KT Tomey is working on a project to develop maps for walking or running tours of public art in Ann Arbor. (Photos by the writer.)

“Arbor Winds” by Massachusetts artist Catherine Widgery features elevated, stand-alone louvered glass columns that are etched with images of trees – three on each end of the bridges, on the north side of Stadium Boulevard. The same type of louvered glass panels will also be used under the bridge along South State, affixed to the wall of the underpass – five sets on each side of South State Street. The overall project has a budget of $400,000 and has been in the works since 2011. If approved by council, it will likely be installed in 2015.

Commissioners also expressed enthusiasm for a new effort proposed by KT Tomey, who hopes to develop a mobile app for walking or running routes that highlight public art in Ann Arbor and on the University of Michigan campus. As a runner herself, she noted that people look for running routes when they visit new towns. So the app could be used to promote public art both to visitors and residents alike. Her first step is putting together .pdf maps that will be downloadable from AAPAC’s website.

Another new proposal prompted concerns about process. On the day of the meeting, John Kotarski – AAPAC’s vice chair – circulated an email to commissioners proposing that the city accept three pieces of donated art from Jim Pallas, an established Michigan artist and friend of Kotarski’s. The pieces are proposed to be located in the lobby of the Justice Center, in the atrium of city hall, and outside of city hall. Although commissioners seemed supportive of the idea, some expressed concern that the proposal wasn’t following AAPAC’s guidelines for accepting gifts of art, which include setting up a review committee.

Kotarski pointed out that Pallas is 75 years old. He noted that if artists donate artwork before they die, they can deduct the cost of materials from their taxes. But after they die, their estate is taxed on the market value of that artwork. “So these artists, at this point in their lives, have a financial incentive to find a good place for their artwork,” he said. “If we can make that process simple and easy for Jim – and pleasant – then I’m sure he’s willing to go to his friends” and encourage them to donate too.

He reported that the Ann Arbor Downtown Development Authority has offered a $500 honorarium to Pallas for each donated piece. Kotarski said the three pieces have a total estimated value of $100,000. He also mentioned that Pallas’ daughter, a law professor, knows city attorney Stephen Postema and that they’ve “made arrangement to resolve any legal issues necessary to facilitate this donation.”

Kotarski told commissioners that he’s tried to assure Pallas that this will work out, but “that’s why I’m a little nervous giving him these assurances, only to have this fall through at the last minute. That’s not going to be pleasant.”

Marsha Chamberlin said she recognized the benefits of encouraging Michigan artists to donate their work. “But we are a public body, and we have procedures. I just think it’s important that we observe those rules because we don’t want to make an exception for one thing, then hold someone’s feet to the fire for something else.”

Commissioners agreed that AAPAC chair Bob Miller would work with Aaron Seagraves, the city’s public art administrator, to set up a gift selection committee to review this proposal and make a recommendation to AAPAC.

In other action, the commission approved its annual art plan for fiscal 2015, which begins on July 1, 2014. The plan includes projects that are already underway, as well as proposed capital projects to be enhanced with public art. The ongoing projects are: (1) artwork for East Stadium bridges; (2) public art at Arbor Oaks Park; (3) Canoe Imagine Art; and (4) the Coleman Jewett memorial. The proposed enhanced capital projects are street and sidewalk stamping, painting or stenciling in four locations to be determined, for a total cost of $30,000. The city council would need to approve these projects before they would move forward.

Commissioners also approved applying for a $10,000 National Endowment for the Arts Challenge America Fast Track grant. The money, if awarded, would require matching funds in an equivalent amount from other sources for a public art project at Arbor Oaks Park in southeast Ann Arbor, located near Bryant Elementary School and the Bryant Community Center.

Fundraising continues for the Coleman Jewett memorial at the Ann Arbor farmers market, but Canoe Imagine Art has stalled. The community art project is intended as a temporary art display in downtown Ann Arbor using old canoes from the city that would be repurposed as public art. The city had hoped that the Ann Arbor Convention & Visitors Bureau would take administrative responsibility for the project, but the CVB has declined. Chamberlin, who’s taking the lead on this effort, said that if workarounds can’t be found for some of the administrative issues, “we have to kiss this project good-bye.”

East Stadium Bridges Artwork

The April 23 agenda included a resolution recommending approval of “Arbor Winds” artwork for East Stadium bridges, designed by Massachusetts artist Catherine Widgery. [.pdf of proposal]

Catherine Widgery’s rendering of her proposed public artwork for East Stadium bridges. (Image provided in the April 23, 2014 AAPAC meeting packet.)

In early August of 2013, Catherine Widgery of Cambridge, Mass. was recommended as the artist for this project. She was picked by a selection panel from four finalists who had submitted proposals for the project, which has a $400,000 total budget. [.pdf of Widgery's original proposal]

The selection panel provided feedback to Widgery and asked that she revise her proposal before it was presented to AAPAC and then later to the city council for approval. Members of the panel were Wiltrud Simbuerger, Bob Miller, Nancy Leff, David Huntoon and Joss Kiely. [.pdf of panel feedback]

Over the past few weeks, AAPAC chair Bob Miller and vice chair John Kotarski have been presenting her revised proposed to several local public entities, including the city’s park advisory commission, planning commission, and the Ann Arbor Downtown Development Authority. They also presented to the Cultural Leaders Forum, and a public forum was held on April 21 at the downtown library to get additional feedback. [More details on the presentation by Kotarski and Miller are included in The Chronicle’s report of the Ann Arbor planning commission’s April 1, 2014 meeting.]

Widgery’s new design for the bridge features elevated, stand-alone louvered glass columns that are etched with images of trees – three on each end of the bridge, on the north side of Stadium Boulevard. The metal support structures are 7 feet tall, with the glass columns rising above that for a total height of 22 feet. The same type of louvered glass panels are also used under the bridge along South State, affixed to the wall of the underpass – five sets on each side of South State Street. The panels will be lit from below, so that the etchings stand out at night. The glass is tempered and laminated for strength.

The artwork is meant to evoke the strength and fragility of this community. From the artist’s statement:

As one drives around Ann Arbor, the gracious stands of trees stand out as a clear expression of the town’s identity so trees have symbolized this arbor town from the beginning.

On a deeper level, the trees as portrayed in the artwork Arbor Winds are a metaphor for our own paradoxical fragility and strength in the context of our life cycles. We speak of having “deep roots” or of “branching out” or of how someone is “blooming”. After a long winter, the return to life of spring is expressed above all through the return of leaves to trees. We all feel the sense of being reborn in the spring with the blossoms and leaves and, in the autumn, the somewhat wistful sadness as the leaves reach their glory of color and then fall.

Arbor Winds evokes not just trees but wind and light as expressions of the energy that surrounds us. In each panel we see the ghostly afterimage as if the wind has blown the tree; we see both moments in time simultaneously. These images etched in glass are like those etched in our memories. We walk through a forest and it is our mental “snapshots” of the branches against the sky or the texture of the thick trunk, or the dense layers of the many trunks silhouetted against the forest underbrush that remain in our memories. Indeed each of these etched images is more the memory of moments rather than a physical reality: a subtle expression of our own ephemeral existence and the light traces we leave behind.

During the April 23 meeting, Kotarski made the same presentation that he and Miller have given to other groups over the past few weeks. He explained the process that’s been undertaken, starting in 2011. “It’s been well-vetted,” he said.

Bob Miller, chair of the Ann Arbor public art commission.

Kotarski noted that the question of “why not a local artist?” comes up in almost every discussion. The reason is that the city attorney has said it’s not legal to limit the proposals to local artists, Kotarski stated. There are world-class artists living in the Ann Arbor area, he noted, so outreach was done to make as many people as possible aware of the opportunity. Seven Michigan artists submitted proposals, but none were selected as finalists.

Miller noted that Widgery will be providing the LED light fixtures, and the city will be paying for the electricity. He reported that a city councilmember had asked whether the lighting will draw on solar power. That’s not a decision that’s within the purview of AAPAC, Miller said, but he liked the suggestion.

Jim Simpson asked what the general reaction has been from people who’ve seen the presentations by Kotarski and Miller. “Everyone loved it,” Kotarski replied. “I have not heard any negative comments – have you, Bob?”

“I have,” Miller said, adding that he’s only heard a couple of criticisms. One person had complained that it was an exorbitant amount to spend on artwork, and that you could buy potentially two homes for that amount. “That was his perspective, and I respected that,” Miller said. And some people just had aesthetic differences, he added. “Everybody has an opinion, and that’s really wonderful about people.”

Kotarski stressed, as he has during other presentations, that “not one single dollar of the money that goes to this artwork could possibly be used to fill potholes.” Although the money comes from the former Percent for Art program’s street millage funds, he contended that potholes are filled by funds from the state’s gas tax. “This is not a war of public art versus potholes,” he said.

Devon Akmon asked about possible glare from the lights. Miller replied that since the lights will be pointing up, they won’t be shining into traffic or nearby homes. Jokes were made about the difference between that and the University of Michigan’s large electronic billboard in the same area.

Simpson asked what happens if a panel is damaged. Would the artist fabricate a new one? Kotarski replied that Widgery will be providing a maintenance schedule, telling the city how to clean the work. She’ll also be giving the city a digital file with the images that are etched on each panel, he said, so that any damaged panel could be re-fabricated. Craig Hupy, the city’s public services area administrator, said he’d already asked Seagraves to look into possible replacement costs, and “it’s reasonable.”

The recommendation will be placed on the council’s agenda for its first meeting in June – on June 2. If approved, the art would likely be installed sometime in 2015.

An image by artist Catherine Widgery for artwork on the East Stadium bridge. This night view shows how the structures would be lit from below, illuminating the images of trees that are etched into louvered glass panels.

An image of proposed artwork by Catherine Widgery along East Stadium bridge.

An image of proposed artwork by Catherine Widgery along the north side of East Stadium bridge.

An image of proposed artwork by Catherine Widgery along East Stadium bridge.

An image of proposed artwork by Catherine Widgery below East Stadium bridge, along South State Street.

An image of proposed artwork by Catherine Widgery below East Stadium bridge, along South State Street.

A detail of the louvers designed by Catherine Widgery. The etched glass panels will be attached to a metal frame.

Outcome: Commissioners unanimously recommended approval of the project for East Stadium bridges. The recommendation will be forwarded to the city council for consideration.

Donated Artwork

At the beginning of the April 23 meeting, Aaron Seagraves – the city’s public art administrator – noted that an item had been added to the agenda since it was first published the previous Friday. Under new business, the item was listed as a presentation of donated artworks. Marsha Chamberlin clarified with Seagraves that it related to an email sent to commissioners earlier in the day on April 23 from John Kotarski, AAPAC’s vice chair. [.pdf of Kotarski's email]

John Kotarski, AAPAC’s vice chair.

Kotarski told commissioners that a friend of his, the artist Jim Pallas, is leaving the state and had asked Kotarski to help place his artwork. [Pallas is based in Applegate, Michigan, on the east side of the state.] Pallas had intended to sell the work, but Kotarski said he persuaded Pallas to consider donating some pieces to the city of Ann Arbor. Kotarski said this idea appealed to Pallas, particularly because Pallas thought his work featuring moons was appropriate for Ann Arbor. “To him, moons are metaphors for dreams and dreamers, and he thought: What better place to situate these moons than Ann Arbor?” Kotarski said. Pallas imagines the city is a place of “dreamers dreaming world-class dreams,” Kotarski said.

The Ann Arbor District Library has agreed to accept a piece, Kotarski reported, as has the University of Michigan North Campus Research Center. [Responding to an email query from The Chronicle, AADL director Josie Parker reported that the Ladies' Library Association has agreed to pay the costs of installing the artwork in the downtown library's garden, near the entry to the children's room.]

Kotarski described Pallas as a world-class artist, and noted that he had emailed commissioners more information on Pallas’ background, including professional references. [.pdf of references and reviews] [.pdf of Pallas resume] He said the work was valued at about $100,000.

Kotarski said he had hoped to bring forward a completed proposal, but hadn’t had time to do that. He’d made the same point in his email, which was provided to The Chronicle after the meeting by Aaron Seagraves, the city’s public art administrator. The email had included a list of people that he’s already talked with about this donation. From Kotarski’s April 23 email to commissioners:

I had hoped to bring you a donation proposal with proposed locations for artwork which was completely vetted by all stakeholders, however municipal government moves slow and Jim plans to leave the state in four weeks. Hence, the last minute addition to our agenda. I think your knowledge of the process to date and my plans moving forward is appropriate now rather than waiting for a completely vetted proposal.

…

I have kept Craig [Hupy] and Bob [Miller, AAPAC's chair] in the loop as I met with Susan Pollay, Jim Curtis, Colin Smith, and Ken Clein. My plan is to review safety, maintenance, and traffic flow with appropriate Justice Center and City Hall staff to insure all stakeholders are in acceptance of the artwork in the proposed locations. Jim’s daughter, Lydia Loren, is a law professor and international scholar in intellectual property rights who happens to have worked closely with our City Attorney, Steve Postema. Lydia and Mr. Postema have made arrangement to resolve any legal issues necessary to facilitate this donation.

Kotarski said the challenge now is how to proceed. He mentioned that commissioner Marsha Chamberlin had circulated AAPAC’s donation policy in response to his email, but indicated that he had not been aware it had existed. [The policy and process for accepting donated gifts of art, including detailed selection criteria, is included in AAPAC's guidelines, which are posted on the commission's website as a .pdf file.]

The process includes completion of a gift disclosure form and review of the proposed donation by a gift committee. Kotarski suggested that AAPAC could act as that committee, or that he could make recommendations for who would serve on the committee. He said he’s already worked to identify where the three donated pieces could be placed, and to work through any legal issues that the city might have.

Kotarski said the city staff haven’t agreed to yet to the proposed locations, which are in or near city hall and the Justice Center. Here are images of the work, provided in Kotarski’s email:

Fallen Moon by Jim Pallas is proposed to be located outside of city hall.

Luna Maggiore by Jim Pallas is proposed to hang in the atrium of city hall.

This piece by artist Jim Pallas, titled LAW, is proposed to be installed in the lobby of the Justice Center.

Kotarski said he wanted to inform AAPAC about this opportunity. The city won’t accept these pieces without a recommendation from AAPAC, he noted. He wanted to know if commissioners thought they could make that recommendation within four to six weeks. If not, he’d help Pallas place the artwork elsewhere.

Kotarski thought the work would “bring cachet to the city.” He said he’d toured the Justice Center with the building’s architect [Ken Clein of Quinn Evans Architects], and that several spots had been identified as appropriate. “He feels it’s consistent with and would enhance the building,” Kotarski said.

Marsha Chamberlin.

If the city agrees to place the artwork in the proposed locations, and agrees to pay for installation and maintenance, Kotarski said, he hoped that AAPAC would agree to recommend to council that the city accept these donations. Installation and maintenance costs haven’t yet been determined.

Chamberlin noted that much of the information needed for the gift disclosure form is already available. A gift committee would need to be appointed, she said, and that group would make a recommendation to AAPAC. Chamberlin advocated for following this process. “I just think it’s important to be consistent,” she said.

Kotarski said that UM and AADL each have a “committee of one” who makes a recommendation. “If this [AAPAC process] doesn’t mirror that, you might want to think of revising it,” he said.

The proposed locations aren’t debatable, Kotarski added. Chamberlin said that AAPAC’s role is to evaluate the artwork, not to recommend the locations.

Kotarski stressed that “I don’t want to lead Jim on. I want to be upfront with him.”

Bob Miller stated that most of the work has been done, and he thought it would be reasonable to follow the process within the timeframe of four to six weeks. When he suggested that Kotarski could appoint the gift committee, Chamberlin indicated that Kotarski had a conflict of interest. “I would feel that I had one, if I was bringing the artist forward and representing the artist,” she said. Miller replied that he didn’t think so, because Kotarski wasn’t benefiting from it.

Devon Akmon suggested that Miller, as AAPAC’s chair, and Aaron Seagraves, the city’s public art administrator, should determine the committee members. Seagraves pointed out that the guidelines outline how the committee should be formed. From the guidelines:

Upon receipt of a Gift of Art Disclosure Form, AAPAC will establish a Gift Committee as a subcommittee of AAPAC. The Committee will consist of a minimum of four (4) AAPAC members including: a member of the Committee who will act as chair, an appropriate community representative, an appropriate City representative, an appropriate artist dependent upon the scope of the proposed gift. Members of the Gift Committee will serve two (2) year terms.

Kotarski wasn’t sure there was time to do this, but Miller assured him that it would be possible.

Jim Simpson indicated support for the donation. He noted that it would be a way for the city to highlight Michigan artists. “If you can move quickly and people see that, they tend to get excited about the process as well,” Simpson said. “I think it’s worth it, myself.”

City councilmember Jane Lumm attended AAPAC’s April 23 meeting but did not formally address the group.

Kotarski pointed out that Pallas is 75 years old. He noted that if artists donate artwork before they die, they can deduct the cost of materials from their taxes. But after they die, their estate is taxed on the market value of that artwork. “So these artists, at this point in their lives, have a financial incentive to find a good place for their artwork,” he said. “If we can make that process simple and easy for Jim – and pleasant – then I’m sure he’s willing to go to his friends” and encourage them to donate too.

Kotarski said he’s tried to assure Pallas that this will work out, but “that’s why I’m a little nervous giving him these assurances, only to have this fall through at the last minute. That’s not going to be pleasant.”

Again, Kotarski stressed that AAPAC has the opportunity to get artwork donated by major Michigan artists. He said the Ann Arbor Downtown Development Authority is willing to give Pallas a $500 honorarium for each of the three donated pieces – “which is only reasonable, to recognize this value,” Kotarski said.

Chamberlin said she recognized the benefits of encouraging Michigan artists to donate their work. “But we are a public body, and we have procedures. I just think it’s important that we observe those rules because we don’t want to make an exception for one thing, then hold someone’s feet to the fire for something else.”

Outcome: This was not a voting item.

Public Art Maps

One of the newest art commissioners, KT Tomey, brought forward a proposal for feedback: Maps for walking or running tours of public art.

Detail of a draft map of public art in downtown Ann Arbor and the University of Michigan’s central campus. Links to .pdf of full map.

She’d been inspired by an “art run” that AAPAC chair Bob Miller had put together, which she had used for her running group. “It was wildly popular – people are still talking about it, wanting to do it again this summer,” she said.

In doing research to add to the next run, Tomey said she was surprised that there wasn’t one coherent map of art in Ann Arbor that people could easily access online. There’s a resource for art on the University of Michigan’s north campus, she noted, but it’s not easy to use to find out about the artwork.

Tomey first laid out what she called her “grand vision” for this project. There could be online .pdf maps with links to more information about each piece of art. But she also envisions a mobile app that people could load onto their phones, so that they could look at the map and information about public art as they’re walking or running. Eventually, she’d like to do a video tour that could be self-directed or used to train people who’d give tours in person.

The tours would serve multiple purposes, Tomey said, such as promoting art and increasing connections with the community.

As an initial modest step, Tomey said, she’d made two drafts of maps – one showing public art around downtown Ann Arbor and UM’s central campus, and another for UM’s north campus. [.pdf of Ann Arbor public art map] [.pdf of north campus public art map]

Tomey asked commissioners for feedback on the overall idea, as well as changes that might be made to the draft maps.

Craig Hupy, the city’s public services area administrator, offered to provide support from the city’s GIS staff in designing the maps. He also said the city’s communications staff can help promote the project, when it’s ready.

Commissioners Devon Akmon and Marsha Chamberlin.

Commissioners expressed enthusiasm for the project. Devon Akmon suggested looking for partnerships with the UM business school or computer science department to help with the mobile app. Regarding map templates, he noted that D:hive in Detroit has developed brochures and maps that might be helpful.

Akmon also wondered whether Google might be a potential partner, as the company has an office in Ann Arbor. Public art would be a good fit for the Google Cultural Institute project, for example. Finally, he said it’s simple and inexpensive to create an audio tour mobile app, similar to ones that are used by museums. [Akmon is director of the Arab American National Museum.] You can also create .mp3 files that are easily downloadable and could be posted online. It would be amazing to hear artists or people from the community describing the public art in Ann Arbor, he said. “What it always comes down to for me is how do you make it beautiful, and how do you make a big splash.”

John Kotarski suggested contacting UM’s Council for Disability Concerns, which is interesting in making public art accessible for people with disabilities.

Marsha Chamberlin said there might be grants available to support this project from the Michigan Council for Arts & Cultural Affairs. She also thought the project might be of interest to the Ann Arbor Convention & Visitors Bureau, which is funded in large part by a local accommodation tax.

Tomey said she’d thought about identifying routes of different lengths for runners – both for local residents as well as visitors. “When you visit a city, you look up the running routes,” she said, and that could be another way to promote public art to visitors.

Jim Simpson suggested taking a phased approach, starting with maps that could be put up quickly. He offered to help with implementing the project. Aaron Seagraves, the city’s public art administrator, said .pdf maps could be posted on AAPAC’s website.

Seagraves also recommended that the commission add this project to its list of ongoing work. Chamberlin pointed out that AAPAC no longer has available funding and that staff support is unclear after Seagraves’ contract ends on June 30. She wondered whether AAPAC would be able to get any support from the city for projects like this.

Hupy indicated that there would be some kind of ongoing support for this project.

Outcome: This was not a voting item.

Annual Public Art Plan

Approval of the annual public art plan for fiscal 2015 had been on the March 26, 2014 agenda for approval, but was postponed because it included some items that several commissioners had not previously seen. The March 26 discussion also resulted in some changes to the plan, so a revised version was on the April 23 agenda for approval. [.pdf of annual public art plan]

Aaron Seagraves, the city’s public art administrator.

Commissioners had initially voted to approve a draft annual plan at their Jan. 29, 2014 meeting. They also directed AAPAC vice chair John Kotarski to work with Aaron Seagraves, the city’s public art administrator, to make final revisions to the plan, based on feedback from their Jan. 29 discussion. [.pdf of draft plan discussed on Jan. 29]

The plan includes projects that are already underway, as well as proposed capital projects to be enhanced with public art. The ongoing projects are: (1) artwork for East Stadium bridges; (2) public art at Arbor Oaks Park; (3) Canoe Imagine Art; and (4) the Coleman Jewett memorial.

The proposed enhanced capital projects are street and sidewalk stamping, painting or stenciling in four locations to be determined, for a total cost of $30,000. The city council would need to approve these projects before they would move forward. City staff would be involved in developing guidelines for these installations to “ensure the artwork will meet all applicable codes, are safe for all pedestrians and are compatible with the maintenance of the infrastructure,” according to the plan.

The document also lists four objectives that the commission will work on in the coming fiscal year, which begins on July 1, 2014:

1. Make plans to use gifts, grants, crowd funding and other non-local government funds for public art in Ann Arbor, as the amended Public Art Ordinance allows.
2. Increase public outreach for long-term public art program goals, artwork selection, and artwork education and thus better carry out the duties of the Public Art Commission established by the Ordinance amendment of June, 2013.
3. Refine the selection of potential public art projects by using a project evaluation and prioritization model and base the initiation of projects on the evaluation of primary criteria.
4. Establish an open and regular channel of communication regarding public art program updates with city administration and City Council.

In addition, the plan lists three recommendations from the city council’s task force on public art, noting that the commission will support city staff in achieving these recommendations in the coming fiscal year:

1. Review the location of the arts program within the City of Ann Arbor government and evaluate the possibility of relocating the public art program.
2. Fulfill the Public Art Task Force’s recommendation of creating a position for a full-time public art staff person.
3. Review and revise the Public Art Commission’s Bylaws and Guidelines.

Discussion was brief. Kotarski thanked Seagraves for his work on this plan, saying it shows the work that AAPAC has been doing “even though juggling public criticism.” It tells the council that AAPAC has heard the city council’s charge for the commission, he said.

Seagraves noted that the plan will be sent to the council in time for their deliberations on the FY 2015 budget. City administrator Steve Powers presented a draft budget at the council’s April 21, 2014 meeting. The council will discuss and approve the budget, with possible amendments, at its May 19 meeting.

Outcome: Commissioners voted unanimously to approve the FY 2015 annual public art plan. It will be forwarded to the city council.

Grant for Arbor Oaks Project

The April 23 agenda included an item to approve applying for a $10,000 National Endowment for the Arts Challenge America Fast Track grant. The money, if awarded, would require matching funds in an equivalent amount from other sources for a public art project at Arbor Oaks Park in southeast Ann Arbor, located near Bryant Elementary School and the Bryant Community Center.

The effort is in partnership with the nonprofit Community Action Network, which runs the Bryant Community Center under contract with the city. The idea is to create concrete and mosaic sculptures near the five entrances to the park, to help link the school and different streets in the neighborhood. The artwork would involve residents and students at Bryant Elementary.

Aaron Seagraves, the city’s public art administrator, described the small- to medium-sized sculptures as wayfinders. The grant application is due on May 8. Nick Zagar is the commissioner who’s taking the lead on this project. He did not attend AAPAC’s April 23 meeting.

Outcome: Commissioners unanimously voted to approve the application for this NEA grant.

Project Updates

Commissioners were updated on projects that are currently underway: (1) Canoe Imagine Art; (2) the Coleman Jewett memorial; (3) sculptures at a rain garden at Kingsley & First; and (4) a possible mural at Bach Elementary.

Project Updates: Canoe Imagine Art

Marsha Chamberlin, who’s been leading the Canoe Imagine Art project for AAPAC, reported that the Ann Arbor Convention & Visitors Bureau has declined to be the project’s administrative “home.”

Craig Hupy, the city’s public services area administrator.

The community art project is intended as a temporary art display in downtown Ann Arbor using old canoes from the city that would be repurposed as public art. The installation of an estimated 25-30 canoes was to take place in fiscal 2015 or 2016, depending on funding. The project has received a $21,000 grant from the Michigan Council for Arts and Cultural Affairs, and organizers plan to raise additional funds from private donors.

AAPAC originally approved $10,000 in funding for the project, at its Sept. 25, 2013 meeting. It was to be used as a portion of matching funds for the state grant, with the remaining $11,000 in matching funds to be raised through donations. However, the city council voted to allocate the entire $21,000 in city funds to match the state grant. That action came at the council’s March 3, 2014 meeting.

At AAPAC’s April 23 meeting, Craig Hupy – the city’s public services area administrator – reported that the project was intended as a three-party effort involving the city, the CVB, and the Ann Arbor Area Community Foundation. “We are struggling with the other partners not wanting to administer the contract,” Hupy said. As of July 1, which is the start of the city’s next fiscal year, there won’t necessarily be funds for art administration, he noted.

Chamberlin said it wasn’t until December of 2013 that the city attorney’s office informed her that the project couldn’t use a website that was separate from the city’s website, and that an RFP process must be used for seeking artists. Also, she learned that this effort would be required to hire a project manager. At the time, they were hoping to move the project forward more quickly, and so the idea of a “triumvirate” partnership was explored. Now, however, the timeline has been pushed back, but it’s unclear who will lead the project, she said.

Jim Simpson, AAPAC’s newest commissioner.

Hupy added that if another organization takes the lead, then the city’s procurement process – including issuing an RFP – wouldn’t be required. He also noted that the state grant must be spent by the end of September 2014, and it wasn’t clear if that would be possible. And because all the funding hasn’t yet been raised, the city won’t take on responsibility for a project that it doesn’t have the ability to fund completely. “We’re trying to make it work, but I can’t even say that I’m cautiously optimistic at the moment,” he said.

Another issue, Chamberlin noted, is that the city attorney’s staff has said the artwork can’t be sold, because the city’s purchasing policies don’t allow that. The idea had been to sell the pieces after they’d been on display, as a fundraiser. The city’s purchasing policies are perfectly reasonable for typical uses, like buying a truck or generator, she said, “but public art functions differently.”

If they can’t find a workaround for some of these issues, Chamberlin said, “we have to kiss this project good-bye.”

Hupy said that city staff will continue to work to find a solution. “We understand the direness of it,” he said. “I would say as a medical metaphor, it’s on life support at the moment.”

Project Updates: Coleman Jewett

Aaron Seagraves, the city’s public art administrator, reported that a request for proposals (RFP) has been drafted to solicit bids for the Coleman Jewett memorial. The RFP is being reviewed by legal staff.

The memorial will be a bronze replica of an Adirondack chair made by Jewett, to be located at the Ann Arbor farmers market. Jewett was a long-time local educator who died in January of 2013. After he retired, he made furniture that he sold at the farmers market. AAPAC has committed $5,000 in city funds to the project, which now has a total project budget of $50,000 – up from its original estimate of $36,000. Other funds will be raised from private donations, including a contribution from the Old West Side Association. So far, $18,795 has been raised, not including the city’s $5,000 contribution.

Marsha Chamberlin, who’s spearheading the project, gave an update on fundraising efforts. A second mailing to solicit donations is being sent out this month. An alumni party for Tappan Middle School – where Jewett served as assistant principal – is being planned as a fundraiser, possibly at the Old German. Information will be passed out at the farmers market, although no solicitation is allowed there.

Project Updates: Kingsley Rain Garden

The installation of sculptures in a rain garden at the southeast corner of Kingsley & First will start in May. The entire project, including the rain garden, will be completed by the end of June. The artist, Joshua Wiener, will be coming to Ann Arbor during the first week in June. Aaron Seagraves, the city’s public art administrator, reported that Wiener will be available for a public event, likely on June 3.

Promotion for the project is being planned. As part of that, one idea is to ask the public to name the artwork, Seagraves said. The rain garden is already named after Ruth Williams. It’s considered by the city to be a “stormwater feature,” not a park.

The Denver artist is working with landscapers to incorporate public art into the new rain garden, which is in a floodplain. The project has a $27,000 budget, though the artist’s contract is for $23,380. Wiener’s sculptures show the outlines of five fish. They’re small mouth bass, in different sizes, made of white epoxy-painted steel and pointed toward the Huron River.

Seagraves reported that the original proposal called for some of the fish to appear submerged into the ground. For structural and aesthetic reasons, Wiener has altered that original design somewhat. Although some fish will appear to be diving down, they will be above ground. He provided a revised rendering:

Josh Wiener’s rendering of fish sculptures for the rain garden at First & Ashley.

Project Updates: Bach Elementary Mural

Bob Miller reported that not much progress has been made on a public art project at Bach Elementary School, on the city’s Old West Side. He’s been working with the school principal Hyeuo Min Park, the school’s art department, local artist David Zinn, the AAPS maintenance staff and others to paint a mural on a concrete wall at Bach’s playground. It’s a place that gets tagged with graffiti, he noted. Miller said it could be a pilot for other projects, if it moves forward.

Craig Hupy, the city’s public services area administrator, quipped: “There’s a lot of retaining walls in the city that could be painted.”

Commissioners present: Devon Akmon, Marsha Chamberlin, John Kotarski, Bob Miller, Jim Simpson, Kristin “KT” Tomey. Also: Aaron Seagraves, the city’s public art administrator and Craig Hupy, public services area administrator.

Absent: Ashlee Arder, Connie Brown, Nick Zagar.

Next regular meeting: Wednesday, May 28, 2014 at 4:30 p.m. in the basement conference room at city hall, 301 E. Huron St. [Check Chronicle events listing to confirm date]

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Jim Simpson, the newest member of the Ann Arbor public art commission, attended his first AAPAC meeting on March 26. (Photos by the writer.)

Before the council’s action on March 3, about $943,000 had been available for future public art projects. The council had halted the Percent for Art funding mechanism last year, and subsequently directed city staff to develop a transition plan for public art. The plan will be delivered to the council in October, and will likely include an emphasis on partners in the private sector and fundraising from the community. Meanwhile, future city public art will be “baked in” to selected capital projects and approved by council on a case-by-case basis.

The proposed 2015 budget – for the fiscal year beginning July 1, 2014 – includes $80,000 to cover transitional costs for public art administration. The contract for the current part-time public arts administrator, Aaron Seagraves, runs through June 30, 2014. At AAPAC’s March 26 meeting, Craig Hupy – a senior city staff member who’s drafting the transition plan – mentioned the need for a consultant to help guide this process.

Commissioners questioned what their role might be during this interim period, now that former Percent for Art funding is unavailable for future public art projects. After the discussion, AAPAC chair Bob Miller said he had initially considered suggesting that they just shut down the commission, but he’d heard input to the contrary from other commissioners. The consensus was to move forward with meetings, at least for now. AAPAC’s next meeting is on April 23 at city hall.

In other action, commissioners postponed adopting an annual public art plan, and directed Seagraves to make revisions to the draft he had proposed. They’ll consider a new version at their April meeting.

Updates about ongoing projects focused on efforts that had started before the city council pulled funding. The funds for those projects were not affected. Sculptures for a rain garden at Kingsley & First will be installed in May, and more contributions are being sought for a Coleman Jewett memorial at the Ann Arbor farmers market. A public forum to seek input on the final design for artwork at East Stadium bridges will be held on Monday, April 21 at 7 p.m. at the downtown library, 343 S. Fifth. And work on Canoe Imagine Art – a temporary art display in downtown Ann Arbor using old canoes from the city that would be repurposed as public art – continues to move forward.

It was the first meeting for Jim Simpson, who was appointed to AAPAC in February. He works for the Ann Arbor start-up Duo Security, and is an assistant at Baron Glassworks in Ypsilanti.

Future of Public Art in Ann Arbor

At the start of the March 26 meeting, AAPAC chair Bob Miller gave an update on the status of the city’s public art program. The city council had voted not to fund new projects, although current projects can be completed, he said. That includes artwork for East Stadium bridges, the rain garden at First and Kingsley, and two projects that involve partnerships between the city and other entities – Canoe Imagine Art, and a memorial for long-time educator Coleman Jewett, who died last year.

By way of background, the former Percent for Art funding mechanism required 1% of all capital fund project budgets to be set aside for public art. A new approach to public art was established on June 3, 2013, when the council eliminated the Percent for Art mechanism from the ordinance. The new approach entails including city-funded art when it’s designed with council approval as an integral part of a capital project. Art projects also could be funded through a combination of private and public money.

This approach was part of a set of recommendations made by a council committee about a year ago. [.pdf of council committee's public art findings and recommendations] The five councilmembers serving on that committee included Margie Teall (Ward 4), as well as all of those who subsequently declared their candidacy for mayor in the 2014 Democratic primary: Sabra Briere (Ward 1), Sally Petersen (Ward 2), Christopher Taylor (Ward 3) and Stephen Kunselman (Ward 3). That committee work came in the wake of a failed public art millage that was on the ballot in November 2012 – which would have provided an alternative to the Percent for Art funding mechanism.

More recently, on March 3, 2014 the city council took three actions. The council (1) directed the city administrator to establish a budget for public art administration for the next two years; (2) transferred $943,005 out of the public art fund; and (3) extended the contract for the city’s part-time public art administrator through June 30, 2014. The direction in (1) is reflected in the budget that the city administrator will propose on April 21 to the city council – in the form of an $80,000 one-time expense for art administration.

Bob Miller, AAPAC’s chair.

Miller and John Kotarski, AAPAC’s vice chair, have been meeting regularly with Craig Hupy, the city’s public services area administrator who oversees the public art program, to talk about how to move forward. They’ve talked about how to implement changes that the council would like to see, Miller reported, such as moving toward more of a public-private hybrid program. Because neither he nor Kotarski have a background in art management, Miller said, they’ve been talking about possibly finding someone to help guide the city through this transition.

Miller wanted to talk with other commissioners about the role of AAPAC.

Hupy weighed in, saying he wished he could present a sharper vision of what the future would hold. He said he’d been charged with delivering a transition plan to the council in October. There’s clearly an expectation for more public-private partnerships, he said, but also the expectation that public art will be incorporated into capital projects on a case-by-case basis. He’s been wrestling with how to designate projects in the capital improvements plan (CIP) that will be enhanced with public art. That’s a topic that he’s talked with Miller and Kotarski about, Hupy said.

When a transition plan is presented in October, Hupy said, “that doesn’t mean that it’s finished. It’s just a plan to get wherever we’re going.” The expectation is that a transition could take several years.

Hupy didn’t think there was a “doom-and-gloom picture that the public art program within the city is dead. I look at it as transforming.”

Marsha Chamberlin wondered what kinds of topics will be addressed in the transition plan. Hupy said he wasn’t sure yet, adding that his vision at this point would include both public-private partnerships as well as enhanced CIP projects. “I’m very malleable at this time,” he said. The public art program might be housed within the city or with an entity outside the city government. “We’ve got to start with a clean slate, and I’m not presupposing that because something is here today it would be here tomorrow.”

Craig Hupy, the city’s public services area administrator who oversees the public art program.

Connie Brown asked whether the city council had a strong vision or goal for the public art program, or whether councilmembers simply had a desire to move away from the Percent for Art funding. Miller said his impression is that the council has primarily stated what it doesn’t want.

Hupy offered to provide a copy of the council’s committee report on the public art program. [.pdf of council committee's public art findings and recommendations] He said that although the council removed some aspects of the program, “it left us a pretty blank palette to paint.” AAPAC can recommend what comes next, he said.

Kotarski thought the goal was to transition away from larger, taxpayer-funded public art. Instead, the council wants to move toward “baked-in” art that’s recommended as part of capital projects. The rest of the funding would be raised through a variety of other mechanisms, he said. “Transitioning is not the art commission’s task,” Kotarski added. “It is Craig’s task.”

Miller noted that there are four projects underway: East Stadium bridges, the rain garden at First & Kingsley, Canoe Imagine Art and the Coleman Jewett memorial. “Other than that, we really don’t have a whole lot on the table,” he said. Miller questioned what the role of AAPAC should be during this transitional period.

Miller said commissioners could “choose to wind things up and wait for a recommendation from the city.” He floated the idea of recommending approval for the East Stadium bridges artwork via email, and not holding any more meetings until given direction by the city. The other alternative is to keep meeting every month and talking about public art in general. He asked for feedback from other commissioners.

From left: Public art commissioners KT Tomey and Connie Brown.

KT Tomey suggested meeting at least occasionally. Commissioners could talk about public art that’s happening in other cities, for example, to inspire ideas that might be used in Ann Arbor. “We’re so busy with the process that a lot of times we don’t get the chance to talk about different art projects,” she said.

Chamberlin asked whether any of the city’s staff is compiling information about other cities that have public-private art programs. AAPAC is a recommending body, she noted, and understanding more about how those public-private partnerships work would be useful.

Hupy said that it’s been strongly suggested to him to do a survey of “community appetite” for public art and options for how to manage a public art program. He sees this as something that would happen after a transition plan is presented to council, however. If the city hires someone to help guide this transition, he added, that person likely would be responsible for benchmarking with other communities, among other things.

Hupy said that any funding that might be available for this type of consultant wouldn’t be available until July 1, 2014 – the start of the FY 2015 fiscal year. [The proposed 2015 budget – for the fiscal year beginning July 1, 2014 – includes $80,000 to cover transitional costs for art administration.]

Kotarski reported that Sue McCormick, the administrator who previously held Hupy’s position, had done a benchmarking survey to look at how other communities handled their public art programs. Hupy clarified that McCormick had looked only at communities that had a Percent for Art funding mechanism, or something similar. Kotarski noted that almost every community had some supplemental funding approach to the Percent for Art, and didn’t rely exclusively on that funding mechanism. “Ann Arbor was one of the few that put all its eggs into the Percent for Art basket,” Kotarski said.

Chamberlin suggested that Americans for the Arts would be a good resource for benchmarking.

John Kotarski, AAPAC’s vice chair.

Brown was in favor of AAPAC meeting during this transition. Outreach and education are important functions that commissioners can continue to undertake, she said. Brown hoped that AAPAC and the council would create a common vision for public art, rather than simply things to avoid.

Hupy said that Robert Keller, a communications specialist for the city, could be enlisted to help promote the public art projects, including the completion of the First & Kingsley rain garden later this year.

Miller asked Hupy how he envisioned AAPAC working during the transition. Hupy replied that AAPAC shouldn’t “meet just to meet.” However, as he works on a transition plan, Hupy said, there will be times when he’ll need feedback from AAPAC.

Chamberlin said she could use help with the Canoe Imagine Art and Coleman Jewett memorial as well. “I’m in favor of meeting because it keeps us engaged and informed,” she said.

Jim Simpson suggested continuing to meet monthly, until it’s clear that there’s nothing valuable coming out of the meetings. There’s an opportunity for leadership as well, he said.

Kotarski agreed that no matter what Hupy and the council ultimately decide, AAPAC will likely be asked “to be the community’s eyes and ears about whatever the public art program ends up being. So the more we function as a team, the better.”

Miller said he had originally envisioned just shutting down the commission, and he was glad to hear input to the contrary. The consensus he was hearing was to move forward with meetings.

The other issue is the contract for the public art administrator, Miller said. The current contract with Seagraves runs through June 30, 2014 – the end of the current fiscal year. Miller wondered what happens next.

Seagraves replied that there will be a recommendation for public art administration in the FY 2015 budget, which the council will be asked to approve in May. He thought AAPAC should plan to meet in April.

Outcome: This was not a voting item.

Public Art Annual Plan

The March 26 agenda included final approval of the public art annual plan, which AAPAC had initially reviewed at its Jan. 29, 2014 meeting. AAPAC did not meet in February. [.pdf of draft annual plan for FY 2015, as presented on March 26]

In previous years, a public art annual plan was required to be submitted to the city council by April 1. But at AAPAC’s April 24, 2013 meeting, commissioners voted to recommend shifting that date to Feb. 1 – a move intended to allow the council to make budget decisions based on recommendations from AAPAC. Shifting the date of the annual plan was linked to a major restructuring of the city’s public art program, which is still underway. The city council subsequently made revisions to the public art ordinance – Chapter 24 of the city code – that included the Feb. 1 deadline for submitting the annual plan.

This year, commissioners voted to approve a draft annual plan at their Jan. 29, 2014 meeting. They also directed AAPAC vice chair John Kotarski to work with public art administrator Aaron Seagraves to make final revisions to the plan, based on feedback from their Jan. 29 discussion. [.pdf of draft plan discussed on Jan. 29]

The plan considered on March 26 listed seven goals for the upcoming fiscal year, from July 1, 2014 through June 30, 2015:

1. Maximize the ability to use gifts, grants, crowd funding and other non-local government funds for public art in Ann Arbor, as the amended Public Art Ordinance allows.
2. Review the location of the arts program within Ann Arbor city government and review the possibility of containing the public art program within a nonprofit organization.
3. Fulfill the Public Art Task Force’s recommendation of creating a position for a full-time public art staff person.
4. Increase public outreach for long-term public art program goals, artwork selection, and artwork education and thus better carry out the duties of the Public Art Commission established by the Ordinance amendment.
5. Refine the selection of potential public art projects by using the project evaluation and prioritization model and base the initiation of projects on primary criteria.
6. Revise the Public Art Commission’s Bylaws and Guidelines.
7. Establish an open and regular channel of communication regarding public art program updates with city administration and City Council.

The plan included projects that are already underway, as well as proposed capital projects to be enhanced with public art. The ongoing projects are: (1) artwork for East Stadium bridges; (2) public art at Arbor Oaks Park; (3) Canoe Imagine Art; and (4) the Coleman Jewett memorial.

Aaron Seagraves, the city’s public art administrator.

The proposed enhanced capital projects are street and sidewalk stamping, painting or stenciling in four locations to be determined, for a total cost of $30,000. Craig Hupy, the city’s public services area administrator, stressed that the city council would need to approve these projects before they would move forward. City staff would be involved in developing guidelines for these installations to “ensure the artwork will meet all applicable codes, are safe for all pedestrians and are compatible with the maintenance of the infrastructure,” according to the plan.

Marsha Chamberlin asked whether the commission had previously seen and formally approved these goals. [Chamberlin had been absent from the Jan. 29 meeting, and AAPAC did not meet in February.] Kotarski replied that these are based on the goals of the city council committee that had recommended changes to the public art program last year.

Chamberlin objected to the first goal: “Maximize the ability to use gifts, grants, crowd funding and other non-local government funds for public art in Ann Arbor, as the amended Public Art Ordinance allows.” The commission might explore the feasibility of doing this, she said, but it’s not clear that it should be a goal. She also noted that the goal of revising the bylaws is really just a management function.

Kotarski replied that the council’s public art ordinance revisions incorporated aspects of these goals, and the commission is governed by the ordinance. “So we really can’t function outside that ordinance,” he said. It’s important that the council knows that AAPAC “gets it,” he added, and that commissioners will work to achieve the changes in the ordinance.

Seagraves, who drafted the annual plan, said these aren’t just annual goals. It’s an indication that the commission will address these issues. In that case, Chamberlin urged that the goals be moved within the document so that it’s clear the goals don’t apply just to FY 2015. She also wanted to change the wording on the first goal, to indicate it would be something the commission would work toward.

Chamberlin also questioned the second goal: “Review the location of the arts program within Ann Arbor city government and review the possibility of containing the public art program within a nonprofit organization.” She said she hadn’t ever been in a meeting when this idea had been discussed. “I didn’t realize that was really a goal of the public art program,” she said.

Bob Miller, AAPAC’s chair, said these ideas had been discussed in meetings that he and Kotarski have had with Hupy. Chamberlin replied: “But you’re asking us to approve a public art plan that has things in it we haven’t discussed.”

Connie Brown suggested clarifying the discrepancy between what AAPAC does, what the council committee recommended, and what the staff responsibilities are. Specifically, she thought clarity was needed for goals 2, 3 and 6.

Hupy noted that although there’s a deadline for submitting the annual plan to council, “the deadline has long passed.” He thought it warranted more discussion and revisions, until the commission felt comfortable with the document.

Outcome: Commissioners voted to postpone a vote on the annual plan until its April 23 meeting.

Community Foundation

The commission considered a resolution requesting that the Ann Arbor Area Community Foundation seek variances from donors who had previously contributed funding for: (1) a project at the Fourth and Washington parking structure; and (2) a project in the South University area that was never completed. Remaining money from those projects is being held in special funds by the AAACF. [.pdf of resolution]

Marsha Chamberlin, the longest-serving current AAPAC member.

The variance, if granted by donors, would allow those remaining funds to be used for other public art projects, or to be put into an endowment for public art. The endowment is for maintenance of public art. Bob Miller, AAPAC’s chair, reported that the community foundation has asked that AAPAC pass this resolution. The purpose is to free up the money, though there isn’t a specific project that it would be used for at this point, Miller said.

There’s $13,200 remaining in the Fourth & Washington parking structure fund, and $1,100 in the South University fund.

Aaron Seagraves, the city’s public art administrator, noted that a variance has already been granted for remaining money in a third public art fund held by AAACF. That money had originally been donated for public art on Fourth Avenue, and has now been designated to “support the creation of a future work of public art in the Ann Arbor downtown area.” The amount in that fund is $10,930.

So in total, the community foundation is holding $25,230 designated for public art, in addition to a maintenance endowment. Seagraves didn’t have information at the meeting about the amount of funds in the endowment.

Marsha Chamberlin advocated for limiting the variance to freeing up money for other public art projects – that is, not to provide donors with the option of putting it into an endowment. She noted that the city’s public art projects each include a 10% set-aside for future maintenance costs.

Hupy replied that for current public art projects, the routine maintenance is the responsibility of the city facility that’s “hosting” the artwork. For example, a sculpture in the parks is the responsibility of the parks and recreation unit. However, non-routine work would be funded through the endowment. A few years ago, the sculpture in Sculpture Plaza at Fourth and Catherine used the endowment in part to pay for significant repairs.

Chamberlin noted that after money is put into a maintenance endowment, it’s locked up – it can’t be pulled out later for other purposes.

Chamberlin suggested wording the final resolved clause to state: ”RESOLVED, To request donors use their donations to support future art projects as reviewed and selected by AAPAC.” The amendment was accepted as friendly.

Outcome: Commissioners voted unanimously to pass the resolution, as amended.

Project Updates

Commissioners were updated on projects that are currently underway: (1) the Coleman Jewett memorial; (2) Canoe Imagine art; (3) sculptures at a rain garden at Kingsley & first; (4) artwork for East Stadium bridges; and (5) a possible project at Arbor Oaks Park. [.pdf of project report memo]

Project Updates: Coleman Jewett Memorial

A bronze replica of an Adirondack chair made by Coleman Jewett will be located at the Ann Arbor farmers market. Jewett was a long-time local educator who died in January of 2013. After he retired, he made furniture that he sold at the Ann Arbor farmers market. AAPAC has committed $5,000 in city funds to the project, which has a total project budget of $36,000. Other funds will be raised from private donations, including a contribution from the Old West Side Association.

Logo for the Coleman Jewett memorial.

Marsha Chamberlin reported that as of March 26, the project had raised $17,833 in contributions. It doesn’t include the $5,000 that has been committed by the city. Estimates from three foundries came in at about $25,000, so there’s enough money at this point for the project to move ahead, she said. To raise additional funds, a party was being planned with alums from Tappan Middle School, where Jewett was assistant principal.

A request for proposals is being developed to solicit firm bids for the work. Depending on how quickly the RFP is issued, it might be possible to get the memorial installed by late fall, Chamberlin said.

She cautioned that the ability to raise funds for this project is tied to the affection that people in the community had for Jewett. Even at that, many of the gifts are small, she noted. Her point, Chamberlin said, is that “it’s not a slam dunk to raise money for something like this.”

Project Updates: Canoe Imagine Art

Canoe Imagine Art, a community art project, will entail a temporary art display in downtown Ann Arbor using old canoes from the city that would be repurposed as public art. The installation of an estimated 25-30 canoes is expected to take place in fiscal 2015 or 2016, depending on funding. The project has received a $21,000 grant from the Michigan Council for Arts and Cultural Affairs, and organizers plan to raise additional funds from private donors.

AAPAC originally approved $10,000 in funding for the project, at its Sept. 25, 2013 meeting. It was to be used as a portion of matching funds for the state grant, with the remaining $11,000 in matching funds to be raised through donations. However, the city council voted to allocate the entire $21,000 in city funds to match the state grant. That action came at the council’s March 3, 2014 meeting.

Marsha Chamberlin reported that she’s been talking to community partners – including the Ann Arbor District Library, Leslie Science & Nature Center, and the Ann Arbor Civic Band – who’ll be putting on ancillary events tied to the art installation. The project also is seeking a grant from the Ann Arbor Area Community Foundation.

Chamberlin said that the city attorney’s office has suggested trying to get another organization other than the city to be the administrator of this effort, in order to simplify things. She hoped that it would be sorted out in April so the project could move forward.

In a follow-up interview with The Chronicle, Chamberlin reported that the Ann Arbor Convention & Visitors Bureau is being asked to serve as an umbrella organization for this project, which could entail handling the finances and hiring a project manager. No decision has yet been made, however, and another meeting is planned on April 22 with city staff, AAPAC members, the CVB and the Ann Arbor Area Community Foundation. The nonprofit Arts Alliance, which might seem like a better fit, charges a 30% fee for project management, Chamberlin noted. The Michigan Council for Arts and Cultural Affairs, which has provided a grant for the project, would not allow for a management fee of that size.

Project Updates: Kingsley & First Rain Garden

The installation of sculptures in a rain garden at the southeast corner of Kingsley & First is planned for May. The rain garden itself will be constructed in mid-May, with the artwork installed later that month.

One of the sculptures being fabricated for the Kingsley & First rain garden. This photo was provided in AAPAC’s March 26 meeting packet.

At their Aug. 28, 2013 meeting, commissioners had approved Joshua Wiener‘s schematic design for public art at a planned rain garden. [.pdf of staff memo, including itemized budget]

The Denver artist is working with landscapers to incorporate public art into the new rain garden, which is in a floodplain. The project has a $27,000 budget, though the artist’s contract would be for $23,380.

Wiener’s sculptures show the outlines of five fish. They’re small mouth bass, in different sizes, made of white epoxy-painted steel and pointed toward the Huron River. The largest sculpture will be just under 8 feet tall, 20 feet wide and about 5 feet deep. Two of the fish will be large enough to serve as benches.

Connie Brown will be spearheading communications about this installation, including an event tied to the completed project, with the artist attending.

Project Updates: Arbor Oaks Park

This project is being undertaken in partnership with Bryant Neighborhood Association and the nonprofit Community Action Network, which is under contract with the city to run the Bryant Community Center. It will involve participation of the neighborhood in the design and creation of the artwork.

Aaron Seagraves, the city’s public art administrator, reported that the project applied for a grant from the Southeast Michigan Community Foundation, but did not receive it. No city public art funds have been allocated, and additional funding is expected to be raised through community donations.

Seagraves reported that AAPAC member Nick Zagar is coming up with a proposal to discuss with the project’s task force. [Zagar did not attend AAPAC's March 26 meeting.] Seagraves also will be talking with the city’s parks staff about possible options, as the city plans to install new playground equipment there.

Project Updates: East Stadium Bridges

Aaron Seagraves, the city’s public art administrator, reported that Bob Miller and John Kotarski were making presentations about the final design for artwork at East Stadium bridges, attending meetings of local public entities like the city’s park advisory commission and the Ann Arbor Downtown Development Authority.

An image by artist Catherine Widgery for artwork on the East Stadium bridge. This night view shows how the structures would be lit from below, illuminating the images of trees that are etched into louvered glass panels.

The intent is to get feedback on the proposed design before bringing it back to AAPAC for a recommendation of approval. The city council will be asked to give final authorization to the project.

In early August of 2013, Catherine Widgery of Cambridge, Mass. was recommended as the artist for this project. She was picked by a selection panel from four finalists who had submitted proposals for the project, which has a $400,000 total budget. [.pdf of Widgery's original proposal]

The selection panel provided feedback to Widgery and asked that she revise her proposal before it’s presented to AAPAC and then later to the city council for approval. Members of the panel are Wiltrud Simbuerger, Bob Miller, Nancy Leff, David Huntoon and Joss Kiely. [.pdf of panel feedback]

A public forum to get additional feedback will be held on Monday, April 21 at 7 p.m. at the downtown library, 343 S. Fifth Ave.

More details on the presentation by Kotarski and Miller are included in The Chronicle’s report of the Ann Arbor planning commission’s April 1, 2014 meeting.

Communications & Commentary

Every meeting includes several opportunities for communications from staff and commissioners, as well as two opportunities for public commentary. Here are some highlights from March 26.

Communications & Commentary: New Commissioner

Jim Simpson was attending his first meeting since being appointed to AAPAC on Feb. 3, 2014. The commission did not hold a meeting in February. He told the group that he watched the city council meeting when his appointment was confirmed, noting that it was the same meeting when the future of public art had been debated – “so I had mixed feelings.”

In addition to his job at Duo Security, Jim Simpson is an assistant at Baron Glassworks in Ypsilanti.

He reported that he watches city council meetings because he’s interested in seeing how the city grows and develops, and he wants to become more invested in the city. His family is from California, and he attended the University of Michigan as an undergraduate. When he graduated, he decided to stay here. “A lot of my California family doesn’t understand this,” he joked, “but we do have water here and they don’t, so that’s a plus in my opinion.”

His background is in computer science and Japanese, and he works for a start-up company called Duo Security, which focuses on network security. His job is product manager, interacting between sales, marketing and development.

As far as an artistic background, Simpson told commissioners that he blows glass. He’s been an assistant at Baron Glassworks in Ypsilanti for the past five years. He decided to get involved in AAPAC after seeing the request for proposals for art at East Stadium bridges, so he submitted his name for consideration. He said he was excited to be there.

Communications & Commentary: Public Commentary

Changming Fan, who in recent months has been attending meetings of many city boards and commissions, spoke about his company, TiniLite World Inc., which is based in Ann Arbor. The firm is the innovator, producer and supplier of new technology called TiniLite, he said. It’s a lighting display using LED lights, cell phones, and wireless Internet. He called it the light of art, and the art of light, and hoped that the city would use the technology for the public’s benefit.

Commissioners present: Ashlee Arder, Connie Brown, Marsha Chamberlin, John Kotarski, Bob Miller, Jim Simpson, Kristin Tomey. Also: Aaron Seagraves, the city’s public art administrator and Craig Hupy, public services area administrator.

Absent: Devon Akmon, Nick Zagar.

Next regular meeting: Wednesday, April 23, 2014 at 4:30 p.m. in the basement conference room at city hall, 301 E. Huron St. [Check Chronicle events listing to confirm date]

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Bob Miller, right, is the new chair of the Ann Arbor public art commission. To the left is Deb Polich, executive director of the nonprofit Arts Alliance. They were attending the March 15 meeting of the city council’s public art committee, which is developing revisions to the city’s public art ordinance. (Photos by the writer.)

Commissioners voted to accept a memorial for Coleman Jewett as an official AAPAC project and to approve Sarah Gay as a volunteer project manager. Her duties would be to lead efforts for city council approval, donor relations and fundraising. John Kotarski advocated for less involvement from AAPAC, saying he hoped to streamline the project.

However, other commissioners felt it should be handled like other projects, with oversight by AAPAC. The proposal is for a bronze Adirondack chair at the Ann Arbor farmers market. The city’s market manager, Sarah DeWitt, attended the March 7 meeting and will help coordinate the project.

Commissioners also voted to increase the honorariums for artists who have been selected as finalists for a $400,000 project at the East Stadium bridge. The overall project amount remains unchanged, but honorariums were raised from $2,000 to $3,000 for each of the four finalists: Volkan Alkanoglu, based in Atlanta, Georgia; Sheila Klein of Bow, Washington; Rebar Group of San Francisco; and Catherine Widgery of Cambridge, Mass. They will be in town on April 1 for a site visit and public open house.

Another effort that’s in the early phases got a vote of support from commissioners, but no financial commitment at this point. The project will use old aluminum canoes from the city of Ann Arbor’s Argo canoe livery, which artists and community groups will turn into artwork that will be displayed throughout the downtown in 2014. Partners in the project include the Ann Arbor Area Convention & Visitors Bureau (CVB), the Main Street Area Association (MSAA), the Arts Alliance, and the Huron River Watershed Council. AAPAC is involved only in a supportive role, to help with public engagement.

The role of public engagement was part of a discussion regarding AAPAC’s annual public art plan, which is due to the city council on April 1. Some commissioners expressed frustration at the process, given the uncertainty of the public art program’s future. Ultimately, they gave guidance to Aaron Seagraves, the city’s public art administrator, to draft a plan that includes projects in highly-visible, highly-used locations, currently underserved in terms of public art.

The March 7 meeting also included the election of officers. Bob Miller was elected the new chair, replacing Marsha Chamberlin. Kotarski abstained from voting. He noted that the commission will soon be at only 40% capacity – a reference to the fact that there are three vacancies on the nine-member commission, with an additional resignation expected by Wiltrud Simbuerger in the near future.

Two of those vacancies will likely be filled shortly. Nominations are on the city council’s March 18 agenda for confirmation: Nick Zagar, an artist and commercial real estate agent who serves on the Ann Arbor Art Center board; and Ashlee Arder, programs coordinator at ArtServe Michigan.

All of these actions come in the context of the city council’s ongoing review of the city’s public art program, which began in early December of 2012. This article begins with a report on the most recent meeting of the council’s public art committee on Friday, March 15. An update of their work will be attached to the council’s March 18 agenda as an item of communication. Their next committee meeting is scheduled for March 28.

Revisions to Public Art Program

A five-member city council committee has been meeting since December 2012 to develop recommendations for the city’s public art program and possible revisions to two city ordinances that affect that program – Chapter 8 (organization of boards and commissions) and Chapter 24 (public art).

The work traces back to Dec. 3, 2012, when the city council voted to halt the spending of funds accumulated through Ann Arbor’s Percent for Art program, except for projects that are already underway. Unless extended by the council, the moratorium on spending lasts until April 1, 2013.

Assistant city attorney Christopher Frost and Marsha Chamberlin of the Ann Arbor public art commission talked before the start of the March 15 council committee meeting on public art.

At that same Dec. 3, 2012 meeting, councilmembers appointed a council committee to review the public art program. Committee members are Sabra Briere (Ward 1), Sally Petersen (Ward 2), Stephen Kunselman (Ward 3), Christopher Taylor (Ward 3), and Margie Teall (Ward 4). [For background see Chronicle coverage: "City to Seek Feedback on Public Art Program," "Council's Public Art Committee Begins Work," as well as an update on the committee's work provided in the reports of AAPAC's Jan. 23, 2013 and Feb. 27, 2013 meetings.]

The committee is on track to recommend eliminating the city’s Percent for Art funding mechanism, which has been a cornerstone for the public art program. That approach required that 1% of each city capital project, up to a cap of $250,000 per project, be set aside for public art. An alternative strategy – “baking in” art and architectural enhancements for each project, without a required percentage of funding – is likely to be proposed.

Most recently, the committee met on Friday, March 15 to discuss the latest draft of ordinance changes and recommendations. Also attending the meeting were former AAPAC chair Marsha Chamberlin; new AAPAC chair Bob Miller; Deb Polich, executive director of the Arts Alliance; Ann Arbor CFO Tom Crawford; and Christopher Frost, assistant city attorney.

Much of the March 15 discussion focused on two main issues: (1) the public art administrator, and (2) a possible survey using the city’s A2 Open City Hall website.

Revisions to Public Art Program: Administration

Sabra Briere began the meeting by saying that the major item they needed to address related to administration. The city attorney’s office had indicated that a city employee can’t be involved in fundraising. Because that was originally conceived of as a major component of a public art administrator’s job, it raised the question: How should the program’s administration be handled?

Margie Teall asked how other cities in Michigan dealt with this issue. Deb Polich replied that as far as she knew, Ann Arbor is the only city in Michigan with a public art program.

There was discussion about whether the city could contract with an outside entity to administer the program. If so, to what extent would those same constraints on city employees apply? Polich observed that in contracting with an entity like the Arts Alliance, which is a 501(c)3 entity, the contract could explicitly lay out the responsibilities and constraints under which an administrator would operate.

Briere cited one concern about using a contract employee: Would that person be able to work seamlessly with city staff? Christopher Taylor felt that wouldn’t be a problem. He likened it to the situation with The Conservation Fund, which has been contracted to manage the city’s greenbelt and parkland acquisition programs. The Conservation Fund, based in Washington D.C., has managed those programs since they launched – after voters approved a 30-year 0.5 mill open space and parkland preservation millage in 2003. Ginny Trocchio is the local Conservation Fund staff person who works full-time at city hall.

City CFO Tom Crawford indicated that there are other full-time contract employees who’ve worked for years at the city, in a variety of departments.

Taylor said his main interest is in having a full-time administrator, and that there be a way to solicit donations for public art. Crawford explained that the city can accept donations, and those donations would be tax deductible. But those donations aren’t solicited by city staff, he said. The city staff can inform and educate, but can’t actively fundraise. It also becomes difficult to track donations and manage donor expectations, he said, if the quantity increases.

From left: Ann Arbor city councilmembers Margie Teall and Sabra Briere at the March 15 meeting of the council’s public art committee.

Polich suggested that if an outside entity had a contract with the city to administer the public art program, that entity could raise money then gift it back to the city. That arrangement could be specified in the contract. Steve Kunselman described it as the “privatization” of public art administration, and he didn’t think it needed to be laid out in detail in the ordinance.

Crawford indicated that there might be more flexibility if the city contracts with an organization, rather than directly with an individual.

Taylor advocated for letting city administrator Steve Powers work out the details. For his part, Taylor wanted to recommend that the city needs a full-time public art administrator, and that there should be a fundraising element involved. He didn’t care how that happened. After two years, if the work isn’t getting done in a satisfactory way, the city can revisit the arrangement and try something else, he said.

Teall also indicated her desire for a full-time administrator. Briere said she didn’t want to commit to that, and also isn’t willing to commit general fund dollars to pay for a public art administrator. She noted that the committee’s recommendations don’t deal with the issue of how to fund an administrator’s position. “We’ll look to wiser heads to help figure that out,” she said.

Revisions to Public Art Program: Open City Hall

When the committee first began meeting in late 2012, Sally Petersen had advocated surveying residents about how the city should deal with the public art program, or whether it should even continue. Lisa Wondrash, the city’s communications manager, attended a meeting in early January to describe A2 Open City Hall, an online system for soliciting feedback. Some councilmembers – in particular, Margie Teall – were reluctant to do any surveys, indicating that it would not be the best way to get feedback. The idea was never pursued.

On March 15, Sabra Briere again brought up the possibility of the A2 Open City Hall survey, noting that the committee had never reached a decision on it. Petersen said she felt that the window of opportunity had closed on that, since the committee had already nearly completed its work. Anecdotally, she said she’d heard that the committee was on the right track.

There was discussion about what types of questions might be asked if they were to use the A2 Open City Hall, and about the timing of such a survey. Petersen feared that if the survey were posted now, it would raise more questions and cause more confusion – because there were still a lot of unknowns. She suggested holding off on a decision until the next committee meeting, and other committee members agreed.

Revisions to Public Art Program: Next Steps

The council committee has set its next meeting for Thursday, March 28 at city hall starting at 11:30 a.m. Before then, the draft recommendations and revisions to the public art ordinance will be attached to the council’s March 18 meeting agenda as an item of communication. [.pdf of draft recommendations & ordinance revisions at start of March 15 meeting] [.pdf of draft recommendation & ordinance revisions reflecting changes at the March 15 meeting]

Because March 18 will be the last council meeting before the April 1 expiration of the moratorium on public art spending, it’s possible the council will take action to extend the moratorium. The committee doesn’t plan to make a formal recommendation to the council until April, possibly at its meeting on April 15.

Coleman Jewett Memorial

The agenda for the special March 7 AAPAC meeting included a resolution to accept the Coleman Jewett memorial as an official AAPAC project and to approve Sarah Gay as a volunteer project manager. Her duties would be to lead efforts for city council approval, donor relations and fundraising.

Sarah DeWitt, manager of the Ann Arbor public market, attended AAPAC’s March 7 special meeting.

Jewett was a long-time local educator who died in January. After he retired, he made furniture that he sold at the Ann Arbor farmers market. A private donor has committed $5,000 to create a memorial at the market, in the form of a bronze replica of one of Jewett’s Adirondack chairs.

This project was discussed at AAPAC’s Feb. 27, 2013 meeting, but no action was taken then. John Kotarski had encouraged Gay to take on the project. At the Feb. 27 meeting Kotarski had said he didn’t see the need for AAPAC to get involved – saying he didn’t want the commission to be an “impediment.”

Gay is an arts administrator who grew up in Ann Arbor, but who doesn’t currently live here. She has attended some of the early meetings of the Ann Arbor city council committee that’s working on revisions to the city’s public art program.

During the discussion on March 7, Kotarski raised the same concerns about AAPAC’s involvement, saying it might simplify things if Gay worked directly with Sarah DeWitt, the city’s market manager.

DeWitt, who attended the March 7 meeting, indicated that she would work with anyone who was designated to manage this project. The farmers market is part of the city’s parks system, so the final donation would need to be made to the parks system and likely be vetted through the park advisory commission. But city staff cannot be involved in soliciting the funds. DeWitt said she could work with Gay or anyone else to determine the best location for the memorial, as well as other issues related to installing the memorial.

Marsha Chamberlin reported that she’s received estimates indicating it would cost about $25,000 for the bronzing, and perhaps a total of $50,000 for all aspects of the project. She felt it was important to define the project clearly, set a fundraising goal, and challenge the community to meet it. There was additional discussion about the logistics of handling the funding, such as whether donations would be made to a pass-through account managed by the Ann Arbor Area Community Foundation, on behalf of the city. There was a consensus that those details would need input from the city’s finance staff.

Both the parks & recreation unit as well as AAPAC have policies for accepting donations and gifts. From AAPAC’s guidelines:

C. Donations and Supplemental Sources of Funding
If supplemental sources of funding are used for public art projects, including grants, private donations, land, and in-kind services, AAPAC will identify the private interests or other restrictions associated with such funding and review the development of the public art projects for which the funding is used to ensure compliance with donor intent and other restrictions. [.pdf of complete AAPAC guidelines]

Kotarski reported that the private donor who pledged $5,000 for the project has stipulated that the memorial must be a bronze replica of one of Jewett’s actual Adirondack chairs. So in a sense, Jewett is the artist, Kotarski said – noting that it wouldn’t be a stylized work by another artist. He said that mayor John Hieftje had told him the $5,000 donation would be withdrawn if the donor’s stipulation wasn’t met.

Kotarski also lobbied for Gay to operate with independence from AAPAC. She should be able to make decisions related to the project and should not have to come to AAPAC for approval, he said. It’s a matter of control. “The less control we have and the more she has, the better,” Kotarski said. “She doesn’t want to fail.”

Ann Arbor public art commissioner John Kotarski.

Chamberlin replied that based on her 35 years of experience in arts administration, “you don’t just turn someone loose on a project, no matter how good they are.” [Chamberlin recently retired as president of the Ann Arbor Art Center.] AAPAC should have input and approve things like the solicitation materials, she said. Another factor is the fact that Gay doesn’t live in the community at this point, so it’s important to have AAPAC involved.

Connie Brown supported handling the project like any other AAPAC project, with a task force that would work with Gay and make recommendations to the full commission. Craig Hupy – the city’s public services area administrator who also attended AAPAC’s March 7 meeting – said he didn’t want to cast aspersions on Gay, but he recommended that AAPAC stay involved, since they would, in a way, be putting their reputation on the line.

DeWitt also encouraged AAPAC to describe the memorial for Jewett in terms of his contributions to the community “writ large,” not only as a vendor at the farmers market. There are a lot of longtime vendors who have passed away, she said, and unless AAPAC envisioned bronzed heads of lettuce in the future, it’s important to keep the Jewett’s broader impact as part of these discussions.

Outcome: Commissioners voted unanimously to accept the Jewett memorial as an AAPAC project, and to designate Sarah Gay as the volunteer project manager.

East Stadium Artist Honorarium

On the agenda was an item to increase the honorariums for artists who have been selected as finalists for a $400,000 project at the East Stadium bridge. A task force has selected four artists as finalists, who have been invited to an April 1 site visit/open house. The finalists are: Volkan Alkanoglu, based in Atlanta, Georgia; Sheila Klein of Bow, Washington; Rebar Group of San Francisco; and Catherine Widgery of Cambridge, Mass.

The proposal was to increase the previous $2,000 honorarium to $3,000 for each artist. Bob Miller, a commissioner who serves on the task force, said task force members felt the compensation should be increased because artists were being asked to make two site visits and a proposal. In addition to Miller, members of the task force/selection panel are Wiltrud Simbuerger, Nancy Leff, David Huntoon and Joss Kiely.

John Kotarski supported the increase, but wondered how the task force had arrived at this new amount. Miller replied that one of the finalists had suggested the increase, and that it seemed reasonable based on the cost of airfare and other expenses. It’s still not much, Miller said, but it’s something.

Kotarski asked if the task force had compared the honorarium to projects in other cities. No, Miller replied. Aaron Seagraves, the city’s public art administrator, indicated that the $3,000 amount seems to be in line with what other communities offer, on average.

The overall project budget will not be increased. It now breaks down as follows:

• Artist contract: $360,000
• Artist honorarium ($3,000 each): $12,000
• Dedication: $4,000
• Signage: $3,000
• Walk through and other event expenses: $1,500
• Project management: $6,500
• Other admin costs: $1,000
• Contingency $12,000

Outcome: Commissioners unanimously voted to increase the East Stadium bridge honorarium to $3,000 per artist.

Community Canoe Art

Marsha Chamberlin gave an update on a canoe art project she’s working on with other organizations. It’s a project she got involved with before she retired as president of the Ann Arbor Art Center – not in her capacity as an AAPAC member, she said. [.pdf of canoe project memo]

Marsha Chamberlin led her final meeting on March 7 as chair of the Ann Arbor public art commission.

The project will use old aluminum canoes that the city of Ann Arbor is getting rid of from the Argo canoe livery. There will be two components: (1) artists will be selected to create about a dozen original, permanent works (lasting more than five years); and (2) school groups or business teams will create another dozen or so works using the canoes.

According to the project memo, Cheryl Saam – facilities supervisor for the city’s canoe liveries – will oversee fundraising and work with a graphic designer to create a logo. [It's unclear how her role in fundraising will be defined, however, in light of discussions at the council's public art committee meeting that indicated city employees can't directly solicit donations for this kind of project.]

Partners in the project include the Ann Arbor Area Convention & Visitors Bureau (CVB), the Main Street Area Association (MSAA), the Arts Alliance, and the Huron River Watershed Council. The CVB will handle publicity, and the MSAA will deal with the logistics of placing the completed artwork at locations throughout the downtown, Chamberlin said.

The request to AAPAC is to help with advocacy and public engagement for the project, Chamberlin said, and to coordinate the kickoff to coincide with the dedication of artwork at the Argo Cascades. The canoe project is anticipated to be on public display between August and November of 2014.

Chamberlin said she’s talked with the Ann Arbor Area Community Foundation about setting up a pass-through account to accept donations. The goal is to raise about $100,000 for the project.

John Kotarski wondered why this project is being handled differently from the Coleman Jewett memorial. He felt that the Jewett memorial could also be an independent project like this canoe art, with minimal involvement from AAPAC.

He also said it was “challenging” for Chamberlin to talk to commissioners about this project while she was chair of AAPAC. When she used the word “we,” he said, it was difficult to know if she was speaking on behalf of AAPAC or for the project organizers.

Chamberlin replied that she was bringing this project forward just like any other similar effort. She saw it as analogous with the Detroit Institute of Arts’ Inside|Out program, which will be installing replicas of artwork in downtown Ann Arbor later this month. The project didn’t require AAPAC approval, she said, but the commission got involved and supported it.

Kotarski said he’s prefer that projects like this – the Jewett memorial, the DIA partnership, and the canoe project – not have to go through the AAPAC process of forming a task force and issuing requests for proposals. He wanted to streamline the process as much as possible. In terms of the canoe project, he didn’t think that AAPAC could add anything other than an “Atta boy!”

Chamberlin responded, saying it’s important for the canoe project to involve as many entities as possible, including AAPAC. It would require no financial commitment from AAPAC, although some staff time would be involved. It’s also possible that AAPAC might be approached in the future with a funding request, assuming the city’s public art program continues.

Outcome: Commissioners voted unanimously to collaborate on the community canoe art project, with no financial commitment at this time.

Annual Art Plan

Also on the agenda for the March 7 special meeting was discussion of AAPAC’s annual art plan. The city’s public art ordinance stipulates that a public art annual plan is due to the city council on April 1. This year, it would cover activities that AAPAC intends to pursue in fiscal year 2014, which runs from July 1, 2013 through June 30, 2014.

Ann Arbor public art commissioner Connie Brown.

Aaron Seagraves, the city’s public art administrator, is developing a draft and was seeking input from commissioners at the meeting to shape the plan. His goal is to present a draft for their approval at AAPAC’s March 27 meeting.

This item has been discussed at previous meetings. At AAPAC’s meeting on Feb. 27, 2013, Deb Gosselin – who handles the city’s capital improvements plan (CIP) – talked with commissioners about that process, and how it might coordinate with AAPAC’s annual plan.

The CIP has been important to AAPAC because funding for the Percent for Art program has come from the city’s capital projects. Under the city’s Percent of Art program, 1% of each capital project, up to a cap of $250,000 per project, being set aside for public art. And even though it now appears that the Percent for Art funding approach could be eliminated, the goal will still likely be to start planning the public art component of a project as early as possible, as part of the project’s design, rather than as an add-on.

Seagraves had identified 30 projects in the CIP as having longer-term potential. [.pdf of long-term capital projects for possible public art] He had also identified a smaller list of 12 projects that AAPAC might consider for inclusion in its annual plan for fiscal 2014. [.pdf of FY 2014 CIP projects for possible public art] Those near-term CIP projects include the replacement of street lights along Main Street, the creation of a park at 721 N. Main, and renovations at the wastewater treatment plant, among others.

On March 7, Marsha Chamberlin noted that the process for developing this year’s annual plan has been met with frustration by some commissioners. Despite the public art program’s uncertain future, she said it’s important to have priorities for the coming year – even though the funding mechanism for public art might be changed.

John Kotarski referenced an email he’d sent on March 2 to commissioners and Seagraves, responding to a request from Seagraves to prioritize possible projects for the annual plan. [.pdf of Kotarski's email] Kotarski pointed out that AAPAC had embarked last year on a “quadrant” approach to developing public art projects.

By way of background, the approach uses four quadrants of Ann Arbor that are designated in the city master plan’s “land use elements” section: west, central, south and northeast. [.pdf map of quadrants] Two or more of the nine AAPAC members were to be responsible for each quadrant, charged with soliciting input from residents in selecting public art.

In his email, Kotarski raised concerns that now the quadrant approach, as envisioned, isn’t being used to prioritize projects for the annual plan. He cited several other concerns as well. An excerpt from his email:

We also have no standards (criteria) by which we are measuring art or locations. We have no way of measuring our process against best practices of successful communities elsewhere. All of you know that this has been a concern of mine for some time and it relates to art selection task forces as well. We were just informed that we should additionally consider prioritizing CIP projects. I am not certain that we share an understanding of what our duty is as a Commission much less an understanding of how we are to prioritize this list. I doubt if anyone can randomly select five locations on the list and offer the advantages and disadvantages for public art to be placed there.

For the time being, I propose we tell the administration that we want public art at every bus stop and ask the AATA to prioritize by ridership. That we want public art at every park and playground and to ask the Parks to prioritize by use. That we want public art in the downtown business district and ask the DDA to prioritize by their master plan. That we want public art at every major transportation artery into the city and let the Roads prioritize by usage. And that we want public art at every new CIP project and let the city staff prioritize. We are not organized well enough to do any better.

Several Commissioner have expressed to me that we have great ideas but lack follow through. My read of the quadrant meetings are that fewer than 10 residents showed up collectively and some of those were not from the quadrant in which the meeting was held. How can we remotely suggest that these 10 residents are the basis for our decisions? We were to assemble task forces for each quadrant that would focus on the pubic art opportunities and needs of their quadrant. That was not done.

We do not know how other cities do this. We do not know what residents want. We do not know how to evaluate public art or public art locations. I for one do not know how our proposed new leaders plan to change this. We do not even know what our new charge will be from the City Council.

We have over 40% of our Commission vacant, we lack the staff that everyone agrees we need, and we do not have a clear consensus among ourselves about what our job is. The adage “when you find yourself in a hole, stop digging” comes to mind. I know we have a deadline coming up, but to me this document does not serve to simplify the decision-making process but rather confuses it.

Some think we are a gatekeeper for public art in the city, yet I believe many on the City Council think differently. Many on City Council want us to grow public art from outside a taxpayer base and empower other groups to work independently. They want us to simplify and streamline the process. We at the least need that clarified before we proceed to recommend a public art plan.

Connie Brown said she was one of the commissioners who’s been “grouchy” about this annual plan process. AAPAC had put a process in place – using the quadrant approach – to get public input. But then the city council had put a public art millage on the Nov. 6, 2012 ballot, and that proposal had been defeated. The council then had voted to put the public art spending on hold, she noted.

She wondered if it would be appropriate to set broad goals – like choosing projects in underserved, highly visible areas – as an interim measure, until the city council decides the fate of the public art program.

Craig Hupy, the city’s public services area administrator, reminded commissioners that under the existing public art ordinance, AAPAC has a charge to produce an annual plan. He said he wouldn’t speculate about what the council might do regarding changes to the ordinance, or presume that councilmembers will take a certain direction.

Brown noted that AAPAC was told to stop its processes, and so they did. As soon as they have permission to start up again, they’ll be ready to prioritize and move forward. Until then, she said, “we’re throwing darts with our eyes closed.”

Seagraves asked that commissioners provide some general criteria for projects they’d like to see within the next fiscal year. After further discussion, the group reached consensus on the following attributes for public art projects in FY 2014: projects that are in highly visible, highly-used locations currently underserved in terms of public art, and that are distributed throughout the four quadrants of the city. Seagraves plans to take those priorities and draft an annual plan for AAPAC to consider at its March 27 meeting.

Outcome: This was not a voting item.

Officer Elections, Vacancies

The last order of business on March 7 was officer elections. Marsha Chamberlin, who has served as AAPAC’s chair since April of 2011, announced that two commissioners – Bob Miller and Malverne Winborne, AAPAC’s vice chair – were interested in the position of chair. Winborne did not attend the March 7 meeting.

Wiltrud Simbuerger is planning to resign from the Ann Arbor public art commission, though she has not yet announced a date for her departure.

AAPAC’s bylaws call for the commission to hold officer elections for chair and vice chair in January. But elections were pushed back at both the Jan. 23, 2013 and Feb. 27, 2013 meetings because attendance was low. On Feb. 27, Chamberlin indicated that commissioners would receive ballots in the mail, with the outcome to be reported at the March 27 meeting. However, the election was on the March 7 special meeting agenda and took place then, with five of the six commissioners present.

John Kotarski said he felt compelled to abstain. Soon, the commission will be at only 40% capacity, he said – a reference to the fact that there are three vacancies on the nine-member commission, with an additional resignation expected by Wiltrud Simbuerger in the near future. He said there is no compelling reason to vote now, and it’s a mistake to choose leadership when there will soon be new members.

Earlier in the meeting, Chamberlin had reported that two nominations for AAPAC had been brought forward by mayor John Hieftje at the city council’s March 4 meeting: Nick Zagar, an artist and commercial real estate agent who serves on the Ann Arbor Art Center board; and Ashlee Arder, programs coordinator at ArtServe Michigan. Zagar is being nominated to replace Theresa Reid, for a term ending Dec. 31, 2015. Arder is replacing Cathy Gendron for a term ending Jan. 20, 2016. The nominations are on the council’s March 18 agenda for confirmation.

At AAPAC’s March 7 meeting, Chamberlin responded to Kotarski’s concerns by saying that AAPAC has a legal obligation to hold elections. Kotarski disputed that, and indicated that Chamberlin simply might not want to continue serving as chair.

Other members proceeded to vote.

Outcome: Bob Miller was elected chair. Malverne Winborne will continue to serve as vice chair.

Commissioners present: Connie Brown, Marsha Chamberlin, John Kotarski, Bob Miller, Wiltrud Simbuerger. Also Aaron Seagraves, the city’s public art administrator.

Absent: Malverne Winborne.

Next regular meeting: Wednesday, March 27, 2013 at 4:30 p.m. in the fourth floor conference room at city hall, 301 E. Huron St. [Check Chronicle events listing to confirm date]

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Rose White Park, adjacent to East Stadium Boulevard, is one location being considered for public art in a $400,000 budget approved by public art commissioners for the East Stadium bridges project. The blue tarp on the fence in the background serves to separate the park from the bridge construction. (Photos by the writer.)

A task force had recommended that the project be well-funded, because the location would be a highly visible landmark marking an entrance into the city – it’s near Michigan Stadium and the Crisler Center, for example. No artist has been selected yet, nor has a request for proposals been issued – that’s under review by the city attorney’s staff.

The artist would have a large role in selecting locations for the artwork. Places for art might include the underpass and staircases at South State Street; the fence along Rose White Park, which is adjacent to East Stadium Boulevard; or the bridges themselves, spanning over railroad tracks and South State Street. Any final project and budget would require the city council’s approval.

The commission postponed action on a proposal related to artwork at Argo Cascades, the new Huron River bypass near Argo Pond. Neither of the two commissioners who serve on a task force for the project – Malverne Winborne and John Kotarski – attended the AAPAC meeting, and other commissioners felt more information was needed before moving forward.

Final touches were put on an annual public art plan for FY 2013, describing projects that AAPAC intends to work on between July 1, 2012 and June 30, 2013. [.pdf of FY 2013 annual public art plan] In addition to specific art projects like those for the East Stadium bridges and a mural at Allmendinger Park, the two-page document calls for developing a master plan for public art to guide future decision-making through 2016.

During the meeting, Aaron Seagraves – the city’s public art administrator – noted that nominations are being accepted through April 13 for the Golden Paintbrush awards, which recognize local contributions to public art. A nomination form can be downloaded from the commission’s website.

The March 28 meeting was attended by three people who were not affiliated with the commission, including Jack Urban, a Kalamazoo County commissioner and chair of the Kalamazoo public arts commission. He noted that unlike Ann Arbor, the Kalamazoo public art commission does not have a funding source. So the group is looking to establish itself and seek financial support, he said.

Art Budget for East Stadium Bridges

On the agenda was an item to set the budget for artwork at the East Stadium bridges – currently being rebuilt by the city of Ann Arbor. AAPAC had voted to form a task force for the project at its September 2011 meeting, citing its importance as a gateway to the city. The bridges are located near Michigan Stadium on a major east-west artery.

A request for proposals (RFP) from artists is under review by the city’s legal staff and is expected to be issued in the coming weeks. Goals for the artwork include: (1) unifying an area that has highly diverse uses, including single-family homes, apartment buildings, student housing, retail, and university sports facilities (such as Michigan Stadium and the Crisler Center); (2) creating awareness for art with multiple audiences – drivers, bicyclists, pedestrians, neighbors, residents, out-of-town-visitors; and (3) creating multiple pieces that are tied together by a unifying theme.

Possible locations for the artwork include the fence along Rose White Park, which is adjacent to East Stadium; the end of White Street, which intersects with East Stadium; the north side of East Stadium Boulevard; the underpass and staircases at South State Street; and the East Stadium bridge abutments, sidewalk and railings.

Two AAPAC commissioners – Wiltrud Simbuerger  and Bob Miller – serve on a task force for the project. Other task force members are Nancy Leff of the Lower Burns Park Neighborhood Association; Jim Kosteva, University of Michigan director of community relations; David Huntoon, a principle of Intalytics; and Joss Kiely, a UM graduate student and community member.

Wiltrud Simbuerger is an AAPAC commissioner who also serves on the task force for art at the East Stadium bridges.

Simbuerger and Miller said the task force felt strongly that because the location would be a highly visible landmark marking an entrance into the city, the project should be well-funded. About $100,000 is available from the Percent for Art money directly taken from the bridges project. That’s included in a balance of $529,251 that has accumulated for public art from streets-related capital projects. The city’s public art ordinance requires that 1% of all capital project budgets (up to a limit of $250,000 per project) be set aside for public art.

Simbuerger originally proposed $350,000, but Miller suggested that even more should be allocated. He made a formal motion for a $400,000 budget.

Commissioners discussed other possible projects that might be coming in the near future, including artwork for the North Main corridor and downtown Main Street. About $1.13 million of Percent for Art funds are currently unencumbered, and more funding will be added to that from upcoming capital projects. For example, Seagraves said that another $109,000 in Percent for Art funding is estimated to come from street projects alone in the next fiscal year.

Theresa Reid calculated that if $400,000 was allocated for the bridges artwork, plus estimated funding for other projects that are already in the works – including the mural program, and art for the Kingsley rain garden and Argo Cascades – that still leaves about $600,000 of the $1.13 million for other as-yet-unidentified projects. “I think that’s healthy,” she said. “We could do a lot with that.”

Outcome: The five commissioners present at the March 28 meeting unanimously voted to set a $400,000 budget for artwork at East Stadium bridges. The final budget and artist contract require approval by the city council.

Argo Cascades Art Proposal

Aaron Seagraves, the city’s public art administrator, introduced the agenda item regarding art at Argo Cascades, the new Huron River bypass near the Argo Pond canoe livery. Commissioners were asked to recommend approval of developing an art project for the Cascades, as well as a budget.

No specific location has been identified for the work. A task force recommended instead to issue a request for proposals (RFP) and get input on the location from the artist who’s eventually selected for this project. About $175,000 is available for the project from money that has accumulated in the city’s Percent for Art fund. That money includes $155,561 from water-related capital projects and $19,655 from capital projects in the parks system. The city’s public art ordinance requires that 1% of all capital project budgets (up to a limit of $250,000 per project) be set aside for public art.

A mission statement developed by the project’s task force states: ”The Argo Cascades public art project will be informed by the historical connection of the urban city and the natural river at this location. The public art here will be a marker of the community’s interest in ‘facing the river,’ as it celebrates the river’s water quality, environmental assets, and recreational uses.”

Aaron Seagraves, Ann Arbor's public art administrator.

Neither of the two commissioners who are on a task force for the project – Malverne Winborne and John Kotarski – attended the AAPAC meeting. Other task force members are: Cheryl Saam, the city’s recreation facilities supervisor for the Argo and Gallup liveries; artist and former AAPAC chair  Margaret Parker; Cathy Fleisher, a local resident; Bonnie Greenspoon of the Ann Arbor Rowing Club; Julie Grand, chair of the city’s park advisory commission; and Colin Smith, parks and recreation manager.

Seagraves told commissioners that originally two parks – Argo and Gallup – were considered for a river art project. But a renovation of the Gallup livery has been pushed back, he said, so the focus is now on Argo.

Wiltrud Simbuerger said she found it hard to vote without a better understanding of the vision for the project. Connie Brown agreed, saying that in contrast, it had been clear what the task force for the East Stadium bridges project had envisioned.

Seagraves brought up another issue. If funds from the water-related capital projects are used, then the artwork’s theme must also be water-related. Parks funding doesn’t come with a thematic constraint, as long as it’s used in the parks. The task force needs to give direction on that, he said.

Other commissioners also felt they needed more information before voting on a budget. Marsha Chamberlin suggested tabling the item.

Outcome: The five commissioners at the March 28 meeting voted unanimously to table action on the Argo Cascades project.

Annual Public Art Plan

The city’s public art ordinance requires that AAPAC submit an annual plan to the city council by April 1, outlining public art projects anticipated for the coming fiscal year. The commission has been working on a public art plan for the city’s fiscal year 2013 – from July 1, 2012 through June 30, 2013. The plan had been the topic of a four-hour retreat in late February.

About an hour was spent at the March 28 meeting thrashing through a draft of the plan, which had been proposed by AAPAC chair Marsha Chamberlin based on previous discussions. Much of the conversation involved word-smithing of the various objectives.

The final plan includes a list of five objectives for the next fiscal year:

1. Develop a master plan for 2013-2016 that will create community engagement and expedite work of the commission.
2. Advance the following projects that are underway, meeting all deadlines. All the projects have task force oversight, approved budgets, and are in various stages of completion. The projects are: (1) installation of Ed Carpenter’s “Radius” sculpture in the lobby of the Justice Center by November 2012 ($150,000); (2) a mural in Allmendinger Park by Mary Thiefels, to be completed by September 2012 ($12,000); (3) two additional murals by August 2013 ($40,000); (4) artwork for a rain garden at Kingsley and First by August 2013 ($27,000); (5) artwork for the East Stadium bridges by the fall of 2014 ($400,000); and (6) installation of artwork in the Detroit Institute of Art’s Inside|Out project by the spring of 2013 (budget TBD). That project involves installing framed reproductions from the DIA’s collection at outdoor locations on building facades or in parks.
3. By June 2012, identify and prioritize new projects for FY 2013, allocating existing funds using agreed-upon criteria of type, location, and community involvement. The criteria will be defined during the master planning process.
4. By Aug. 1, develop and begin to implement an effective communications plan about the uses and value of public art and the operation of the commission.
5. Collaborate with commissions, organizations, and agencies to accomplish public art projects.

The first objective – developing a master plan – included details on its purpose. The intent of the master plan is to: (1) guide AAPAC’s efforts to include public art throughout the city, involve community groups and create substantial visibility for public art as an integral part of community life and a city asset; (2) train commissioners and task force members with the goal of increased community knowledge, engagement and advocacy for public art; and (3) better integrate the public art administrator with every city department with the goal of increasing public art in the city.

By way of background, there has been some confusion in past years regarding AAPAC’s annual plan. In 2010, the plan wasn’t approved by AAPAC until its June meeting. Last year, the plan was approved in late April. However, neither of those plans were forwarded to the city council until June of 2011 – an oversight attributed to the transition following the departure of the previous public art administrator, before Seagraves was hired. [.pdf of FY2012 public art plan][.pdf of FY2011 public art plan]

Previous public art plans have also differed in format. The plans previously have been lists of projects that AAPAC intends to work on, with the name of the commissioner who’s leading each project, but no budget amount indicated.

Some specific projects that were included in the past two plans but have not been completed have dropped off the current plan, and there has been no discussion about them at recent AAPAC meetings. Those past projects include: (1) a possible pilot public art program at bus stops in collaboration with the AATA; (2) possible public art associated with the Manchester elevated water tank painting project scheduled to occur in FY 2013; (3) continued exploration of repairs/replacement of the Sun Dragon sculpture at Fuller Pool; and (4) assisting the Ann Arbor Downtown Development Authority in developing a Hanover Park public art project.

Outcome: The five commissioners at the March 28 meeting reached consensus on the draft, with the understanding that some additional revisions would be made by AAPAC chair Marsha Chamberlin and distributed via email. [.pdf of final FY2013 annual public art plan]

Plaque, Name for Dreiseitl Sculpture

Wiltrud Simbuerger introduced the topic of a plaque for the Herbert Dreiseitl water sculpture in front of city hall. She wanted the commission to start thinking about what kind of sign to put there – something is needed to indicate what it is, who made it, and how it works, she said.

Ann Arbor public art commissioners Bob Miller and Connie Rizzolo Brown at AAPAC's March 28, 2012 meeting.

Bob Miller asked for an update on the sculpture – had all the work been finished? Aaron Seagraves, the city’s public art administrator, reported that there was still some fine-tuning that needed to be done in the spring. At that point, the water for the sculpture will be turned on.

Theresa Reid said that Dreiseitl should be asked to provide a name for his sculpture.

Commissioners then discussed the need for a larger sign that explains how the design of the entire plaza area and building helps manage the flow of rainwater. There was also some discussion about the need to develop a broader communications strategy, with a consistent design across all projects. Marsha Chamberlin suggested that the work be done by Quinn Evans Architects, which designed the new municipal center – including a renovated city hall, the adjacent new Justice Center building, and the front plaza area.

Commissioners eventually reached a consensus, directing Seagraves to initiate the effort and report back to AAPAC at their April 25 meeting.

Communications & Commentary

Several opportunities arose during the meeting for commissioners and the public art administrator to give updates and raise topics for discussion. There was also an opportunity for public commentary.

Comm/Comm: Public Commentary

Three members of the public attended AAPAC’s March meeting. It was a notable departure from the typical pattern, which is that attendees tend to be high school students fulfilling a class assignment, or people who end up serving as commissioners. (Two new commissioners, Bob Miller and John Kotarski, both attended several AAPAC meetings before being appointed last year.)

Jack Urban, a Kalamazoo County commissioner and chair of the Kalamazoo public arts commission, attended AAPAC's March 28 meeting.

At the start of the meeting, AAPAC chair Marsha Chamberlin asked the visitors to introduce themselves, and commissioners did the same.

Ed Weiss said he was relatively new to town. He’d been reading online publications and had become incensed over some of the commentary he saw – for example, people calling the Herbert Dreiseitl water sculpture in front of city hall “The Hurinal” (it’s located on Huron Street) and people complaining about funding for public art. He came to the meeting because he was interested in the city’s public art program.

Jack Urban introduced himself as a Kalamazoo County commissioner and chair of the Kalamazoo public arts commission, which was formed in partnership with the county and the cities of Kalamazoo and Portage. The group is trying to get itself restarted, he said. Unlike Ann Arbor, however, the Kalamazoo public art commission does not have a funding source. So the group is looking to establish itself and seek financial support, he said.

Also attending the meeting was Thomas Partridge, who arrived after the time allotted for public commentary. At the end of the meeting, both he and Weiss expressed some frustration that the agenda did not provide for a second public commentary slot at the end of the meeting. Weiss said it would be good to have a chance to provide feedback on the discussions that had taken place during the meeting.

Several commissioners acknowledged the frustration, but contended that this is standard practice for the city’s public meetings. [But in fact, most public meetings for city entitites – including those for the city council, planning commission, park advisory commission, greenbelt advisory commission and others – include public commentary at the start and end of each meeting.]

Comm/Comm: Administrator’s Report

At the start of the March 28 meeting, Aaron Seagraves – the city’s public art administrator – updated commissioners on several projects.

Nominations are being accepted until April 13 for the annual Golden Paintbrush awards, which recognize local contributions to public art. [.pdf of nomination form, which can be completed and emailed directly to Seagraves at aseagraves@a2gov.org] Last year’s winners were: (1) Krazy Jim’s Blimpie Burger, for the Snow Bears sculptures they build each winter in front of their business at Packard and South Division; (2) Mary Thiefels and Treetown Murals for the mural outside the Alley Bar along West Liberty; and (3) Peter Allen & Associates, for rock sculptures on North Main Street.

Seagraves also noted that the city council would be voting on approval of Ed Carpenter’s “Radius” sculpture its their April 2 meeting. AAPAC had recommended approval of the $150,000 work, to be located in the lobby of the Justice Center at Fifth & Huron. [The council subsequently voted to postpone action on that item until its May 7 meeting, expressing an interest in using the delay to explore the possibility of moving the security screening to a point well past the entrance in the interior of the building. The visibility of the proposed sculpture from outside the building was also a point of discussion.]

Related to artwork for a rain garden at Kingsley and First, Seagraves said the city’s purchase of that corner property has been completed. Connie Brown added that a full task force hasn’t yet been selected for that project, but the rain garden probably won’t be installed until the spring of 2013.

Comm/Comm: Allmendinger Mural

The contract with artist Mary Thiefels for a mural in Allmendinger Park is still in review by the city attorney’s office, Seagraves reported. The mural task force has met to discuss soliciting statements of qualifications (SOQs) in order to develop a pool of potential artists for future murals, he said.

Wiltrud Simbuerger, who leads the mural task force, reported that Thiefels had responded to the group’s request to alter her proposal – she submitted a revised project scope and budget, Simbuerger said. [AAPAC had discussed this issue at their January 2012 meeting, when they approved the selection of Thiefels for the project.] Thiefels now plans to work with local schools and incorporate ideas from students into her design, Simbuerger said, adding that this will be a much more powerful community approach.

Comm/Comm: Art Loan Project

Bob Miller said he’s interested in possibly developing a art loan program, which would allow the city to borrow artwork from other municipalities or institutions. It might involve setting up a permanent location to have rotating exhibits, he said.

Marsha Chamberlin noted that cities like Brighton and Canton have similar programs. Aaron Seagraves cited the Midwest Sculpture Initiative as another example.

Commissioners present: Connie Rizzolo-Brown, Marsha Chamberlin, Bob Miller, Theresa Reid, Wiltrud Simbuerger. Also Aaron Seagraves, the city’s public art administrator.

Absent: Tony Derezinski, Cathy Gendron, John Kotarski, Malverne Winborne.

Next regular meeting: Wednesday, April 25, 2012 at 4:30 p.m. at city hall, 301 E. Huron St. [confirm date]

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About $1.13 million in unencumbered funds remains in the current public art budget. [The city’s public art ordinance requires that 1% of all capital project budgets (up to a limit of $250,000 per project) be set aside for public art.] The plan includes a list of ongoing projects, including: (1) installation of Ed Carpenter’s “Radius” sculpture in the lobby of the Justice Center ($150,000); (2) a mural in Allmendinger Park by Mary Thiefels ($12,000); (3) artwork for a rain garden at Kingsley and First ($27,000); (4) an Argo Cascades project near the Argo Pond canoe livery (budget TBD); and (5) artwork for the East Stadium bridges ($400,000).

This brief was filed from the basement conference room at city hall, 301 E. Huron St., where AAPAC held its March 28 meeting. A more detailed report will follow: [link]

No agenda has yet been posted for the retreat, but it was discussed at AAPAC’s Jan. 25, 2012 meeting in the context of developing an annual art plan for fiscal 2013, which by ordinance must be delivered to the city council by April 1. In addition to shaping the annual plan, the aim of the retreat is to develop a master plan that would provide a broader conceptual framework to guide AAPAC’s decisions.

The retreat will be open to the public.

Ann Arbor public art commissioner Wiltrud Simbuerger, showing other commission members some proposals from artists for a mural at Allmendinger Park. A local artist, Mary Thiefels, has been selected for that project. (Photos by the writer.)

The group unanimously recommended selecting Ed Carpenter of Portland, Oregon for a $150,000 art project in the lobby of the city’s Justice Center, located at the corner of East Huron and Fifth Avenue. A task force had recommended the selection of Carpenter’s proposal from three finalists. It’s a sculpture called “Radius”.

Carpenter plans to create a hanging sculpture of dichroic glass, aluminum, stainless steel and lighting, including LED spot and flood lighting. Among the reasons for recommending Radius, the task force cited the sculpture’s metaphor: That the activities in the Justice Center have a “rippling” effect throughout the community, which echos the water sculpture by Herbert Dreiseitl that’s located in the plaza outside the building.

The Justice Center, a new building next to city hall, houses the 15th District Court and the Ann Arbor police department. The commission’s recommendation will be forwarded to the city council for approval.

In other action, the art commission voted to select Ann Arbor muralist Mary Thiefels for a mural project to be located on pillars at a building in Allmendinger Park. A task force had recommended her selection from among four finalists. Her proposal entails asking neighborhood residents for artifacts to create mosaics at the top and bottom of the pillars. The task force recommended that they continue to work with Thiefels on designing the remainder of the mural in the middle sections of the pillars.

Commissioners liked the concept of “found object” mosaics, but questioned whether the $10,000 budget was sufficient. They ultimately voted to approve selecting Thiefels for the project, contingent on her submission of a revised proposal and budget, with additional input from the task force. This project is the first one in a pilot mural program started last year by former commissioner Jeff Meyers.

AAPAC also discussed possible artwork for four sites connected to the East Stadium bridges, which are being reconstructed. The two commissioners who serve on a task force for that project – Wiltrud Simbuerger and Bob Miller – indicated that the budget recommendation will likely be at least $250,000 for artwork there. The task force is currently developing a request for proposals to be issued in the coming weeks.

In the context of developing their annual art plan for fiscal 2013, which by ordinance must be delivered to the city council by April 1, commissioners decided to hold a retreat next month. In addition to shaping the annual plan, the aim of the retreat is to develop a master plan that would provide a broader conceptual framework to guide AAPAC’s decisions. Input from an online survey of the public will also be used – the survey remains open until Feb. 20, and has garnered more than 400 responses so far.

Commissioner Appointments

Marsha Chamberlin, the commission’s chair, began the Jan. 25 meeting by welcoming two new commissioners: Bob Miller and John Kotarski. Kotarski had been appointed by the city council at its Jan. 9, 2012 meeting to replace outgoing commissioner Margaret Parker. He has been a media consultant who previously worked for the Mount Clemens Schools. His three-year term expires Jan. 9, 2015.

At the city council’s Jan. 23, 2012 meeting, Bob Miller was appointed to replace Cheryl Zuellig, and Chamberlin was reappointed for a second term. The terms for Miller and Chamberlin run through December 2015. Chamberlin is president of the Ann Arbor Art Center. Miller has worked as a real estate agent and homebuilder, and has a fine arts degree from The School of the Art Institute of Chicago.

Both Miller and Kotarski have attended AAPAC meetings over the past few months as observers.

Chamberlin reported that mayor John Hieftje has identified another candidate that he intends to nominate for approval by the city council, but she didn’t want to identify that person publicly until the nomination was made. The person would replace Elaine Sims, whose term expired at the end of 2011.

Justice Center Artwork

On the Jan. 25 agenda was an item to consider approval of artwork proposed for the lobby of the city’s Justice Center, located at the corner of East Huron and Fifth Avenue.

A rendering of Ed Carpenter’s proposed “Radius” sculpture in the southwest corner of Ann Arbor’s Justice Center lobby. This image was revised from earlier drawings by the artist to include more glass, at the request of a selection task force. (Links to larger image)

A task force had recommended the selection of Ed Carpenter’s proposal – a sculpture called “Radius” – from three finalists for the $150,000 project. Members of the task force who recommended Carpenter are Elaine Sims, Margaret Parker, Spring Tremaine, Karl Daubmann, Maureen Devine, Laura Rubin, Ray Detter, Margie Teal, Homayoon Pirooz, and Aaron Seagraves.

It will be the second major installation funded with money from Ann Arbor’s Percent for Art program, which captures 1% of each city capital project – capped at $250,000 per project – for public art. The first major installation is located in the plaza outside of the Justice Center and in front of city hall: A bronze water sculpture by the German artist Herbert Dreiseitl, that cost more than $750,000.

Carpenter’s proposal calls for creating a hanging sculpture of dichroic glass, aluminum, stainless steel and lighting, including LED spot and flood lighting. The intent of the artwork is to reflect how the work of the courts and police radiate out into the community. The Justice Center houses the 15th District Court and the Ann Arbor police department.

The task force cited several reasons for their choice. Among them:

• The artwork uses a great deal of the space in the lobby and makes the best use of the site.
• The reflective nature of the glass used in the design will incorporate direct lighting and reflective light, which will be visible from both indoors and outdoors, during the day and at night.
• The colored glass and moving reflections will add a mediating softness and color to the architecture of the lobby.
• The art’s metaphor that work within the Justice Center has a rippling effect throughout the community; the “ripple” metaphor is consistent with the Dreiseitl sculpture.

In his proposal, Carpenter wrote:

Like ripples from a stone tossed into a pond, “Radius” emanates outward through the Justice Center lobby, a reminder of the interconnectedness of the public with the agencies serving them, and suggesting a network of cause and effect in the public realm.

“Radius” is designed to involve as much of the lobby as possible, radiating from the southeast corner, visible from inside and outside, day and night. [Editor's note: The sculpture will be located in the lobby's southwest corner.] Lighting contained in its hollow center will illuminate gleaming glass and anodized aluminum details, creating elegant views of its expansive forms.

When sun strikes, dichroic glass elements will project and reflect colored light deep into the space in luminous compositions, slowly moving through the lobby in response to the arc of the sun and the passing of clouds.

Justice Center Artwork: Commission Discussion

John Kotarski noted that the task force had cited some issues they wanted the artist to address. Had the artist responded? Aaron Seagraves, the city’s public art administrator, said Carpenter had submitted new renderings showing additional glass in the sculpture, which the task force had requested.

John Kotarski at his first meeting as a public art commissioner on Jan. 25.

Marsha Chamberlin asked whether the budget reflects those changes. [The budget of $150,000 includes a $9,000 line item for dichroic glass elements. Other major line items are for fabricated anodized aluminum elements ($35,000), installation ($20,000), lighting/electrical ($12,000), structural site work and ceiling refinishing ($12,000) and artist's wages/overhead ($25,700).] Seagraves said the artist had indicated that extra glass could be accommodated within the original budget.

Wiltrud Simbuerger wondered how quickly the work would be completed. There would be a six-month timeline, starting from the point of approval by the city council, Seagraves said.

Chamberlin noted that after the council approves the project, it typically takes an additional two months for the city attorney’s office to draw up a contract. She speculated that the six-month period would start sometime this summer, after a contract with the artist is signed. Kotarski asked whether it really takes two months for legal staff to prepare a contract. That’s been the commission’s experience, Chamberlin replied.

Chamberlin said she liked the project, and found it intriguing. Kotarski agreed, saying he especially liked the theme of the work. It puts the police and justice system at the center of the community, “as it should be,” he said. The ever-changing color and light reflects the community’s diversity, he added. It’s elegant, and light – it won’t disrupt the area at all. He also liked the fact that people can sit under it. Visitors are part of the center, and radiate out, he said – the artist ties this all together.

Connie Brown thanked the task force members for their work.

Outcome: Commissioners unanimously recommended approval of Carpenter’s Radius sculpture for the Justice Center lobby. The recommendation will be forwarded to city council for a vote.

Mural Project at Allmendinger Park

The art commission was asked to vote on selecting Ann Arbor muralist Mary Thiefels for a mural project to be located on pillars at a building in Allmendinger Park.

A task force had recommended her selection from among four finalists. Members of the task force include Wiltrud Simbuerger, Connie Pulcipher, Aaron Seagraves, Mariah Cherem and Hannah Smotrich.

This is the first project in a mural pilot program originally proposed by former AAPAC commissioner Jeff Meyers. Following Meyers’ resignation in mid-2011, Simbuerger has taken the lead on this project. At the Jan. 25 meeting, she briefly outlined the proposals for four finalists chosen by the task force. In addition to Thiefels, other finalists were (1) Robert Delgado of Los Angeles, Calif.; (2) Bethany Kalk of Moorehead, Kentucky; and (3) Jefferson Nelson of Liberty Center, Ohio.

The task force decided to recommend Thiefels not because hers was the best artistic treatment, but because of her proposal’s involvement of the community, Simbuerger said. Thiefels’ proposal entails asking neighborhood residents for artifacts to create mosaics at the top and bottom of the pillars. In a sense, it would create a “library” of the neighborhood, Simbuerger told commissioners, and the task force really liked this concept. They also liked the fact that Thiefels has a concrete plan for how to execute the community involvement aspect of her project. [.pdf of narrative portion from Thiefels' proposal]

However, task force members had some issues about the imagery that Thiefels proposed for the middle of the columns, Simbuerger said. In her proposal, Thiefels described it this way:

My timeless design for the Allmendinger park will inspire all who encounter it year round. Each of the 12 pillars represent a month of the year, 3 pillars to a season. Seasonal activities illustrate the diversity and popularity of the park.

In the spring, lilac bushes blossom, children come out of hibernation to play hide and go seek, birds nest again in the oak and hickory trees, the playground comes alive with activity and laughter. On the summer pillars kites fly and sports abound, like basketball, volleyball, tennis, baseball, and soccer. On the fall pillars you see, colors changing, tree climbing, dog walking and frisbee tossing, sunny day picnics, and morning martial arts. Winter offers cross country skiing, snowshoeing, and snow angels.

I will paint these illustrations onto a third of each pillar space. The remaining area will be made up of tile or glass mosaic and a section of collected and found materials.

I intend to use striking and strong imagery, illustrating the activities with visual confidence. The figures, birds, and trees, could be painted in Kara Walker style silhouettes (to see visuals of Kara Walker’s work, visit: http://learn.walkerart.org/karawalker). They can be heavily modeled and detailed or played down (painted more like a wood block, stencil or silhouette). Grays and earth tones can be used instead of blacks to better harmonize with the surroundings.

Right now, those images might work if you’re close to them, but not necessarily if you’re driving by or looking at them from a house across the street, Simbuerger said. So the task force recommended that they continue to work with Thiefels on designing the remainder of the mural on the middle sections of the pillars. Thiefels is willing to do that, but her new proposal isn’t yet completed, Simbuerger said.

Mural Project at Allmendinger Park: Commission Discussion

John Kotarski began by saying he really liked the proposal, especially because it involves the neighborhood and because Thiefels is a local artist. It’s important to build a sustainable community of local artists, he said. Kotarski agreed that the task force should continue to work with her on developing the project.

Image depicting Mary Thiefels’ mural proposal at Allmendinger Park.

Connie Brown liked the collaboration between the task force and Thiefels – that’s a good process, she said, and will result in a richer design.

Tony Derezinski also liked the concept, and noted that members of the Allmendinger family still live in this area. He reported that his wife used to work in the Allmendinger building at First and Washington. [The historic brick building contains offices now, but was originally the Allmendinger piano and organ factory.]

Commissioners discussed other projects that Thiefels had completed, including murals in Hillsdale, Dexter and downtown Ann Arbor – a mural depicting Michigan veterans, located in the alley on West Liberty between Ashley and Main. AAPAC had selected Thiefels for a 2011 Golden Paintbrush award from the city for that mural.

Marsha Chamberlin questioned whether the $10,000 budget was sufficient, considering the time and effort that would be required. Simbuerger agreed that it wasn’t much, but noted that it’s an amount low enough so that it doesn’t require the city council’s approval. Connie Brown clarified that the mural pilot program – approved by AAPAC in November 2010 – had designated a maximum $10,000 per project with the idea that multiple projects could be completed relatively quickly.

Simbuerger noted that the funding limit puts constraints on the types of materials that might be used, essentially limiting it to paint because of the cost. Bob Miller wondered whether there was any flexibility to add to the budget for materials.

Derezinski asked whether Thiefels is experienced at making bids on projects like this. Chamberlin reported that Thiefels has a company – TreeTown Murals – and has completed several projects. Chamberlin said she trusted that Thiefels could finish the project as proposed, within the amount budgeted. But it felt like AAPAC was setting up the program to encourage artists to cut corners, she added.

Chamberlin recalled that when Susan Skarsgard did the Imagine/Align project – a linear planting of daffodils at The Arb – it had been a major undertaking. Among other things, Thiefels’ project would entail cataloguing all of the contributed items to be used in the mosaic. It would be lovely to eventually have a story on the building’s wall to document the items, Chamberlin said.

Brown noted that this is a pilot program, so AAPAC could change it if they needed to.

Miller suggested that the commission ask Thiefels to submit a revised budget, one that would realistically reflect her work. At that point, the commission could discuss whether other funding might be available. After further discussion, Malverne Winborne made a friendly amendment to accept Thiefels as the artist for this project, contingent on her working with the task force to submit a revised proposal and budget.

Outcome: Commissioners voted to select Mary Thiefels for the Allmendinger mural project, contingent on asking her submission of a revised proposal and budget, with additional input from the task force. Work on the mural is expected to begin this summer.

Artwork for East Stadium Bridges

Wiltrud Simuerger gave an update on artwork for the East Stadium bridges project. The task force, which she leads, now includes Dave Huntoon, Joss Kiely, Nancy Leff, Jim Kosteva, Bob Miller and Aaron Seagraves.

The group met and talked about possible locations for artwork, Simbuerger said, within AAPAC’s framework of making it a high visibility project for a range of users – motorists, bicyclists, and pedestrians. They identified four locations: (1) on the East Stadium bridge itself; (2) on a fence in Rose White Park; (3) at the terminus of White Street, north of the bridge; and (4) on the stairs and underpass at South State Street. Artwork at any of these sites could be seen differently by various users, she said, depending on their velocity.

From left: Ann Arbor public art commissioners Bob Miller and Malverne Winborne.

The task force is developing a request for proposals (RFP) that will incorporate one or more of these locations. The proposal should also introduce an overarching theme, ensure the artwork’s high visibility, and address the diverse nature of the site, she said.

After the draft RFP is approved by the task force, it will be presented to AAPAC for consideration. Simbuerger said the task force is inclined to suggest a budget of $250,000 because it will be a high-visibility project: “That’s why we really recommend putting in some money.” Miller added that the amount suggested might be even higher.

Malverne Winborne clarified with Aaron Seagraves that $100,000 in funding was available directly from the bridge reconstruction budget, as the Percent for Art earmark. Other Percent for Art funds could be tapped, as long as the artwork relates directly to the original funding source. For example, artwork for the bridge could be funded with some of the $529,251 that’s available for public art from street millage projects.

Connie Brown said it’s difficult to allocate money for these kinds of public art projects without having a sense of how the projects fit into a broader plan. Marsha Chamberlin replied that the commission’s annual art plan is designed to provide that kind of guidance. [.pdf of current annual art plan, for fiscal year 2012]

The annual plan gives a list of projects and potential sites for public art, Brown said. It doesn’t provide an overall framework, one that answers the question of what the public art program hopes to accomplish more broadly for residents, she said.

John Kotarski agreed. Without a “conceptual narrative,” it’s hard to say whether a project is worth investing $100,000 or $400,000, he said. It’s challenging to evaluate sites by location, without a broader narrative or theme. Without that framework, he said, people might ask whether the Percent for Art program is just decorating the city.

Brown described it as the difference between being reactive or proactive. The commission needs an upper-level vision, she said.

Winborne noted that a budget for the East Stadium bridges artwork didn’t need to be set that night. Even after the task force makes a recommendation, a draft RFP would need to be reviewed by the city attorney’s office, he said. So the commission has time to discuss these issues further.

Strategic Planning

The discussion of the East Stadium bridges project – and the need for a broader conceptual framework to guide AAPAC’s decisions – led to talk of developing a master plan, in addition to the commission’s annual art plan.

Marsha Chamberlin pointed out that the commission’s approach has been from the bottom up, but they need to also look at it from the top down. They could look at what they’d generally like to achieve in the next three years, for example, then evaluate how specific projects would fit those goals.

Chamberlin initially suggested using part of AAPAC’s Feb. 22 meeting to talk about a master plan. But after further discussion, commissioners reached a consensus that a half-day retreat would be a better approach. Chamberlin proposed asking the mayor to expedite his nomination of the new commissioner, so that person could participate in the retreat. Connie Pulcipher of the city’s systems planning unit will be asked to facilitate. She has led AAPAC through similar exercises in the past, most recently in October 2011 to help commissioners prep for a Nov. 14 working session with city council.

No date has yet been announced for the upcoming retreat.

Aaron Seagraves, the city’s public art administrator, informed commissioners that he’ll be making a presentation at a March 12 city council working session to give an update on the Percent for Art program. He noted that AAPAC needs to pass its next annual plan – for FY 2013 – in March, so that it can be presented to the city council by April 1, as required by the Percent for Art ordinance.

At AAPAC’s Dec. 13, 2011 meeting, Seagraves had led a discussion regarding the next annual plan. As a follow-up to that meeting, he’d subsequently surveyed commissioners via email about their priorities for the coming year. At the Jan. 25 meeting, he presented results of that survey, which five of the eight commissioners had completed.

Based on the survey input, Seagraves identified priorities in several categories for the city’s 2013 fiscal year, which runs from July 1, 2012 through June 30, 2013:

• Streets: (1) the southeast corner of Main & William; (2) the intersection of Main & Huron; and (3) the median at Washtenaw & Stadium.
• Water & Sewer: (1) dams – Barton, Superior; (2) manhole covers; (3) interpretive signs regarding sewer “lead throughs” in parks.
• Programs: (1) crosswalk designs; (2) banners; (3) bus stops.
• Other: (1) roofs at the farmer’s market; (2) Douglas Park on Washtenaw Avenue; and (3) Miller’s Creek streambank.

Seagraves noted that in addition to priorities from commissioners, results from a public online survey could be used to guide the annual plan. The online survey, which launched earlier this month, will run through Feb. 20. So far, about 400 responses have been received, Seagraves said.

John Kotarski said he didn’t complete the survey because he’d had trouble figuring out what kind of responses were being sought. Connie Brown said she didn’t complete it either – she’d been frustrated that the questions didn’t fit into a broader framework.

Wiltrude Simbuerger suggested using this for the basis of discussion at the retreat, but not relying on the survey results exclusively to develop the annual art plan.

Commissioners present: Connie Rizzolo-Brown, Marsha Chamberlin, Tony Derezinski, John Kotarski, Bob Miller, Wiltrud Simbuerger, Malverne Winborne. Also Aaron Seagraves, the city’s public art administrator.

Absent: Cathy Gendron.

Next regular meeting: Wednesday, Feb. 22, 2012 at 4:30 p.m. at city hall, 301 E. Huron St. [confirm date]

The Chronicle relies in part on regular voluntary subscriptions to support our coverage of publicly-funded programs like the Percent for Art, which is overseen by the Ann Arbor public art commission. Click this link for details: Subscribe to The Chronicle.

Aaron Seagraves, Ann Arbor's public art administrator, goes over some ideas for possible programs to be funded through the city's Percent for Art program. (Photos by the writer.)

Most of AAPAC’s December meeting was spent looking forward to the coming year – discussing how to develop the next annual art plan, which is due to be delivered to the city council in April. Commissioners talked about how to increase the amount of public art funded through the city’s Percent for Art, including putting in place new programs that would expedite the process. Some city councilmembers have raised concerns that few public art projects have been completed since the Percent for Art was created in 2007. The program, overseen by AAPAC, allocates 1% for public art from all of the city government’s capital projects.

So far, only two projects have been installed: (1) a tree sculpture at West Park, and (2) a large water fountain in front of city hall. Updates on several other projects were reviewed at AAPAC’s December meeting, and several days after the meeting, action was taken toward the selection of artists for two projects. A task force for a mural in Allmendinger Park is recommending Ann Arbor muralist Mary Thiefels for that work, with a $10,000 budget. And a task force that’s selecting artwork for the lobby of the Justice Center is recommending Ed Carpenter of Portland, Oregon for that $150,000 project. AAPAC is expected to get more details and vote on both recommendations at its Jan. 25 meeting.

During Dec. 13 discussion of the annual plan, it emerged that there’s been a revision to a key constraint on Percent for Art spending: The aspect of permanence. Previously, city staff had told AAPAC that because all artwork needed to be capitalized, it had to last a minimum of five years. Now, Chamberlin reported, the city’s finance department has revised its definition of “permanent” to a minimum of two years, not five. “That does change things a lot,” she observed.

One item that fits the “permanent” requirement, but posed other concerns, was a proposed donation to the city via local attorney Kurt Berggren. The work is an eight-panel set of gates called the Global Peace Gateway, originally located at a cathedral in Los Angeles. Commissioners discussed several issues related to that donation, including the cost of transporting the work to Ann Arbor and the fact that the gates contain religious iconography. Ultimately, they voted to reject the donation.

One thing that wasn’t mentioned during the meeting: Margaret Parker’s decision to leave the commission one year before her term expired. The news was revealed later in the month at a city council meeting, when mayor John Hieftje put forward a nomination for her replacement – John Kotarski. Parker, a local artist, has served on AAPAC since its inception, including three years as its chair, and was instrumental in creating the Percent for Art program.

Project Updates

During the meeting, commissioners and staff gave updates on several ongoing projects.

Project Updates: Justice Center Lobby

Aaron Seagraves, the city’s public art administrator, told commissioners that a task force for selecting art in the lobby of the Justice Center would be meeting later that week and would likely pick an artist for the project. The names of three finalists had been posted on AAPAC’s website: Ed Carpenter of Portland, Oregon; Ray King of Philadelphia; and Thomas Sayre of Raleigh, N.C.

Responding to a follow-up email from The Chronicle, Seagraves said that the task force decided to recommend Carpenter for the project. Carpenter’s website describes him as an artist specializing in large-scale public installations, including architectural sculpture and infrastructure design – he has designed several bridges, for example. A total of $150,000 had been budgeted for the Justice Center piece; additional funds are available for artwork in an outdoor courtyard behind the building, facing Ann Street. The item will likely be on the agenda for AAPAC’s Jan. 25 meeting.

Project Updates: Dreiseitl Sculpture

Seagraves reported that the side panels were expected to be installed soon on the Herbert Dreiseitl sculpture in front of city hall, and the blue lights would be turned on soon. He wasn’t sure why it had taken this long for the final work to be completed. [The bronze sculpture – with a water feature and blue lights that flash in automated patterns – was officially dedicated at a public ceremony on Oct. 4. It's the first major installation paid for out of the city's Percent for Art program. The lights were turned on later in December.]

Project Updates: East Stadium Bridges

Seagraves said he’d done a walkthrough of the site earlier in the week with the project manager for the East Stadium bridges, which are being rebuilt, and they looked at possible locations for public art. Jim Kosteva, the University of Michigan’s director of community relations, will be part of the task force for this project, Seagraves said.

Project Updates: Allmendinger Mural

The finalists for the mural on pillars of the building at Allmendinger Park had submitted preliminary concepts, Seagraves said, and the task force was meeting later in the month to make a recommendation. [The finalists were (1) Robert Delgado of Los Angeles, Calif.; (2) Bethany Kalk of Moorehead, Kentucky; (3) Jefferson Nelson of Liberty Center, Ohio; and (4) Mary Thiefels of Ann Arbor. The project has a budget of $10,000.]

In a follow-up email to The Chronicle, Seagraves said that Thiefels will be recommended to AAPAC for the project. The commission is likely to vote on her selection at its Jan. 25 meeting.

Project Updates: Kingsley Rain Garden

Connie Brown has been taking the lead on a task force for artwork at the proposed Fuller Road Station. But because that project is on pause – commissioners were told last month that the entire project, which has not yet been approved by the city council, has been pushed back 6-12 months – Brown volunteered to “champion” the public art component for the Kingsley rain garden project. She said she’d work with Seagraves to form a task force for the effort.

At its Nov. 30, 2011 meeting, AAPAC had approved moving ahead on the project. The city is buying 215 and 219 W. Kingsley – land that’s located in a floodplain – and building a rain garden there.

Project Updates: Huron River Artwalk

Seagraves reported that he, Margaret Parker and Malverne Winborne had attended a meeting organized by the Huron River Watershed Council about possible art projects along the river. AAPAC has identified two locations for possible public art along the river: (1) at Gallup Park, in conjunction with planned improvements to the canoe livery; (2) at the Argo Dam canoe bypass, which is currently under construction. [.pdf of River Art Walk proposal]

The HRWC is looking at a broader art project involving multiple communities. For AAPAC’s project, Seagraves said Colin Smith – an Ann Arbor resident and chair of the Washtenaw County board of commissioners – is likely to serve on a task force for the effort, as will a member of the city’s park advisory commission.

Project Updates: Village Green

Elaine Sims asked whether there would be any public art at Village Green’s City Apartments, a residential complex planned for the corner of First and Washington. She recalled that the Ann Arbor Downtown Development Authority had a role in the project, but she couldn’t remember the details – nor could anyone else.

[The Ann Arbor city council finalized the sale of land to the developer Village Green at its Nov. 10, 2011 meeting. Village Green plans to build a 244-space parking deck as the first two stories of a 9-story building with 156 dwelling units, called City Apartments. The Ann Arbor DDA has pledged around $9 million of support for bonds to pay for the parking deck component of City Apartments, and the city will own that part of the project. Village Green representatives and the DDA had both discussed a possible public art component with AAPAC in 2008, but the issue hasn't been raised at AAPAC meetings since then.]

Project Updates: Street Art

Seagraves said he’d met with city staff who are involved in street repair and replacement projects, to try to get a sense of how public art might be incorporated. He plans to bring a more detailed report to AAPAC’s January 2012 meeting. As of December 2011, available Percent for Art funds from the street millage totaled $529,251.

Administrative Funding for Public Art

Margaret Parker asked whether there had been any movement toward increasing funds available for administrative support of the Percent for Art program. She has advocated for doubling the amount that’s currently set aside for the program’s administration. The position of public art administrator, currently held by Aaron Seagraves, is a part-time job. Other funds are available for project management work on specific projects, but the amount is capped at 8%. Parker would like to see the public art administrator be a full-time job, and the cap for other project management work raised to 16%.

Seagraves indicated that he hadn’t heard anything else about it, and said it’s a sensitive issue for him to pursue since it relates to his job. Parker said she doesn’t want the issue to slip through the cracks, and AAPAC needs to be kept informed about it.

Marsha Chamberlin, AAPAC’s chair, said she meets regularly with the public services area administrator – that position has been held by Sue McCormick, who recently took a job as head of the Detroit water and sewerage department. Chamberlin plans to continue meeting with the McCormick’s replacement, when that position is filled, as well as with the city administrator, Steve Powers. She said she’ll continue to pursue the issue of administrative funding.

Annual Planning

Most of AAPAC’s December meeting focused on long-range planning issues, beginning with the process of developing the commission’s annual art plan. [.pdf of annual plan for FY 2012, which was adopted earlier this year.] The discussion also looked at possible programs that AAPAC might pursue, similar to the mural program that’s now in a pilot stage.

Aaron Seagraves, the city’s public art administrator, led the discussion. By ordinance, AAPAC must submit an annual public art plan by April of each year. He noted that to date, the plan has been primarily driven by location – the plan aims for geographic diversity of art installations – as well as by the city’s capital improvement plan (CIP), which outlines upcoming projects that include Percent for Art funding.

He had prepared a draft timeline for developing an annual plan, as well as three general criteria to consider when determining what to include: (1) the number of new projects, (2) estimated recommended expenditures; and (3) programs or “themes.” He said he hoped the discussion could give guidance to AAPAC’s annual plan committee, which would flesh out this input as they develop a formal recommendation. [.pdf of draft timeline and criteria]

The timeline drafted by Seagraves begins in January:

• January: Meet with city staff regarding upcoming projects in the capital improvement plan (CIP) for FY2013.
• February: (1) Begin public input process; (2) Request information from residents; (3) Conduct survey; and (4) Attend meetings and forums with neighborhood associations.
• March: (1) Hold work session with the city’s park advisory commission and city council; and (2) present the plan to AAPAC.
• April: Annual plan due – submit to city council.

Marsha Chamberlin suggested that the annual planning process be a year-long effort. If it starts in January, “you’re already too late,” she said. Seagraves agreed, but noted that they do need to start working on the next plan now, which is due in April 2012.

AAPAC chair Marsha Chamberlin.

Commissioners talked about different ways to gather public input for the plan, such as meeting with neighborhood associations or speaking at business and civic groups like the Rotary Club or Main Street Area Association. They also discussed using an online survey and publicizing it through groups like the PTOs at local schools. Margaret Parker said she finds online surveys cold and impersonal, and suggested that instead of having it online, commissioners should attend meetings and pass out surveys to people there. When Chamberlin asked if Parker would be willing to tabulate paper copies of a survey, Parker said she would not be interested in doing that and suggested that they find a student to do it.

Tony Derezinski suggested putting information on Community Television Network, saying it’s surprising how many people watch public access TV.

The group also discussed how to approach the presentations at the park advisory commission and the city council. Derezinski, who also serves on the city council, said AAPAC should present a list of projects they’d like to do, then ask for comments “but not approval.” AAPAC has momentum right now, he said, in the wake of defeating an attempt to temporarily reduce funding from 1% to 0.5%. “We have the advantage for the time being, and we have to utilize that and strike,” he said. AAPAC needs to show that they’re doing what they said they’d do, he added, “and we can – it’s really doable.”

Annual Planning: Projects, Programs and Criteria

Seagraves asked commissioners to consider how many new projects they might want to set as a goal in the annual plan. He listed current projects in the order of expected completion, and noted that the first three would likely be finished in 2012:

• Mural program at Allmendinger Park
• Justice Center
• Kingsley & First rain garden
• Argo mill race, or Gallup Park canoe livery
• East Stadium/State bridge and Rose White Park
• Fuller Road Station

He also asked whether there were particular funding sources that commissioners wanted to target. He gave estimated available funding through FY2013 for the various Percent for Art sources, based on upcoming capital projects: parks ($35,200); streets ($638,300); water ($230,100); sewer ($438,700); stormwater ($33,900); solid waste ($37,000); energy ($6,400); and airport ($3,100).

Seagraves also introduced some ideas for programs that AAPAC could develop, similar to the mural program that’s now in a pilot phase. Other possibilities include artwork at crosswalks or shared-use paths, or a variety of public items that could be designed by artists: manhole covers, banners, street “furniture” (like benches or lights), fire hydrants, wayfinding signs or kiosks.

For programs, Seagraves said, some things to consider include how often would a work be commissioned, what funding source would be used, how long would these items be expected to last, and where might they be located?

Elaine Sims wanted to add “community art-making” to the list of potential programs. In other communities, artists do projects that involve large groups of people, like school children, she said. It’s a way to get more community buy-in.

Margaret Parker said the estimated $638,300 in the streets fund would be a good source for purchasing non-commissioned artwork. Sims noted that the Ann Arbor Transportation Authority has indicated a willingness to partner with the city on public art projects. Perhaps the streets fund would be a source for funding a project with AATA, she said.

Tony Derezinski suggested that the bus pullouts or bus stops along Washtenaw Avenue were an opportunity to install public art. Thematically, looking at bus stops might be a potential program, he said. From the city council’s perspective, he said, it would be helpful for AAPAC to develop collaborative relationships, like a partnership with the AATA.

With regards to partnerships, Marsha Chamberlin reported that she’d had some email exchanges with Abby Elias of the city attorney’s office regarding possible locations for art funded by the Percent for Art program. According to Elias, Chamberlin said, the AATA’s Blake Transit Center isn’t eligible because the city doesn’t own any of it. [The AATA is rebuilding the Blake Transit Center, located north of William between Fourth and Fifth avenues.]

Chamberlin said parking structures operated by the Ann Arbor Downtown Development Authority do qualify as possible locations for Percent for Art projects, because those are owned by the city. So one criteria for selecting specific projects would be that the location must be on city-owned property, she said.

Tony Derezinski, who serves on AAPAC and city council.

Geographic location – making sure that work is spread out in different neighborhoods – would be another criteria. After additional discussion, the criteria of visibility, funding source, and ease of implementation were also added to the list.

Chamberlin told commissioners that the overall idea is to get more public art into the community. One approach would be to pick a program – focusing on murals or sculptures, for example – and issue a request for proposals for artists. From those who apply, AAPAC could choose five artists and match them with five locations, she said. That would put more work in the pipeline.

There was some discussion about the issue of permanence. In the past, commissioners had been told by city staff that Percent for Art funds could only be used on “permanent” art installations. From the Chronicle’s coverage of AAPAC’s October 2011 meeting:

Marsha Chamberlin noted that AAPAC is challenged because the Percent for Art ordinance restricts the kinds of projects that can be done. It’s limited to projects that are permanent – which means the visual arts. That eliminates the ability to support performance arts, for example. Tony Derezinski said that people often refer to ArtPrize, an annual artist competition in Grand Rapids that draws hundreds of thousands of people to that community. Some wonder why Ann Arbor can’t do something like that event, he said: “There’s some Grand Rapids envy there, I think.”

Chamberlin noted that the meaning of permanent relates to its ability to be capitalized – it needs to last a minimum of five years, she said. [At AAPAC's July 2010 meeting, McCormick told commissioners that the city runs a depreciation schedule on each piece of art.]

By way of background, the word “permanent” is not used specifically to refer to public art in the Percent for Art ordinance, which defines public art in this way: “Public art means works of art created, purchased, produced or otherwise acquired for display in public spaces or facilities. Public art may include artistic design features incorporated into the architecture, layout, design or structural elements of the space or facility. Public art may be any creation, production, conception or design with an aesthetic purpose, including freestanding objets d’art, sculptures, murals, mosaics, ornamentation, paint or decoration schemes, use of particular structural materials for aesthetic effect, or spatial arrangement of structures.” [.pdf of Percent for Art ordinance]

At the Dec. 13 meeting, Chamberlin reported that the city’s finance department has revised its definition of “permanent” to a minimum of two years, not five. “That does change things a lot,” she observed.

Toward the end of the meeting, Seagraves offered to put together a summary of their discussion, and bring it to the January meeting for additional refinement. The group also agreed to discuss the development of a rating sheet at that meeting, to be used in assessing projects based on the criteria they’ve identified.

Commissioners also discussed modifications to a draft, outlining steps that should be taken in developing public art projects. [.pdf of project steps spreadsheet] Seagraves plans to bring an updated version of that document to the January meeting too.

Donation of Gates

Marsha Chamberlin noted that she had emailed commissioners regarding a proposed donation to the city. Typically, when AAPAC receives an offer of a donation, a task force is formed to evaluate it and make a recommendation on accepting it. Chamberlin began by asking whether there might be any circumstance in which AAPAC did not need to take that step – for example, if it were a donation that commissioners felt would grossly offend public taste.

Ann Arbor public art commissioner Elaine Sims.

In the current case, the donation was offered by local attorney Kurt Berggren for an eight-panel set of gates called the Global Peace Gateway, originally located at a cathedral in Los Angeles. They were created in 1922 by an unknown artist, Chamberlin said, and include religious iconography – specifically, several large crosses. At a minimum, it would cost an estimated $15,000 to transport the gates to Ann Arbor, she said. So the question for AAPAC is whether to create a task force to evaluate the donation before making a decision, or whether to simply make a decision without taking that step.

Margaret Parker said the gates are actually a piece of architectural detail, not a standalone work of art. “We’re not in the architectural element recycling business,” she said. Parker also noted that there’s no indication as to what the maintenance costs for the gates would be.

Wiltrud Simbuerger observed that the gates would have to be made into a piece of art, and someone would have to do that, which would result in additional expense. Tony Derezinski said the gates could be located at a gateway to the city, citing Fuller Road Station as a possibility. But he added that his initial impression was he’s doubtful about accepting the donation. It would cost the city some money, and there are unanswered questions. What additional information did they need to make it more appealing? he asked.

Chamberlin ventured that paying so much for transport isn’t the best use of city funds. Elaine Sims said she’s troubled by the crosses, while Connie Brown noted that there’s nothing like this proposed in AAPAC’s annual art plan.

Derezinski said the cumulative effect of all these concerns make it difficult to move ahead.

Outcome: Commissioners voted unanimously to turn down the donation of the Global Peace Gateway.

Parker’s Resignation

At the Ann Arbor city council’s Dec. 19, 2011 meeting, mayor John Hieftje nominated John Kotarski to replace Margaret Parker on AAPAC. Kotarski has been a media consultant who previously worked for the Mount Clemens Schools. He has attended several recent AAPAC meetings as an observer.

Parker served for several years on the commission on art in public places (CAPP), the precursor to AAPAC. She was last re-appointed to AAPAC on June 15, 2009 for a three-year term, which would have ended Dec. 31, 2012. Parker served as chair of AAPAC from the enactment of the city’s Percent for Art ordinance in 2007 until the end of 2010. Marsha Chamberlin agreed to assume responsibility as chair in April this year.

At the Dec. 13 AAPAC meeting, Parker did not mention her plans to resign.

Commissioners present: Connie Rizzolo-Brown, Marsha Chamberlin, Tony Derezinski, Margaret Parker, Wiltrud Simbuerger, Elaine Sims. Also Aaron Seagraves, the city’s public art administrator.

Absent: Cathy Gendron, Malverne Winborne, Cheryl Zuellig.

Next regular meeting: Wednesday, Jan. 25, 2012 at 4:30 p.m. at city hall, 301 E. Huron St. [confirm date]

The Chronicle relies in part on regular voluntary subscriptions to support our coverage of publicly-funded programs like the Percent for Art, which is overseen by the Ann Arbor public art commission. Click this link for details: Subscribe to The Chronicle.