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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Ann Arbor public art commissioners Marsha Chamberlin and Devon Akmon. Akmon is AAPAC’s newest member, and was attending his first commission meeting on Sept. 25. Chamberlin is the longest-serving commissioner. (Photos by the writer.)

The project would involve wrapping about 40 traffic signal boxes in the DDA district with vinyl printed replicas of artwork. The initial pilot phase would focus on 14 boxes at a total cost of $41,000, to be split between the city and the DDA. That cost includes a 30% administrative fee paid to the Arts Alliance, which is based in Ann Arbor. Another $80,000 would be needed for the final phases.

Deb Polich, executive director for the Arts Alliance, told commissioners that the DDA board is expected to vote on the project at its Oct. 2 meeting.

Commissioners were supportive of the project, but concerned about how to approach the funding, given constraints tied to the remaining Percent for Art funds. “I want to make sure we don’t step in something that we then get slapped for,” Marsha Chamberlin said.

Ultimately, commissioners unanimously voted to approve participating in the PowerArt project, contingent on the city’s legal review of potential funding sources.

AAPAC also authorized allocations for other projects that have been discussed for several months. They approved $10,000 for a community project called Canoe Imagine Art, and $5,000 for a Coleman Jewett memorial at the Ann Arbor farmers market. Both of these projects will rely on grants and private fundraising for the majority of their budgets.

Action on three other projects was tabled, as commissioners wanted more detailed proposals before allocating funds. Those projects were: (1) artwork for a roundabout at State & Ellsworth; (2) a community art project at Arbor Oaks Park, adjacent to Bryant Elementary School; and (3) a proposal for enhancing the fence along the south side of Scio Church Road, between Maple and Delaware.

These projects prompted some discussion about broader issues, included the process that AAPAC uses to vet proposals. Ashlee Arder, one of the newer commissioners, advocated for continuing to develop a more structured approach. “I do think we need to have a larger conversation or retreat about who we are and what we’re trying to do here,” she said.

The commission has been grappling with a transition to a new funding model for public art, after the city council voted to eliminate the previous Percent for Art mechanism this summer. That model set aside 1% of the budget for each of the city’s capital projects for public art – up to a cap of $250,000. Because that money was taken from restricted funds – such as millage funds for parks or street improvements –  a thematic link must exist between the funding source and the public art expenditure. About $840,000 in Percent for Art funds remain available for projects, but there will be no additional Percent for Art funding.

Instead, the city has adopted an approach in which city staff will work with AAPAC to determine whether a specific capital improvement should have enhanced design features “baked in” to the project – either enhanced architectural work or specific public art. The funding for any of the enhanced features would be included in the project’s budget and incorporated into the RFP (request for proposals) process for the capital project. There is also an increased focus on private fundraising and partnerships.

On Sept. 25, commissioners also received several updates from Aaron Seagraves, the city’s public art administrator. He reported that a reception is planned for Thursday, Oct. 10 at 6 p.m. to dedicate the hanging sculpture Radius, located in the Justice Center lobby next to city hall. Oregon artist Ed Carpenter is expected to attend.

And two finalists for artwork at Argo Cascades – Jann Rosen-Queralt of Maryland and Mags Harries & Lajos Heder of Cambridge, Mass. – will be coming to town on Oct. 17 to present their conceptual designs to the public. A task force will make a recommendation to AAPAC on which of the artists to select for the project.

The Sept. 25 meeting was the first one for AAPAC’s newest member, Devon Akmon. Appointed by the Ann Arbor city council on Sept. 3, 2013, Akmon is director of the Arab American National Museum in Dearborn.

“PowerArt” Project

John Kotarski introduced a proposal by the Arts Alliance called “PowerArt.” [.pdf of PowerArt proposal] The city could be partnering with the Ann Arbor Downtown Development Authority on this, he said. He introduced Deb Polich, executive director of the Arts Alliance, to provide more details.

Polich started by saying the Arts Alliance can’t take credit for this project, because it was proposed by the DDA, working with AAPAC chair Bob Miller. The DDA had asked the Arts Alliance to develop a proposal, she said.

The proposal calls for wrapping about 40 traffic signal boxes in the DDA district with vinyl printed replicas of artwork.

Deb Polich, executive director of the Arts Alliance, made a presentation to AAPAC about the proposed PowerArt project.

The city of Boise, Idaho was a case study for this project, Polich said. That city rolled out the project in phases, she noted, which heightened interest. Boise’s project also resulted in less graffiti on the signal boxes as well as in the surrounding area, she said.

The intent would be for the artists to retain the copyright to their work, she explained, and a licensing agreement would be negotiated to allow the Arts Alliance to use the work. It wouldn’t necessarily require an artist to create a new work, she noted – the image could be taken from an existing piece.

It’s also important to compensate the artists thoroughly, Polich said, so the payment proposed for the artist – $1,400 per box – is about twice the amount that the vendor would charge to make the vinyl replica and install it.

The proposal calls for three cycles, beginning with a pilot project. After review and evaluation, the project would move into the next two cycles over a three-year period. Beyond that, it’s possible that the project could be rolled out into other parts of the city, not just downtown.

Polich told commissioners that she’d made a presentation to the DDA’s operations committee earlier in the day, and that that committee plans to bring the proposal to the full board for a vote at its Oct. 2 meeting. [Polich's husband, Russ Collins, is a member of the DDA board.]

Depending on when the project is approved, the proposal lays out a six-month timeline for the pilot project. The pilot would be for 14 boxes in locations with high pedestrian traffic.

Regarding the budget, Polich noted that it includes $50 per box for maintenance, although she expects maintenance costs will be low, based on Boise’s experience. The licensing fee to artists would be $1,400 per box, with another $650 per box for printing and installation. The other major expense would be a 30% administrative fee for the Arts Alliance, which totals $9,100 for the pilot phase. Work would include negotiating licensing deals, marketing and other tasks. For later cycles, the administrative fee would be slightly lower, at 25% of the total cost.

The work would be selected by a jury, Polich said, which would include volunteers as well as people that she described as “fence sitters on the public art scene.” Engaging them in this kind of process might give them a different perspective on public art, she said. There would also be a crowd selection component for four of the boxes in the pilot phase, with artwork selected by an online vote of the public.

Polich noted that Ward 2 is the only one of the city’s five wards that isn’t part of the DDA district, but all other wards would be part of this project.

“PowerArt” Project: Commission Discussion

Bob Miller clarified that it’s not a city project, so AAPAC would just be deciding whether to provide financial support. Connie Brown wondered who would own the artwork, saying she’d like that to be clarified as the project moves forward.

Bob Miller, AAPAC chair.

Marsha Chamberlin noted that the commission has previously discussed whether to endorse projects, noting that the issue arose when AAPAC was approached about endorsing a “whirlydoodle” project. The commission had decided not to make endorsements. On one level, Chamberlin said, AAPAC could be viewed as endorsing this PowerArt project. “We just need to know that this is something to address,” she said.

Chamberlin said she loved this project. But given the constraints that the city attorney’s office has put on AAPAC, “are we OK with putting city money into this?” she asked. For example, she said, the city attorney’s office has told AAPAC that it can’t limit the artist solicitations to local residents – the call for proposals must be open to artists nationally. Polich indicated that the Arts Alliance would be willing to accommodate that, if necessary, although the original proposal called for seeking Washtenaw County artists.

Kotarski said that in his view, AAPAC is selecting a sole source vendor – the Arts Alliance. The alliance would be picking the artists, not the city, he said. So he didn’t think the same constraints that Chamberlin described would apply.

Miller joked that “the nuts and bolts all kind of fell out of the engine, as Aaron [Seagraves] and I started talking about this.” City funding for this project doesn’t work, Miller continued, because the Arts Alliance didn’t win this project on a competitive bid, as the city requires. No request for proposals was issued. So the city can fund specific parts of the project, he said, such as the vendor who actually wraps the signal boxes, because that vendor would be selected through a competitive bidding process.

But the other part of the project can’t be funded through remaining Percent for Art funds, he noted. Instead, he suggested using unencumbered funds being held by the Ann Arbor Area Community Foundation.

Kotarski referenced a discussion that he and Miller had earlier in the day with Craig Hupy, the city’s public services area administrator. Hupy had indicated that it would be possible to fund the project with remaining Percent for Art street funds, Kotarski said, but Hupy had planned to check with the city attorney’s office about it.

Corrected after initial publication: Not an example of a vinyl-wrapped traffic box with artwork by David Spear. This image was included in the Arts Alliance proposal for the PowerArt project. This image was actually hand-painted by Spear.

Connie Brown clarified that the DDA is also a unit of the city. In that case, she said, she didn’t see why there are complications with the city funding the project, via AAPAC, while the DDA didn’t appear to have that same issue. Kotarski reiterated that Hupy didn’t think it should be a problem for the city to participate, but that Hupy wanted to doublecheck with the city attorney.

Brown didn’t think AAPAC should be put in a position to determine whether the funds could be used legally. She suggested that AAPAC could simply vote on the project, then let the city staff determine the appropriate funding sources.

Chamberlin said it’s a cool project, and AAPAC gains from having partners like the Arts Alliance and DDA. But given the delay of the Canoe Imagine Art and Coleman Jewett memorial projects – because of the time it takes for the city attorney’s office to review these projects – “I want to make sure we don’t step in something that we then get slapped for,” she said. She’d rather take the time to make sure it’s cleared with the city attorney’s staff, or to hear directly from Hupy that it’s fine to move ahead on this project.

Miller said he’d be comfortable with that approach.

Kotarski asked Polich if it would be a problem to table the proposal for a month until AAPAC’s Oct. meeting, in order to sort out the funding issue. That would be fine, Polich replied. “We’re ready to move whenever we need to move, but it’s not going to hurt us one way or another.”

Miller asked Seagraves to clarify with Hupy whether the project can be funded with remaining Percent for Art street funds.

Malverne Winborne made a motion to approve the PowerArt pilot project in partnership with the Ann Arbor DDA and the Arts Alliance, contingent on legal review regarding potential funding sources. Kotarski supported that approach, saying it would show the DDA that AAPAC is serious about the project.

Polich said the Arts Alliance has looked into this very thoroughly, but she recognizes that it’s still a proposal and there are a lot of moving parts. The alliance is willing to work with AAPAC and the DDA to make sure it all works smoothly, she said.

Kotarski hoped that the project could be limited to local artists, if at all possible.

Outcome: Commissioners unanimously voted to approve the PowerArt project, contingent on legal review of potential funding sources. The pilot project would entail a $20,500 contribution from both the city and the DDA.

Canoe Imagine Art

Marsha Chamberlin gave an update on a community project called Canoe Imagine Art. At a special meeting on March 7, 2013, AAPAC had voted to participate in the project, but did not commit to providing any funding at that time. On Sept. 25, Chamberlin brought forward a proposal for AAPAC to contribute $10,000. [.pdf of project intake form]

Canoe Imagine Art logo.

The project will use 30 old aluminum canoes from the city of Ann Arbor’s Argo canoe livery, which 10 artists and 20 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.

Chamberlin noted that AAPAC had “money in the bank” to fund this kind of project, and approving it would demonstrate the commission’s ability to mobilize and get things done, “because that’s certainly a criticism we’ve been subjected to,” she said. More importantly, Chamberlin added, this represents a large-scale, temporary type of project that many councilmembers have talked about wanting to see. The total budget will be about $100,000, including a lot of in-kind contributions. But organizers of the project also plan to apply for grant funding, she said, and it’s compelling to show that the project already has support from the community.

Connie Brown supported the project, describing it as a fun effort that involves partnerships with other community groups.

John Kotarski said he liked the project, but he wanted to see it presented as a more formal proposal, akin to the packet that had been prepared by the Arts Alliance for the PowerArt project. Chamberlin replied that she had previously provided a written proposal several months ago. [.pdf of canoe project memo presented in March 2013] She said she’d be happy to prepare an updated document, but organizers were applying for a grant from the Michigan Council for Arts and Cultural Affairs that needed to be completed by Sept. 30.

Kotarski indicated that he understood the deadline, but hoped that Chamberlin could follow up with a proposal to AAPAC that used the Arts Alliance proposal as a model.

Brown noted that Kotarski was likely to make similar comments for all of the projects on the agenda. One-page intake forms had been prepared for each of the projects, but not more elaborate proposals. She wondered whether someone on the city staff – possibly public art administrator Aaron Seagraves – could assemble the kind of proposals that Kotarski wanted.

Chamberlin pointed out that several people on the commission were involved in the Canoe Imagine Art project, as were city staff, and she had thought that the previous material provided to AAPAC was sufficient. But she told Kotarski that she would help prepare a more detailed document, if that was what the commission wanted.

Seagraves noted that commissioners needed to discuss the source of funds for this $10,000. It could come from remaining Percent for Art pooled funds for parks, since some of the canoe art would be located in city parks. However, there is also about $10,000 in an account held by the Ann Arbor Area Community Foundation, he said. It had been given by a private donor and intended for a project in 2001 that was never competed. In 2005, the money was made available for any public art project in downtown Ann Arbor, but it hasn’t yet been used.

If AAPAC decided to use these funds for the Canoe Imagine Art project, it would free up remaining Percent for Art parks funds for other projects, Seagraves said. The majority of the canoe art would be located along downtown streets, so Seagraves recommended using the community foundation funds.

Bob Miller indicated that other projects – like the PowerArt proposal – might make use of the foundation funds. He suggested voting to agree to spend $10,000 on this project, but not to identify a specific funding source at this time.

Seagraves said the commission could vote on a funding source at its October meeting.

Outcome: Commissioners unanimously voted to spend $10,000 on the Canoe Imagine Art project, with the specific source of funding to be determined later.

Coleman Jewett Memorial

Marsha Chamberlin also gave an update on the memorial for Coleman Jewett. [.pdf of Jewett memorial intake form]

At a special meeting on March 7, 2013, AAPAC had voted to accept developing the memorial for Coleman Jewett as an official AAPAC project. The original proposal was for a bronze Adirondack chair at the Ann Arbor farmers market. 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 foundation 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.

From left: Public art administrator Aaron Seagraves and John Kotarski, a member of the Ann Arbor public art commission.

A memorandum of understanding has been negotiated between the Jewett family, the city, and the Ann Arbor Area Community Foundation, which will act as a fiduciary for fundraising. The plan now calls for two full-sized replicas in bronze, at an estimated cost of $15,000 each. Materials for fundraising have been developed, and about 300 personalized letters to potential donors will be sent out soon, Chamberlin said.

The donor who has indicated an intent to contribute $5,000 to the project had asked for a detailed proposal, Chamberlin said, adding that she had provided the proposal several weeks ago but hadn’t heard back from him. She recently learned that he’s out of the country, so the city still doesn’t have a formal commitment on those funds.

The total budget is estimated to be $30,000 to $35,000. Chamberlin proposed allocating $5,000 of AAPAC funds to help kick off the additional fundraising.

As he did during the Canoe Imagine Art discussion, John Kotarski said he’d like a more elaborate proposal for this and all projects that come to AAPAC for approval. He thought that the fundraising materials that Chamberlin had developed might serve that purpose.

Chamberlin pointed out that this project was approved about six months ago and has been discussed at virtually every meeting since then. “I just assumed people were up to speed on it,” she said.

Kotarski said his intent isn’t to get AAPAC up to speed. Rather, this kind of documentation will show the public that AAPAC was thorough in its work, before making decisions. He said he was critical of all the intake forms, and he’d emailed Aaron Seagraves with his comments. “I think our approach now is shoot, ready aim,” Kotarski said. “We are making decisions before we really, fully have a fleshed out concept and idea.” He’d like to change their approach, and said the Arts Alliance proposal provides a good model.

Chamberlin replied that the commission had developed the process of using project intake forms, so it should be a commission decision if they want to change that approach. These projects have been documented and presented to the commission at previous meetings, she noted.

Connie Brown felt that Kotarski was raising a broader issue, and she agreed that going forward, each project should have a more detailed packet of material. Bob Miller asked Seagraves to provide that type of packet in the future.

Chamberlin noted that this would dramatically change the process that AAPAC has developed. That process entails initial approval by AAPAC to move ahead on a project, followed by the formation of a task force to flesh out a more detailed proposal, on which AAPAC then votes.

After further discussion, commissioners reached consensus for Seagraves to compile more detailed proposals for AAPAC projects.

Outcome: Commissioners unanimously voted to allocate $5,000 from the remaining Percent for Art parks funds to the Coleman Jewett memorial.

Artwork in Arbor Oaks

At AAPAC’s June 26, 2013 meeting, commissioners approved setting up an exploratory task force for possible artwork in the Arbor Oaks Park, located in the Bryant neighborhood on the city’s southeast side. [.pdf of Arbor Oaks intake form] Task force members include public art commissioners Malverne Winborne and Nick Zagar; Derek Miller, deputy director of the nonprofit Community Action Network (CAN); and CAN board member David Jones, as well as local residents.

Ann Arbor public art commissioner Malverne Winborne.

Public art administrator Aaron Seagraves reported that the task force met on Sept. 5, although neither of the public art commissioners could attend. The task force reviewed some examples of projects in other communities, he said, and talked about the kind of artwork they’d like to see in the park, which is adjacent to Bryant Elementary School. The project is envisioned as more of a community arts project, Seagraves said, similar to the mosaic mural that was completed at Allmendinger Park last year. It would involve an artist working with community members to design and create the artwork.

The request is to allocate $5,000 to the project from remaining Percent for Art parks funds. The idea is to raise private funds in addition to the city’s funding.

Connie Brown raised a broader issue, asking how AAPAC should decide whether to fund only a portion of a project, or to provide all the funding. She noted that AAPAC had funded the entire project at Allmendinger, and her inclination for the Arbor Oaks project is to fund more than just a small portion of it.

Marsha Chamberlin characterized it as a larger planning question. She noted that this project is very different from Canoe Imagine Art, where corporations will be approached for fundraising. It might be more appropriate for the city to fully fund projects like the one in Arbor Oaks, she said, and for AAPAC to develop criteria for that – like neighborhood participation.

John Kotarski wondered what would happen if no money were raised, and only $5,000 had been allocated to the Arbor Oaks project. “Are we setting it up for failure?” he asked. He said he’d be more comfortable having more description of the project, and a better sense of the budget. He pointed out that the Allmendinger Park mural was totally funded by the city, at $12,000.

Brown noted that the previous projects AAPAC had voted on during the meeting – Canoe Imagine Art and the Coleman Jewett memorial – were very well developed. She said she’s in favor of the Arbor Oaks project, but wants to make sure it’s funded appropriately.

Chamberlin pointed out that AAPAC has already accepted this as a project.

Bob Miller said there’s value in crowdsourcing, to engage the community. It’s worth investigating how that might happen. He asked Seagraves to develop a more detailed proposal, before AAPAC allocated any funding.

Chamberlin moved to table action on the funding allocation.

Outcome: Commissioners unanimously voted to table the funding proposal.

Scio Church Street Fence

Aaron Seagraves presented a proposal for enhancing the fence along the south side of Scio Church Road, between Maple and Delaware, including the I-94 overpass. [.pdf of fence intake form] The city is planning for installation of sidewalks along that stretch and will also be installing a fence there as part of that project.

The city staff was planning to install a standard kind of chain link fence, but Craig Hupy – the city’s public services area administrator – thought there might be an opportunity for something more creative, if AAPAC wanted to explore that possibility. The construction work would likely occur next summer. The budget for the fence enhancement was recommended to be between $40,000 and $80,000 from the remaining Percent for Art street funds.

Public art commissioner Ashlee Arder.

When Bob Miller asked for a more detailed proposal, Malverne Winborne pointed out that these projects begin with the initial step of an intake form, which gives a very brief overview of the concept. Devon Akmon observed that it seems like a two-step process, with this initial step simply confirming whether AAPAC wants to move forward with a project.

Commissioners again discussed whether they needed more information at this point in the process, and how to vet projects before investing significant time in developing a fuller proposal. Aaron Seagraves offered to put together a more detailed proposal for AAPAC’s October meeting.

John Kotarski explained to Akmon, AAPAC’s newest member, that the funds for this project would come from the remaining Percent for Art funds, which won’t be replenished after they’re spent. In the future, the funding will come from partnerships, fundraising and any money that the city council allocates to “enhance” capital projects. He noted that the remaining Percent for Art funds must be spent on projects that are tied thematically or physically to the funds of origin. “It’s an entanglement that the council felt was too much, and [the Percent for Art approach was] dissolved,” he said. “We’re trying to reinvent a ship that’s left port, and it’s challenging.”

Ashlee Arder supported a more organized proposal process. That will help everyone conceptualize the projects, she said, and will force the person who’s bringing forward the project to think about everything that’s involved in it, in terms of time and resources. Everyone has ideas, but do they have the capacity to implement them? “I do think we need to have a larger conversation or retreat about who we are and what we’re trying to do here,” she said.

Akmon suggested defining the parameters of the types of information AAPAC needs, in order to make decisions about which projects to move forward. Miller said it sounds like the idea is to make a template for making a proposal, so everyone knows what’s expected. He asked Seagraves to develop such a template.

Outcome: Commissioners voted unanimously to table the Scio Church fence project.

Roundabout at State & Ellsworth

Artwork for the new roundabout at South State and Ellsworth had been initially approved in concept by AAPAC, but without a budget attached to it. Aaron Seagraves reported that the roundabout will be finished soon.

Bob Miller noted that action had been suspended on this project because AAPAC had wanted to tie it into the city’s South State Street corridor plan. He wasn’t sure about the status of that plan, and said that if it’s not moving forward, then AAPAC should go ahead and take action on artwork for the roundabout. [By way of background, both the planning commission and city council have approved the South State Street corridor plan to be added to the city's master plan. The council took that action on June 15, 2013.]

Seagraves reported that although the plan has been approved, many of the recommendations won’t be implemented for several years.

John Kotarski suggested tabling it until AAPAC can get more information. He asked Seagraves to provide a report with some options about how to proceed.

Outcome: Commissioners voted to table action on possible artwork for the State & Ellsworth roundabout.

Forest Avenue Plaza

An item on the Sept. 25 agenda requested that AAPAC reallocate the previously approved budget for public art at the city’s Forest Avenue Plaza, putting the funds back into pooled Percent for Art parks funds. The action would also remove its status as an AAPAC project.

AAPAC had previously accepted this as a project at its Aug. 22, 2012 meeting, allocating between $10,000 to $35,000. The intent had been to work with the city’s parks staff and the Ann Arbor DDA to improve the plaza, which is located next to the Forest Avenue parking structure near South University.

Bob Miller said there had been buy-in on this project and several meetings were held over the past year, but when Percent for Art funding was suspended, the parks staff moved ahead with renovations there without incorporating public art.

Outcome: Commissioners unanimously voted to remove the project and return the allocation to the pooled Percent for Art parks fund.

Project Updates

Several other projects were discussed briefly during the Sept. 25 meeting, by way of updates. Additional information was also included in a written report by Aaron Seagraves, the city’s public art administrator. [.pdf of Seagraves' report] These projects were either already in progress when the city council temporarily halted spending on public art late last year, or don’t use Percent for Art funds.

Here are some highlights.

Project Updates: Annual Planning

The city is beginning its update of the capital improvements plan (CIP). Deb Gosselin, who manages the CIP process, will attend AAPAC’s Oct. 23 meeting to talk about how the process works. Gosselin had previously attended AAPAC’s Feb. 27, 2013 session, when she gave an overview of the CIP process.

Seagraves noted that under the city’s new approach to funding public art, the CIP process will directly affect the planning for public art. Projects in the CIP are eligible for public art “enhancements,” if approved by the city council.

The CIP will also start the process for developing AAPAC’s annual plan for the next fiscal year, which is due Feb. 1, 2014.

Project Updates: Radius Reception

A reception is planned for Thursday, Oct. 10 at 6 p.m. to dedicate the hanging sculpture Radius, located in the Justice Center lobby next to city hall. Oregon artist Ed Carpenter is expected to attend.

Project Updates: Argo Cascades

Two finalists for artwork at Argo Cascades are Jann Rosen-Queralt of Maryland and Mags Harries & Lajos Heder of Cambridge, Mass. They will be coming to town on Oct. 17 to present their conceptual designs from noon to 2 p.m. at city hall. The presentations will be recorded by Community Television Network, and will include feedback from the task force.

Task force members are John Kotarski, Malverne Winborne, Cheryl Saam, Margaret Parker, Cathy Fleisher, Bonnie Greenspoon, Julie Grand, and Colin Smith. The project has a budget of $150,000.

Project Updates: East Stadium Bridges

In early August, Catherine Widgery of Cambridge, Mass. was recommended as the artist for public art on the East Stadium bridges in Ann Arbor. 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 proposal]

Seagraves reported that the selection panel provided feedback to Widgery, who subsequently revised her proposal. Members of the panel are Wiltrud Simbuerger, Bob Miller, Nancy Leff, David Huntoon and Joss Kiely. A conference call with the artist was held on Sept. 6 with panel members to discuss the proposal. [.pdf of panel feedback]

The new design incorporates glass paneled louvers with tree images in three locations on and under the bridge, to connect the locations thematically.

John Kotarski reported that he and Bob Miller will be taking this latest design to some of the city’s boards and commissioners for feedback, before the task force makes a recommendation to AAPAC. They had done similar outreach before Widgery was selected as the artist for this project. The intent is to create community buy-in before a project is finalized. It would need final approval by the city council.

Project Updates: First & Kingsley Rain Garden

At their Aug. 28, 2013 meeting, commissioners had approved Joshua Wiener‘s schematic design for public art at a planned rain garden, to be located at the southeast corner of First & Kingsley. [.pdf of staff memo, including itemized budget] On Sept. 25, Seagraves reported that Wiener continues to finalize designs, for installation in the spring.

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

Wiener visited Ann Arbor on July 15 to present his design to the public. His proposal is for sculptures showing 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.

Commissioners present: Devon Akmon, Ashlee Arder, Connie Brown, Marsha Chamberlin, John Kotarski, Bob Miller, Malverne Winborne, Nick Zagar. Also: Aaron Seagraves, the city’s public art administrator.

Next regular meeting: Wednesday, Oct. 23, 2013 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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