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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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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