead can utilize the Project Conclusion Check List under Appendix D to complete the project
closeout task list.
Considerations for Purchasing Existing Art
1) Develop a Project Plan: Include the elements outlined in the Process for Commissioning Public Art section.
2) Establish Art Selection Panel and determine selection criteria.
3) Invite artists or other applicable institutions (private collections, curators, galleries, etc.) to submit images and information about existing
and available art.
o Information should, at a minimum, include:
• Relevance to RC Public Art Plan vision, core values, and goals;
• Asking price;
• Dimensions;
• Weight;
• Materials;
• Current condition;
• Current location;
32
■ 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 RC Public Art Staff that
includes, but is not limited to, the following:
o The artwork poses no safety or liability concerns;
o 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;
o The artwork meets the identified goals and objectives of the project plan;
o 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);
o The artwork scale, form, materials, and/or media are physically and aesthetically appropriate for the proposed site;
o All costs related to the applicable commission, shipping, and installation are known and can be covered by the identified project
budget; and
o The work is legally for sale to the City by the seller
5) Execute the Agreement: Once the artwork has been selected, the City will enter into an agreement of sale with the seller. Depending on
the artwork's value, the sale agreement would need to be approved by the City and would need to be compliant with all relevant
procurement codes.
6) Oversee Installation and Conclude the Project Plan:
o RC Public Art Staff will work with the artist to ensure that all necessary site permits and applicable site permissions are completed
before installation. Additionally, RC Public Art Staff will ensure that all site preparation or essential infrastructure, not provided by
the artist, is in place and will manage the coordination and scheduling of the installation with applicable City departments and
property owners. Once installation is complete, RC Public Art Staff will begin the process to conclude the Project Plan as outlined
in the Project Conclusion Check List under Appendix D
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: RC Public Art Staff will discuss the proposed gift or loan with the donor and provide the list of required
submission materials, which include, but are not limited to:
o Written description and drawings, renderings, and photos of the proposed donation or loan;
o Specifications of the artwork, including:
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■ Relevance to RC Public Art vision, core values, and goals;
■ Dimensions;
■ Color;
■ Weight;
■ Materials;
■ Current condition;
■ Current location;
■ Fabrication date;
■ Maintenance and conservation requirements and expected costs; and
■ Art handling and transportation requirements;
o Background on the artist and documentation of the artist's qualifications;
o Proposed location for the artwork, including required site improvements and display method;
o Current appraisal of existing artwork;
o Proposed timeline for installation (and loan duration for temporary pieces);
o Restrictions or conditions for the donation or loan;
o Documentation of artwork ownership, including a statement of authority and intent to transfer ownership or authority to loan the
artwork to the City legally;
o Written statement noting which costs associated with shipping and installation will be borne by the individual or group proposing
the donation and which costs the individual or group would ask the City to incur. The City is mindful that these costs can be
barriers to inclusion, and all expenses related to public art donations, including but not limited to the below, will be equitably
negotiated:
■ Shipping and art handling costs and insurance;
■ Installation (and removal of loans or temporary works);
■ Permitting and inspections;
■ Identification markers;
■ Lighting needs; and
■ Site modifications
2) Documentation Review: Once the donor provides the required submission materials, RC Public Art Staff will convene an Art Selection
Panel to review the donation and make a recommendation to City Council to approve or decline the proposal.
o Donation Review Criteria should include, but are not limited to:
■ The artwork is in line with the vision and core values of the RC Public Art Plan (note, the City does not review or evaluate
public art based on content or viewpoint);
■ The artwork media, scale, aesthetics, and site usage are appropriate for the proposed site;
■ The artwork has no environmental concerns and has been evaluated for long-term durability against climate, theft, and
vandalism;
■ Maintenance needs and expenses are known, and costs over time are not prohibitive to maintaining the work; and
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• The artwork poses no safety or liability concerns
3) Approval and Installation: If approved, RC Public Art Staff will work with the donor to ensure that all necessary site permits, and
applicable site permissions are completed before installation. Additionally, RC Public Art Staff will work with the donor to ensure that all
site preparation or essential infrastructure is in place and will manage the coordination and scheduling of the installation with applicable
City Departments and property owners. Once installation is complete, RC Public Art Staff will begin the process to conclude the project
as outlined 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 RC Public Art Staff and should include the following:
o 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;
o Artist, donor, or applicable seller contact information;
o Information regarding the fabrication, installation, and maintenance requirements of the work of art;
o Photographic record of the artwork;
o Executed contracts, deeds of gift, loan agreement, transfer of title, or other documents as applicable;
o Applicable copyright agreements;
o Maintenance, conservation, or historical records, as applicable; and
o Form of deaccession, as applicable
• Maintenance: 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 or applicable City departments otherwise identified in the Project Plan. In
partnership with relevant City 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
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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.
The following provides recommendations and criteria that RC Public Art Staff should utilize when identifying and recommending art for
deaccessioning in the AOP.
• 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:
o A good-faith effort to inform the artist or the artist's estate that the artwork is being considered for deaccession;
o A review of all pertinent accession documentation, including a review of legal documents by the City Attorney;
o A written recommendation for deaccession by an independent art professional such as a curator, conservator, historian, or
architect; and
o A review of any pertinent written correspondence, media coverage, and other evidence of public opinion
• Criteria for Deaccession:
o 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;
o The work in question no longer meets the scope or vision of the RC Public Art Plan;
o The work has deteriorated or been severely damaged such that restoration is impractical, unfeasible, or would render the work
false;
o The work no longer exists due to theft, vandalism, accident, or natural disaster;
o The art has become a danger to public safety;
o Maintenance needs for the artwork have changed and are cost-prohibitive; and
o Significant adverse reaction to the artwork from community members has continued for an extended period (at least five (5)
years)
• Options for Deaccession
o Sale;
o Removal and storage;
o Removal and disposal; or
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o 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:
o 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
o 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
o The PAC will then review and recommend that the deaccession move forward
o 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
o 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
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
o 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
o 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
o Public Art Trust Fund Management
• RC Public Art Staff, 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
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• 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.
o 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
o RC Public Art Staff, 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
o 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
o Private funding should align with the goals and values of the RC Public Art Plan
• General Fund
o 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
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Appendix
Appendix A - Definitions
• Acquisition —A one-of-a-kind artwork added to the City of Rancho Cucamonga's Public Art Collection through commission, purchase, or
donation.
• Artist—A practitioner of the arts who has a reputation among peers as a person of artistic excellence through a record of exhibitions,
public commissions, sale of works, or educational attainment.
o Local Artists: Artists that currently reside in the City of Rancho Cucamonga and surrounding communities.
o Regional Artists: Artists that reside within San Bernardino County, Riverside County, Los Angeles County, and Orange County.
• Artist Pool —A preselected pool, roster, or stable of qualified artists that make artwork that supports the vision, values, and goals of a city
or project.
• Artwork—An aesthetic creation of a permanent or temporary medium or combination of media resulting from the skill and creativity of an
artist or artists.
• Commission —Selecting an artist or artist-led team and providing payment for the creation and installation of a piece of artwork, usually
for a specific site.
• Community Garden —A food-producing garden on public or private land that provides hands-on opportunities for community members to
plant, maintain and harvest a plot of vegetables and edible plants. In the context of public art, community gardens are a subcategory of
environmental art and/or public practice as they provide opportunities for artists to engage in these spaces through the design and
creation of community gardens and relevant public programming and environmental artwork.
• Concept Proposal —A public art project phase in which an artist or artist-led team creates an initial proposal and conducts a preliminary
cost estimate.
• Creative Economy—According to the United Nations Conference on Trade and Development (UNCTAD),4 "the creative economy has no
single definition. It is an evolving concept which builds on the interplay between human creativity and ideas and intellectual property,
knowledge and technology. Essentially it is the knowledge-based economic activities upon which the `creative industries' are based".
UNCTAD defines the following industries as the "lifeblood of the creative economy:" Advertising, architecture, arts and crafts, design,
fashion, film, video, photography, music, performing arts, publishing, research & development, software, computer games, electronic
publishing, and TV/radio.
• Deaccessioning —The permanent removal of a work from the City of Rancho Cucamonga Public Art Collection by selling, donating, or
destroying it.
• Donation —Acquisition of artwork through the acceptance of a donation of funds to purchase or commission artwork or the acceptance of
actual artwork from an individual or organization.
• Direct Purchase - Selection and purchase of an existing piece of artwork ready for display.
• Display— The temporary showing of a work of art.
4 https://unctad.org/topic/trade-analysis/creative-economy-programme
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• Final Design —The phase of a public art project in which the artist finalizes the design, placement, installation specifications, and cost
estimate and has relevant components prepared and stamped by a licensed engineer.
• Healthy RC — Established in 2008, Healthy RC is a comprehensive City-Community partnership committed to long-term policy, systems,
and environmental changes to support healthy living and a sustainable community. Healthy RC focuses on eight community health
priorities: healthy eating & active living, education & family support, mental health, economic development, clean environment, healthy
aging, disaster resiliency, and community connections & safety.
• Loan —Acquisition of artwork for temporary or long-term display in public spaces, as differentiated from rotating exhibits.
• Public Art— 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 to the public. Public art can take shape in many ways and forms as long as it
remains free and accessible to the public.
• Temporary Art—Works of art created to be in a public place for a limited period, as identified and agreed upon by the City and the artist
or artist-led team.
• Request for Proposals (RFP) —A document soliciting Concept Proposals from artists or an artist roster for a specific public art project. An
RFP invites a group of artists to submit a location-specific proposal to be reviewed by the Art Selection Panel.
• Request for Qualifications (RFQ)—A document soliciting qualifications from artists for a specific public art project. An RFQ invites artists
to send their qualifications to be reviewed by the Art Selection Panel but does not require a specific proposal to be submitted until the
final artist is selected.
• Siting —The permanent installation of a work of art. The temporary or permanent installation of a work of art in a particular site such as
on a building, entrance, plaza, intersection, path or roadway, bridge or neighborhood, etc.
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Appendix B - Project Plan Template
RC PUBLIC ART PROJECT OUTLINE
Project wane: AOP Year: FY202_f2_ ARTIST REQUIREMENTS
8 Use NO texonEeiero bad rite RCPub&Are pro Dunes lnlcdusur,NenMeAaf.Once e, a„eddialsabate Artist Scope of Work
udiThe uptake and znainleted dlrmuP4mdlheprWfedihr_lene,1rcI drop a cagy submitted M ibe ate Cie airs Once
atihe cancOuseopr a716e prniect
0 Gina Me oust dbetthe arl[s2wdche'waded to aoo fete es part-erne pitied mane&resign,hdricaCurr,
Remember to sari a newt ers,Y:,;arthe file$EFORE updating Mr rem permed sections Mciadleakn arthe wurrG uronrtap wen a CIPprissieci or drsgin franc try
INTRODUCTION Artist Eligibility
8 JefenErry anyspechsta Gar requirements the artist most rimer OIALGkr.ba be!DOOM Rr is prgpsd ita.,ouseriance
0 Proudde a hider overview ofine Apmrecr oarednip Pik Atoltd lb cation,ApRleet eye ea,Acorn&are and cre ad4e wild sneak ar medium;a:nertFlo artists,regional a•tegs:Om)
pircematent poppristramment permanent edwnp6',temporary erhrcric eln,l,aendgey fwdlcl9 sorwte,end the slope One gmrsdbns to corsMferAsd,de:
Par grabrcompletlan
•1,1,vst ahe md'st L,b pru*in is certain geogreahk area or Yx•_he mall open to anise nadDoaify7
•
-es Mr can only open to proess onaI'Hess or are students eagibe7
Project Location Overview -Are artist ear seligm,ePurahepunka?
0 PrmOAde an Due Mesa oalneppoledOaead4n nrcOrd➢ig location yam Ar$ecr sa0.edof(�e cape''impnurefinent 'Mast We ert's'Fhave compededa mere wAYtra shalar �s[al•andsmvAer
waeds or pen to canon times rraouroems Mal a oOni.SnpaC ate immoehbn nrde purged Om)are sreN7nP at.reach a.ttb se leg Wes aPard's!s:ecrlude drat overvkw dire.Far rxamAbdr,ArtNC
cornl.isslani g arpanIzeda:a seeking'reach out M ernerpp0lp a,YGs;mduele is sMremlent such as 44nw5ssional
areacis who ere nett Jo Me Need ofpuittc art One's'Arokcr es one Mahirte Emeolue 70404 kref orcomm unity
i Pmjett lilt ktt.lition Mienscrlon N a watt sett's',include a statemeoi such as grits mho Aare ecpsnience role rad(p'PCh
• PmjeOt tilt Omani and[spetteil use community as encouraged to eppgr.•.
▪ Overview 01 CIF'S or plans that are associa7ed with the proposed public ar site or that are an'icipaled in future
}dart 4rF Appiable}
a Include paints alacsrtad lor the CIP and any rretessary reference meerials Art Selection Criteria and Recommended Art Selection Panel Members
• Silt tou1enis or issues Ebel mould impact projeo completion(if applicable)
0 010mre the sienfkpn rlderdrallotwilt de Ar hated,Yi se CV far AIM andleoorrxnendadlcrs kw the Art SeledY.rl
Panel
Project Goals
seieorw,crit rm
0 Omrl(ne Mr pwatcrgaaps incantnd now Mr pvgtdagprs ialth Me RC Pub&Art YEron and tie RC Pub&ArtPJaa A rt Selection Panel
Ooah.Sflalester and gheasures Csv,ppnds and wrran5lge m the RC Prebek Ad Cmdec Non coif proved wda cop
• RC Public Art Sole Member:
• Gaol it • Ali Site Repr seetetire!
t C�OaI ▪ Other 4pplicatte City RepreS�LYirty Members:
• letegrdlinrl inrlb the RC Publit Art PINK
• BMefitit RC Pnlblit Ai-teat-vim PROJECT SPECIFICS
Project Schedule
0 Bummertee der antkOnke Arlie et abrade llewo stare to Aalch.
0 La the trek Axilidr all VlloorZnr dadrs related fa the A r V ec r:brmltn dfrmr oy dede and crura1Poo.
41 ' Page
Dsalphon Start Data End Date. aratFan
Project Sort
Mieatont 2
Phew 1 Cample*
tlieetkone S
Project End
,e41\6
Budget and Applicable Funding Sources
Provide an Pone ofrhe proposed nudigeP Pirate mire,arc wartp speta►ts au dna"IhMcedLMhsreaarram,and
maltenance,ffprown
Community Engagement,Marketing,and Communication Heeds
0 Proddde an o,rerrkw of how adsprojed.IV tt fncorpa aded➢bo Me armed awarnurdnr engagement sraarpfen,
,hcludad oommursYy outreach needs,at W :oared en n31te.,dry unarms Ara;openrnds,deatetlans,rfn,r,pun&
panYclprelan mends ale..meet dPr ardYt D mMes.pLhac Otout as..aarncvarf ryp e+'erc,)
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Appendix C - Call for Artists Template
RC PUBLIC ART CALL FOR ARTISTS
For Independent Contractors Art Location Description
8 A dasc,Vion of rdrere the art what be waihii the prrrjed site.a,.ereh ees the rimed on for of is predetarinired by the
frader,commissioning ogle n¢aflan,ar=murky before a Cara furAdids is distributed if this appt'es to your
prect provide a hiighlydeta,'ed description a>laifrere the art KO be located milin the ske especlaity loran RFP.
The description shaxrfd;ndende,&ri no!Le holed to:Firs eerv.g and aR. eel in tonne tien abed the?motion's
8 The terrgdefe prow lac an cake ke ihrthe Gad f6rMist Summary in kre ash the Pub&Art kretwonkArtists S ' a sfmcewe,maieriet5 used of the Pocefix,ursibtly within the sic end tig3ling inhumation.ff the art location a not
Resource Guide PM).Nodes in the green banes shoertd be used as reference ma twists for the section and are p>redelenmred slate whethecncnot the artist sit be free to pack ee a in set rg the eat efe.
puked flan the resource guide tidied above.
Remember is save a new version of the file BEFORE updating the sdemaced sections
Budget
U The amorist of fernding athcated fo art krthe project
CALL SUMMARY state the bedgel for ad and what is axpected to be covered trot aaprojeda have the same ec ecfadons at
pried cods cove redby the ad budget)
8 A frfef s The Gag artists decide n?neiher the are interested or e' far - Far instance,in a design-team project the badget meyincltrde cntyathe casts of adonis'fees and twat In
terials
the oat' orgeni¢ orxs past-rig the
cat.decide how be pwurJA!1.ihderde the pad name, d m ratim y and mass th d en but not actu Malude the artist's fee,travel; al �stttainm costs
commissioningargarsa ion,apptcebon deadrone,prod&rakre,budged geographic*tildyregur ements end
Mettler if is en RFQ or RFP Difen coals for;mamma,faxes studio overhead,and misoelianeous Kees are not iachnded in an artsrs budget by
fhe artLd orcorran&_donng agency it geoid be deer{norm the beginning which ao-atn may legitimately be arctrded
n he artist's budget'and whidr are covered&pothers.
Project Description
U An Overview of the artis1sarreofaecwrea.DesnibewhetherA-isadesigrrteanproject,conwrearonfcrraew Artist Eligibility
wort5iteyated ark functimal art repteanghindioanetlierars,nosier plan artist residency,purdneaeofe dvagerf, e Reudere the e6 iKyreialannentsdefarfedinheProjedOutline
cr sunder type of opportunity.hnekrde a desxrriilkae of Hie agendatron overseeing the project
ff the project is warp ng to reach cat to came a types of artists oar rde that overview here.Far example,if the
comrnissicnirg organization is sealing10 mach oars,to ernergirg artists,aidude a statement such as predessimaf
• PrnjectType Mists vdro are newts.the Sett/afpubtic eke'Orif the project ia one file mil invoke ahighkvs,ofcorrmrvady
irterartm m a spec&Wig,nniride a slater/rani such as-artists oche have ecerienae ideracfing wish
• About the lily of Rancho Caxamerge oornmunKyare ensouiaged to appy-
This section should ado lea lode an equal appartunky statement
Art Goals or Criteria
U List the goals end oLyectnaa farthe ad as estabilished in the RC Pnbl c Art Project 0 per new ceena,rmernt The
specirrayor oommissionng orgsvnizatilln ark/reflects the characteristics of each project. Application Requirements
The list can be Lroad—e.g._crea.te a sense of'dace wain the commrmdy—orspear&—eg.,desrgastmetseape
elements that rested the iredoahial history of Hie neighborhood ii The List of maferians artists show t send by mar or mare eth theirapp6Cahi ins
Be very specrfra:about the intimation artists should include weds fhefr cop esdion arse it determines fowl♦is
presented to Hoe panel revtierving applicants and selecting artists Typdcef epyaacabbn requirements»dude.
Site Location Plans -Warn!5uppart m
-Annotated tints
-Statement of interest,often aestnkied to a number of words{ 200 rousts)
8 Saok plans,maps,photographs,or archer visual information of Hie site or se laratiar.Descrkle the srle'a function Resume or shod biography
include what ecTbitiea MU taeppee!here and who uses if.Be sure to incluie Dbether.wjied the site is open to the -Set--addressed stamped emelrpe(r farthe retiree ofhadpcpymateriefs
pith or Jibe public can see Out eact enter the site.krol de a des ion or Ogstory of the ace and community .Project pmpo r RFPsJ
ndaene the eat a be and fiat aaiai'arral res-aunaes Orr the+did to teaearh.Note Whaler Hie artist oil'be included in
the NM dec sire an She au wrHwr a given fixation,ardthe site has been idenhlhed by the Gam++,priprto the Gail for Visual support materials cos include atigialinages in spenTro formats s5deo.videos,CCs,aadprirts et
Artist photocopies.Ifrequeabyrg dr al kook,list the number of images artists may submit and how they should he
labeled lira panel is reeeewing digdal images[a15 orsidea,in eddWion fo the number O f images be spedroc about
length of tine farmm+ingirrrages end the format the panel Of be capable of vreewing.Idea*the number of copies
• Plnohdsiplerrdmspslnther visuals/ of support materials the artist is to noble(example helm).
43IPage
Exam pl4c: ff Iinatists ere subject to interview,stag esT rfa fee end travel ereses ere covered as welt es tnkgine forinterviena
▪ For riauat art.up to a coral of i 6 lmagas<%part work on a CD. All images mien and who mtpadncrpate Mi fire Mteniew process and make the final Ede se&ecrr
be in A'EG formal(lipid.and 1424 Raab(14 272 iodise)on Cho gn9or1 side-
rOrmatktl al 72 dP. EaCn+wage oerram4 must be named as rdlgxs:ar[ars rasa lfproposals are required provide artists welh intimation abaft whet is included laded in a propnsaL ti ellne,budget et.,
name,nisi millet,walla rise,and nrrrrberearoapdrdIng to the number an Ere and fee nor propose;have;andprasenFatixi anddeaanxr-malesschedule
image ICsl{e.g.neerho_41.Jpgt.Nopereonal weherlea eel he reviewed. ii using a
Mac.be aura Souse The n pre a.jre Wince"f lnronl a elnereivn le p:
"ernMp_41.Jpg'rattier then Nmi OTF
• p4Acmphpl ar mrCy ah,rldpp COCemontaticn farmattpol On a.MT ass Selection Criteria
Wv,deurs kindle Faayerre❑ulekTine lie wYMeer an eura den menu. Each
COMVd can ccnlao up to b 41dao nimplee.oral a bold running true of no more
than ID minules to at samples talleelively. 8 Alist of the eiders eslahbshed in the Project Orrice&Mal wi9A wide the evaluation efapptcetions,
. For media art•audio AOdrOwNilled meal be FeeTdned an al C177C1•R Ointainiiq listing the selection Mariaestablshes the priorities of the artist selection panel.
up to 5autlle eampke,ralh a'DUI running time no more than 10 minukes re•all The etas assists ertids when considering whether they should appfy for a project Forexampl fthe erderia for
sarnpks tdlertive}y. the RFQ i rdudes artslic exceltence,evidence of working in the beta of pubic art trmore then five years,end
perienae ardent in community settings,mitts new lo put&art let be informed that their gr atfmshbrrs ere no!a
The a earheadumage flat allows the artist to describe the visual support material'and urmanyrrctudea description, goad hi for the Agect
meter*tacati ei,budget client or cominissiondag agen¢eti3n,and any other relevant project agapaugyvjiro
statement Of irierestalkrws artida to introduce themselves and deecm ai therspecdic ilLaca&t m a proms their
p rrharalpproach-tdtheprofitorcrestingpubicart,aleeerary questions presented ia the RFQand
desonte any pest relevant dance Project Timeline
ffartistdeemsrmayBopr}':rdeardyslifyourertwireed!orrelrivetsuppnrtmeteriet%maims,and.rhsernzafor 8 The thilerWie the!the pneproyect will raw/from artist serialise to project comp:Etta'TYR.jogai firneine should he
each team member if you are imang and payeigarfaaJo develop proposals,r e*Asfthetypesofsubmisin kid:usedat the Project Dime
mafenats you mull Ike the artist to sulxat to hest present their work to the review panel.Typfaet proposal
submission meleriara o!uda project desiatrdiea dramrxgs,renderings,model,phodograplrs,rrreteriefsL,st budge t The tinedire inakrdesdates rrfhe foitowngnaleslonec as they apply Submission deadline,panel review,fmarsf
ffrnethunr references,fabrication,iastairation,and maintenance iregirmeh'o a rrohthceticn,interview sdrednde,proposal presentations,final artist selection,contract,design revile rvphases,
fefld m andiustaiebpn srhednk for ad coordinated vie project construction,and completion date
Deadline
8 The dale when an apptice bon mud be eitix=r received or postmarked LW the date by Which arP.EipOicatiam must be Description Start Date End Date Duration
Ober received of the medals or ankle address or pas hnarked.8e sure to state if overnight or express deiheay a
NC1Tpenrrital Submission Deadline
Panel Review
Finalist Notification
Submission Address
Interview Schedule
8 The address to which application is mile/need or mated Imdude the ornboe address or waning address.
Proposal Pre nlaliuns
t€overnight or express a-hipping u aGawed be sure that the address is not a post office bolt.Erpply en attemafe
adokess forthis type of deWenr.
Final Artist Selection
If only online submissions are acaepfebte_dearly state that there wall be oa mailed submissions accepted.
Contract
Design Review Phases
Selection Process Febdcetion And Installation
8 A dencei th n clips the apph:0E6,ns ati he reviewed olden artist selected include the types ofpeopie who ae on Completion Date
the se,leclb'an panel,as Adendaled in the Project Outline
include the marker,orrang4cifEnak. that wiutie selected and'that via be required'ofshe&etats,idaarg Sources for Additional Information
interviews,proposers,dates tbrpresentaticns.and haves[Typically,there are tree krretsts,but no rare than fie.
U A tint of resources the artist may oonsat fraddtionef prr ect kinrmettpn On the ppjeot sae;cnrnnrissionirg
oa garnaatlaxn,commurudy area hatary etc.ProriSng artists a Fief arresnurces they can coriou f about drerent
aspects of the project can help them decide if they wand to apply and f their work is a good a wtir the pitied
parameters In the case of al RFP,the lid can be a launching pant for research.Include ration addresses,
publications,contact La rmeh'm for organizations,and direrindoanafion that would be helofid andrelesent da artists
3 as they research the project
Resources for Questions
44 I Page 8 me contact information for the person ororgancationtobecedediftheartldhasemsorneeds- d:euaf
infvnnatrm.Be clearebod wohether tetr phorre cads or aced inquiries are accepted crif questions may only be
so ndded by he or email.Also date if there is a deedine by which gaeaticrrs must be submitted
Appendix D— Project Conclusion Checklist
RC Public Art — Project Conclusion Checklist
Project Number
Project Manager:
Project Location:
Artist Name:
Project Installation Dom:
Below lithe list of tasks fiat need to be completed,with relevant documentation included in the RC Public A rt Project
Pocket after the project is installed and prior to dosing out the administrative aspects of the RC Public Art Project.
Coiled From the ArliistiSeller/Donor
Maintenance Protocol for the Artwork
❑List of maisrids used in the creation of the artwork
❑Documentation of manufacturer(%)warranties for artwork components(if applicable)
❑Liss of fabricators used in the crouton of the artwork and contact information
❑Transfer of title for the artwork or other documentation confirming the transfer of ownership of the artwork from the
west to the City
❑Any outstanding project documenmion,including high-resolution digital photography
Signage and Communication
❑Complete instdlarion of on-site signags•add photo to the project pocket
❑Update the Public Art Map on the City websire with a project overview:
- Artist Nome(Binh Year+Death Year,when applicable)
- Artwork Nome+Description
- Materio Is+Mediums
- How it was procured:Donation,Public Art Ordinance ldeveloper installed I,RC Public Art Acquisition,etc.
- Photo
- Location
F`nol 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 proper completion
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Appendix E — RC Public Art Outreach Methods and Results Summary
Outreach Summary
Gathering Voices: The RC Public Art Outreach Process
Community Voices are at the heart of the RC Public Art outreach process. The goal of this outreach effort was to provide creative and
accessible ways for all community members to engage in the process, give 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 Outreach Methods. The RC Public Art Core team utilized existing partnerships and outreach strategies established through the
City's award-winning City-Community partnership, Healthy RC, to guide the RC Public Art 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 groups, and
one-on-one interviews. The outreach process was developed to ensure that diverse, equitable, and inclusive arts & culture language was
integrated into the RC Public Art Plan and the larger General Plan Update.
Outreach Methods
Overall, the RC Public Art Core Team implemented four (4) primary methods for collecting public input that ultimately informed the vision,
core values, and goals for the RC Public Art Plan. The following section provides a brief overview of the outreach methods implemented.
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 adhere to. A total of 642 participants completed the survey both
online and in-person, with 70% of those respondents indicating that they lived within Rancho Cucamonga.
RC Public Art Mappy Hours:
Six (6) RC Public Art Mappy Hours, bilingual interactive pop-up events, were facilitated by RC Public Art Core Team members and held at
the following locations throughout the city: Biane Library, Day Creek Senior Villas, Haven City Market, Los Amigos Park, Red Hill Park, and
the Epicenter Stadium. These events provided a safe, outdoor, in-person method to collect public input on preferred art types and locations
during the pandemic. Community members could pin preferred locations for public art placement on a city map and provide feedback on
preferred public art types with color-coded stickers on posters. Overall, 155 community members participated 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
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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 Affinity Groups, where the interviewees were recruited as subject matter experts to join these groups later in
the outreach process.
RC Public Art Affinity Groups:
Six (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.
Art Affinity Groups.
• Affinity Groff 1: Diversity, Equity & Inclusion - Participants from this RC Public Art Affinity Group were members of the Compassionate
Communities Subcommittee. The Compassionate Communities subcommittee is primarily comprised of residents, faith-based groups,
and other community stakeholders. Through various initiatives like creating a community garden, hosting community conversations on
racial justice and social equity, and painting sidewalk art centered around unity, the group aims to improve community connectedness,
create a sense of belonging for everyone, and inspire others to be kinder and more empathetic to one another.
"A mural can make a street corner into a social hotspot. We saw this happen with the intersection and sidewalk
art project. To have these pockets of joy sprinkled throughout the city would be marvelous!"- Compassionate
Community Member
• Affinity Group 2: Emerging Survey Data Discussion - Participants from this RC Public Art Affinity Group were the Healthy RC Steering
Committee members. The Healthy RC Steering Committee consists of various stakeholders, including non-profits, businesses, faith-
based, schools, universities, healthcare, staff, and residents. The purpose of this Affinity Group was to drive survey engagement and to
make recommendations on future public art outreach through the lens of diversity, equity, and inclusion.
• Affinity Group 3: Placemaking & Public Art in Southwest Rancho Cucamonga - Participants from this RC Public Art Affinity Group were
Campeones para la Comunidad members. Campeones para la Comunidad/Community Champions is a City-facilitated civic engagement
program that has provided Latino residents with leadership training and encouragement to participate in local government activities. The
purpose of this RC Public Art Affinity group was to understand the work that Campeones para la Comunidad does and how the arts can
be woven into the existing fabric of the neighborhoods in the southwest area of Cucamonga.
• Affinity Group 4: Youth Voices for Public Art— Participants from this RC Public Art Affinity Group were members of the Healthy RC Youth
Leaders Program and the Teen Advisors Program from Sam and Alfreda Maloof Foundation for Arts and Crafts. The purpose of this
affinity group was to include youth voices in the process and better understand what types of art and arts programming they would like to
see incorporated in their community.
• Affinity Groff 5: The Creative Economy—Local and Regional Arts & Culture Leaders, including members of the Public Art Committee.
The purpose of this affinity group was to discuss the creative economy and gather recommendations from subject matter experts for arts
integration in the city and the development of arts & culture districts or hubs.
• Affinity Group 6: The Artist's Perspective— Best Practices from Public Installation to Community Engagement. Participants of this RC
Public Art Affinity group were subject matter experts in public art and represented regional program administrators, consultants, and
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public artists. The Purpose of this affinity group was to receive feedback and recommendations for best practices for public art program
administration, including art types and placement, community engagement, and local/regional artist engagement.
Key Results from Outreach Methods
Survey Results
• Survey Demographics
(recreate survey results with graphic)
• Survey Cultural Values Audit
People are the heart of Rancho Cucamonga, and a cultural audit is an essential Placekeeping tool to help us better understand the assets
and strengths we should protect, enhance, and build upon. The identification of community assets through a cultural audit tells an essential
story about the existing places that people value and enjoy. These assets are central to the cultural identity and vitality of the city. The
cultural audit also serves to identify potential gaps that might need to be addressed that could help increase the vibrancy of city life.
(recreate survey results with graphic)
• Survey Sense of Place Mind Mapping Results:
o Community: sense of belonging and connectedness
o Relationships: interaction and social connection
o Health: mental and physical vitality and wellness
o Education: learning, growing, innovating
o Diversity, equity & inclusion: accessibility and removing barriers
o Diversity: of cultures, generations, voices, languages, backgrounds
o Variety: of arts, entertainment & cultural opportunities, and experiences
o Identity: sense of pride, place, exploration, and freedom
o History of place: agriculture, orchards, vineyards, etc.
o Nature: mountains, open space, and trails
o Balance: of energy and vibrancy of place with quiet time, relaxation, and rejuvenation
o Peace: unity, safety, joy, acceptance
o Human scale: walking, biking, and pedestrian-friendly places
o Intentional: thoughtful planning and integration of arts, culture, and environment
(recreate survey results with graphic)
• Survey Preferred Art Types
(recreate survey results with graphic)
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Mappy Hours Pop-Up Results
The RC Public Art Core Team launched the "Mappy Hours" pop-up program, a series of multigenerational community outreach events that
engaged youth, families, and seniors in a fun and engaging public art mapping activity. From those sessions, several areas of concentration
were identified for public art placement, as shown in the map below.
• Mappy Hour Art Type Preferences
o Earthworks
o Temporary Art
o Infrastructure Art
o Streetscapes
o Renewable Art
o Sculpture
o Neighborhood Projects
o Murals/Mosaics
• Overall Survey and M ppy Hour Location Preferences
• High Concentrations o Chaffey College
o Victoria Gardens o Pacific Electric Trail
o Civic Center o Epicenter
o Red Hill • Other Priority Locations
o Central Park o Neighborhood Parks
• Medium Concentrations o Gateways into the City
o Southwest RC neighborhoods o Major intersections and thoroughfares
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• Combined Survey and Mappy Hour Location Preferences
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One-to-One Interviews Key Takeaways and Recommendations
• Identify and support local and regional artists and include emerging to established artists in the program
• Work with existing arts and culture leaders to develop projects and plans
• Convene a city leadership discussion with the Arts Connection of San Bernardino County
• Grow a vibrant creative economy, particularly the visual arts
• Be inclusive of all communities, cultures,voices by balancing placemaking and placekeeping efforts in all neighborhoods and ensuring access to and
distribution of art
• Work with local Indigenous groups to reinvigorate the stories of the first peoples of Rancho Cucamonga and their cultural heritage, Cucamonga, after all, is a
Tongva word
• Cultivate relationships and build trust with Indigenous communities over time, and offer compensation for Indigenous people's ideas and time.
• Cultivate a creative class to help establish the city as a cultural and economic hub.This includes incentives for affordable housing developments, work-live
lofts, and zoning to allow for multiple use and adaptive reuse development that favors artistic production
Affinity Groups Key Takeaways and Recommendations
"Public art is a way to tell a story. It's a way to creatively use ordinary spaces and turn them into something beautiful that reflects who we are
as people, our culture, and the impact we want to make!"
—Steering Committee Member
• Affinity Group 1: Diversity, Equity & Inclusion
o Key Takeaways and Recommendations
• Include and support local artists, particularly those with multiple abilities, disabled, seniors, and all ethnic and racial backgrounds,
with more voices of the LGBTQIA community, and representatives from different cultural groups
• 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, seasonal exhibitions, street fairs, food sovereignty projects, hands-on art
projects
• Diversify and strengthen partnerships with existing arts organizations, such as Chaffey College visual and performing arts
department
• Diversify funding to enhance the public art budget.
• Prioritize environmental justice/sustainability through the arts.
• Affinity Group 2: Emerging Survey Data Discussion
o Key Takeaways and Recommendations
■ Increase in-person RC Public Art outreach to help identify more public art locations. Some members had difficulty with the online
platform and the interactive map in the online survey. This recommendation resulted in the creation of in-person Mappy Hours
outreach events to drive additional survey engagement and to collect deeper data about locations for public art and why
■ Focus engagement on the communities in Southwest Cucamonga, particularly youth and teen engagement
■ Prioritize food access, address food deserts, and integrate the arts.
■ Expressed the desire for murals, sidewalk art, colorful industrial buildings, traveling art (temporary exhibitions that move
throughout the city to unify neighborhoods through the arts), and community gardens
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• Focus on Los Amigos Elementary School, Los Amigos Park, Industrial parks, and more open spaces for active, healthy lifestyles
• Transition STEM to STEAM. STEM programs should integrate an "A" for the Arts in education
• Affinity Group 3: Placemaking & Public Art in Southwest Rancho Cucamonga
o Key Takeaways and Recommendations
• Safe Streets should be a top priority: Public art measures that help calm and focus traffic, such s 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.
• 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 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
o Key Takeaways and Recommendations
• 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 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.
• 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.
• Affinity Group 5: The Creative Economy Local and Regional Arts & Culture Leaders
o Key Takeaways and Recommendations
• Support & 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.
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■ Encourage hubs or districts to grow by creative/artistic discipline. For example, performing arts and literary arts are already well
established at the Victoria 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 6: The Artist's Perspective — Best Practices from Public Installation to Community Engagement
o Key Takeaways and Recommendations
■ 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
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Appendix G — 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.
6.
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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.
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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 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—
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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.
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.
5. 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 case in 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
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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.
2. If the owner of a building wishes to remove a work of visual art which is a part 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, 104 STAT. 5130.)
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Appendix H - 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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