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HomeMy WebLinkAbout8-1-24 PAAC Agenda PacketPublic Art Advisory Committee Thursday, August 1, 2024 3:00 PM Emma Harvat Hall City Hall, 410 E. Washington AGENDA 1. Call to order 2. Public discussion of any items not on the agenda 3. Consider minutes of the June 6, 2024 PAAC Meeting 4. College Green Stair Painting – Green Iowa Americorps Project 5. Consider Recommendation for Public Art Inventory Condition Assessment 6. Discuss Staff Recommendation for Handling Public Art Project Requests 7. Lucas Farms Neighborhood Indigenous History Art Project 8. Staff updates a. South District Bus Stop Bench Project Update b. Sculptor’s Showcase Update c. Strategic Plan Update d. Thank you for your service, Steve! 9. Old or New Business 10. Adjournment If you will need disability-related accommodations in order to participate in this program/event, please contact Rachel Kilburg Varley, Public Art Coordinator at 319-356-5014 or rkilburg@iowa-city.org. Early requests are strongly encouraged to allow sufficient time to meet your access needs. DRAFT, p.1 Public Art Advisory Committee Mtg, 6/6/2024 Minutes Public Art Advisory Committee June 6, 2024 Emma Harvat Hall Public Art Advisory Committee Members Present: Ron Knoche, Steve Miller, Jeremy Endsley, Rachel Kinker, Leslie Finer, Nate Sullivan, Anita Jung, Juli Seydell Johnson Members Absent: Andrea Truitt Staff present: Rachel Kilburg Varley Public Present: Ethan Wyatt, Ray Michels Call to Order Miller called the meeting to order at 3:34 p.m. Public Discussion of Any Item Not on the Agenda None. Consider minutes of the April 4, 2024 PAAC meeting. Johnson moved and Sullivan seconded that the minutes from the April 4, 2024, meeting be approved. Motion passed (7-0). South District Bus Stop Bench Project Update & Contract Discussion Commission member Anita Jung joined the meeting. Artist Ethan Wyatt and Mentor Ray Michels provided an update on their completion of the 3:1 scale metal model of the sculptural bench project. The model was constructed using screws as the joining hardware which took longer than expected, however the heavier metal used in the final product will be welded. Miller asked how the bench will be attached to the sculpture. Michels described that the column base of the jib crane will be towards the front of the sculptural hand’s wrist and exist out through the thumb and index figure, where it will attach to the pole from the ski lift bench. The artists are working with a structural engineer to determine securing and anchoring. Endsley asked if modifications were made to the design for accessibility. Michels shared that they have accounted for appropriate clearances around the bench and within ADA requirements for seating heights. Michels discussed the project timeline: they plan to procure the materials as quickly as possible and complete fabrication and finishing by September, then would schedule installation in September. Kilburg Varley shared that the Commission may consider approving the second amendments to each of the Artists’ and Mentors’ agreement. The amendments authorize the artists to proceed with finishing the project under the new timeline and DRAFT, p.2 Public Art Advisory Committee Mtg, 6/6/2024 approves the payment schedule. Knoche asked about the structural engineer amount in the revised budget and the artists clarified. Jung made a motion to approve substantially similar amendments to those proposed. Sullivan seconded. Motion passed (8-0). Sculptor’s Showcase Selections for 2024-2026 Prior to the meeting, each Commission member individually scored the submissions and submitted them to staff. Kilburg Varley presented the compiled the scores and the Commission members discussed the top submissions. Miller noted Garnant’s “Hydraulic Jump 3” exceeded the 4x4 installation pad, so the Commission members decided to disqualify it despite the design being favored. Jung suggested that since Adams had three sculptures that ranked among the top selections, that one of his be removed to provide more opportunity for other artists. Johnson suggested his “Concentric” be eliminated due to being very similar to one of the current sculptures on display. After discussion, the Commission members agreed to the following selections and locations for the 2024-2026 showcase: • Tim Adams, Poppy – Scott Park, #8 • Tim Adams, Exuberance – Mercer Park, #5 • Hilde DeBruyne, Life Leaf - Iowa River Trail near Napoleon Park, #7 • Hilde DeBruyne, GAIA – Terry Trueblood Recreation Area, #1 • Kristin Garnant, Mechanics of Grace – Riverfront Crossings Park, #4 • Johnathan Goupell, Pillar – Riverfront Crossings Park, #2 • V. Skip Willits, Flight of Butterflies – Riverfront Crossings Park, #3 • V. Skip Willits, Writing Figure – Iowa River Trail near Highway 6, #6 Finer asked if any of the artists were new submitters and Kilburg noted that Goupell was the only artist who had not submitted or showcased with the program previously. Sullivan made a motion to approve the selected sculptures and locations, Finer seconded. Motion passed (8-0) Discuss FY2025 Budget Priorities Kilburg Varley reminded the Committee that she had shared a budget analysis with the Commission a few months prior of the last few years of fiscal data. Commission members were also asked to complete a survey on budget priorities. Kilburg Varley noted the results from that survey were included in the meeting agenda packet. Kilburg Varley presented a draft of FY2025 budget priorities that were based on the survey results, strategic plan priorities, and existing projects and asked the Commission for feedback. Jung and Johnson noted appreciation for the Condition Assessment and strategic planning efforts, and that opportunity funds could be leveraged based on what DRAFT, p.3 Public Art Advisory Committee Mtg, 6/6/2024 is discovered through those processes. Truitt and Johnson volunteered to help evaluate informal quotes from firms on the Condition Assessment study. Staff Updates Kilburg Varley mentioned the upcoming Arts Fest is still in need of volunteers. She also shared she is planning to attend the Iowa Arts Summit on June 18th. Kilburg Varley provided an update that the Arts Stakeholder meeting date is still pending, dependent upon the availability of the event space and guest speaker. Finally, she noted that the next regularly scheduled PAAC meeting would fall on the July 4th holiday and suggested the Committee determine if they would like to reschedule or cancel. The Committee decided to cancel the July meeting due to no pressing issues. Adjournment Knoche moved to adjourn at 4:26 pm. Miller seconded. Motion passed (8-0). DRAFT, p.4 Public Art Advisory Committee Mtg, 6/6/2024 Public Art Advisory Committee Attendance Record 2023-2024 Name Term Expires 4/6/23 5/4/23 6/8/23 7/6/23 8/3/23 9/7/23 11/2/23 12/7/23 1/4/24 4/4/24 6/6/24 Ron Knoche X* X X X X X* X X X* X* X Juli Seydell- Johnson X X X X X X O/E X* X O/E X Steve Miller 12/31/23 O/E X X X X X X X X X X Eddie Boyken 12/31/24 X O/E O/E O/E O/E O --- --- --- --- --- Andrea Truitt 12/31/25 X X X X X X X X O/E X O/E Dominic Dongilli 6/30/23 X X X --- O/E --- --- --- --- --- --- Anita Jung 6/30/23 X X X O/E X X X X X O/E X Jenny Gringer 12/31/23 O/E O/E X X X O/E O X --- --- --- Jeremy Endsley 12/31/25 O/E X X O/E X O X X X X X Nate Sullivan 6/30/26 --- --- --- X X X X X O/E X X Key: X = Present X* = Delegate attended O = Absent O/E = Absent/Excused --- = Not a member COLLEGE GREEN PARK STAIR PAINTING PROJECT Recommended PAAC Contribution: $500 (artist stipend) Proposed Artist Profile: Kymbyrly Koester Kymbyrly Koester (b. 1970) is an ecosexual art activist inspired by her Midwestern feral forest childhood and young adulthood as a part of NYC’s East Village queer activism. Her work spans theater, performance, and social practice – enacting queer modes of community living in environmental spaces. She currently creates and curates select outdoor spaces located at Public Space One, which have hosted over 150 gatherings of artists and community members. In the Summer of 2020, these outdoor spaces grew in response to the ongoing protests for Black Lives and expanded during the COVID-19 pandemic to support and collaborate with visual artists, musical groups, and poetry collectives. Most recently she created the Queer Garden Lab during Fall 2022 and Winter 2022/23. The project played with warm weather aesthetics and biophilic design during cold weather hibernation. Kymbyrly has been financially supported by the National Endowment for the Arts, Iowa City Block Development Grant, Emma Goldman Clinic, Iowa Women’s Foundation, and Women’s Resource Action Center at the University of Iowa. She has toured with Bill T. Jones/Arnie Zane Dance Company (1990), and her theater company Unsafe Ensemble (1992-1996) was awarded a National Endowment for the Arts grant to commission first-time playwrights and produce immersive performances works across the Midwest. She studied Intermedia at the University of Iowa and completed the post-graduate program at Goldsmith’s University in Depford New Cross, London (1999-00). She co-founded Iowa City's Ruby’s Pearl (2000-2006), an artist- owned and activist-led feminist sex shop. She curated over 40 exhibitions, hosted the first Transgender Awareness Festival in the state of Iowa, and performed queer kink educational happenings across the region. She established G-Spot, an organic farm and art space in Edwardsville, Illinois. Concept designs will be available for PAAC consideration at the August 1 meeting. MEMORANDUM DATE: July 26, 2024 TO: Iowa City Public Art Advisory Committee FROM: Rachel Kilburg Varley, Economic Development Coordinator RE: Public Art Condition Assessment Consultant Recommendation Maintenance of the existing public art inventory is a Public Art Strategic Plan initiative and a priority identified for the FY2025 Public Art Budget. Staff collected informal quotes containing cost estimates and proposed scope of services from three firms in the Midwest who offer such services. A PAAC subcommittee (Truitt, Seydell Johnson) reviewed each and recommended contracting with Midwest Arts Conservation Center: Recommended Consultant: Midwest Arts Conservation Center (Minneapolis, MN) Cost Estimate: $18,650 (includes scope of services plus travel costs) Scope of Services: • 2-3 days onsite audit with both an objects and paintings conservator • Condition report for each public art work which includes site recommendations, current condition assessment, treatment and/or maintenance recommendations, and a priority ranking based on need. A sample survey form is attached to this memo. • Optional future add-ons: MAAC performs restoration work and may be an option for complex treatment needs in the future. Also can provide training for City staff on recommended maintenance and/or repair techniques. Completion: Possible availability to complete Fall 2024, otherwise guaranteed in Spring 2025. Other Notes: • MAAC currently works with the Stanley Art Museum and the Greater Des Moines Public Art Foundation. • If the PAAC is in agreement, staff recommends using the $15,000 available in the FY25 Maintenance budget line plus $3,650 from the Opportunity Fund. This leaves $20,850 remaining in the Opportunity Fund for FY25: Budget Line Budget YTD Actual Remaining FY25 Matching Grants $15,000 -- $15,000 Maintenance $15,000 $15,000 (Rec’d) $0 Opportunity Fund $24,500 $3,650 (Rec’d) $20,850 Miscellaneous $2,000 -- $2,000 To tal $56,500 $18,650 $36,850 MEMORANDUM DATE: July 26, 2024 TO: Iowa City Public Art Advisory Committee FROM: Rachel Kilburg Varley, Economic Development Coordinator RE: Policies & Procedures for Handling Public Art Project Requests Section 12.9 of the Iowa City Public Art Management Plan identifies five Public Art Programs: 1. Community Initiated Public Art Program: Allows for public art projects initiated by members of the community to be submitted for funding and/or support consideration. Requires submission of an application, which does not exist, and thus the program is not currently publicized. 2. Neighborhood Public Art Program: Allows for neighborhood associations to submit public art project proposals to the PAAC for funding and/or support consideration. No consistent guidelines or request procedures for this program exist, and thus the program is not currently publicized. (Projects which are below the $4,000 match threshold and do not require significant City staff assistance may be funded through Matching Grant Program). 3. Recognition of Art in Public Spaces: Program allows artworks on private property to be submitted for publicity as an art installation accessible for public viewing. Opportunity remains available, but information about how to apply needs to be added to the website. 4. Public Art Matching Funds: Matching grant program that targets access to public art opportunities. The Matching Grant Program has been being offered annually is reviewed and/or updated each year prior to the application period. 5. Performance Art Grant Program: Grant program specifically targeting increased opportunities for performance arts. Last offered in 2020. Should the PAAC choose to offer this or a similar grant program in the future, the necessary guidance, application, and promotion will be developed. As Public Art Coordinator, I routinely receive inquiries and requests from various neighborhoods, groups, or individuals regarding proposed art projects. Due to a combination of limited funding, limited staff capacity, and the lack of an application process or time period for some of these Public Art Programs, it can be difficult to respond fairly and consistently to these requests. Additionally, it is likely confusing for community members who inquire (or City staff from other departments who may receive inquiries) about what public art project opportunities exist and who has access to them. This can result in neighborhood inequities and/or an imbalance of public art types and locations. To better align with the goals and priorities outlined in both the Iowa City Public Art Management Plan (PAMP) and the Public Art Strategic Plan, staff recommends several actions to clarify and communicate how public art project requests may be initiated and considered: A. Community Initiated Public Art Program: • Develop an online application form, per section 12.9 of the PAMP • Publish program information and application on the Public Art webpage • Determine, at the PAAC’s guidance, whether to list the Program as currently accepting applications, or not. This may be revisited annually at the start of the Fiscal Year and during budget discussions, or more frequently. • Additionally, we may need to consider differentiating between applications requesting funding and those not requesting funding. Projects requesting funding may need to be restricted to certain periods or years when the PAAC sets aside funding for this purpose. It may be fiscally easier to accept project submissions not requesting funding at any time. However, any projects located on public property will still become the long-term maintenance responsibility of the City, thus must still be considered and approved by the PAAC. B. Neighborhood Public Art Program: • Develop an online application form, per section 12.9 of the PAMP • Publish program information and application on the Public Art webpage • Determine, at the PAAC’s guidance, whether to list the Program as currently accepting applications, or not. This may be revisited annually at the start of the Fiscal Year and during budget discussions, or more frequently. C. Performance Art Grant Program: Update the PAMP to generalize this section for any grant programs other than the annual Matching Grant Program. This will allow for increased flexibility for the PAAC to act on current priorities given identified needs and opportunity fund capacity. D. Create a Public Art Programs webpage which includes all of the formal public art programs and opportunities. Staff invites the PAAC to provide feedback at their August 1, 2024 meeting. With consensus, staff will move forward with carrying out each of these actions. The PAAC is welcome to decide to establish subcommittee(s) to work with staff on the project, or simply indicate any applications/documents that they would like to review at a regular PAAC meeting before staff considers them final. Agreement for The Highland Park Indigenous History Public Art Project By and between the City and the Meskwaki Settlement School THIS AGREEMENT is made on, _____________, 2024, between the City of Iowa City, hereinafter referred to as the CITY or the City, who is the property owner of Highland Park, 750 Highland Ave, Iowa City, Iowa and the Meskwaki Settlement School, hereinafter referred to as SCHOOL. For the purposes of this Agreement, the CITY’S REPRESENTATIVE shall be the City Manager or designee, the COMMITTEE shall be the Iowa City Public Art Advisory Committee (PAAC) and the PROJECT shall be the Highland Park Indigenous History Public Art Project. WHEREAS, the City of Iowa City’s Public Art Strategic Plan includes support for connecting neighborhoods and local artists to develop public art installations that reflect the identity of the neighborhood; and WHEREAS, the Lucas Farms Neighborhood desires a public art installation which captures the spirit of the neighborhood while commemorating the significant Meskwaki and Sauk history of the area the neighborhood now resides upon; and WHEREAS, at the November 7, 2023 Public Art Advisory Committee (PAAC) meeting, the COMITTEE approved the allocation of approximately $17,000 towards this neighborhood initiative; and WHEREAS, at the April 4, 2024 Public Art Advisory Committee (PAAC) meeting, the COMMITTEE reviewed and expressed support for a proposal by the Meskwaki Settlement School to complete the project, hereinafter referred to as the PROJECT; and WHEREAS, the parties hereto now wish to memorialize the relative rights and responsibilities regarding completion and maintenance of the PROJECT. NOW, THEREFORE, in consideration of the mutual promises and undertakings contained herein, the parties agree as follows: Article 1. Scope of Services 1.1 General The parties agree that the PROJECT will be subject to review and approval by the COMMITTEE at a meeting to be held in September or October 2024. a. Payment CITY shall pay the SCHOOL a total amount of $17,000 for the PROJECT according to the following payment schedule: i. The SCHOOL shall provide the CITY REPRESENTATIVE an estimate of material costs associated with the design and fabrication of the PROJECT no later than September 15, 2024. The City will promptly make a payment to the SCHOOL upon City review and approval of the materials to be purchased. ii. The SCHOOL shall provide the CITY REPRESENTATIVE an estimate of material costs associated with site prep and installation of the PROJECT, if any, no later than September 15, 2024. The City will promptly make a payment to the SCHOOL upon City review and approval of the costs expected, if any. iii. Any remaining unspent balance of the funds shall be dedicated to the SCHOOL to support business, art, or trades education opportunities at the Meskwaki Settlement School, which the City considers a public purpose. The City will promptly make a payment to the SCHOOL upon successful installation of the project. iv. Due to the City’s accounts payable process, the SCHOOL acknowledges there will be a maximum two-week delay between payment requests and issuance of the check. v. City payments shall not exceed $17,000 for the total project. b. Project Schedule The SCHOOL shall work with the CITY’S REPRESENTATIVE to produce and install the PROJECT by October 15, 2024 according to the following schedule: Deadline Milestone August 30, 2024 City shall coordinate a public input meeting with the Lucas Farms Neighborhood Association regarding the project. At least one representative of the SCHOOL must participate. September 1, 2024 SCHOOL must provide concept design to the CITY REPRESENTATIVE no later than September 1, 2024. September 3, 2024 COMMITTEE shall approve concept design, with input from the Lucas Farms Neighborhood Association. September 15, 2024 SCHOOL shall provide cost estimate of material costs associated with the design and fabrication and an estimate of material costs associated with site prep and installation of the PROJECT, if any. October 15, 2024 SCHOOL shall complete fabrication of the approved design and coordinate with the CITY REPRESENTATIVE to complete site prep and installation of the PROJECT by October 15, 2024. Failure to meet the above schedule will result in withholding payment to the SCHOOL and/or termination of this Agreement, as provided herein. c. Project Design The SCHOOL is encouraged to develop a culturally significant and commemorative design which also incorporates input provided by the Lucas Farms Neighborhood. The PROJECT shall be designed, fabricated, and installed as follows: i. Project must located within the northeast section of the park between the park boundary and trail to the playground (map of allowed area attached as EXHIBIT A). ii. Must be installed at least three feet from paths or other park features. iii. May not be attached to the shelter, any other built features, or trees. iv. Preferred location is in the northeast section of the park between the park boundary and trail to playground. v. No stakes or digging may take place underneath the drip lines of any tree in the park. vi. A concrete base is preferred under the entirety of the artwork to facilitate mowing and prevent damage to the work. Installation of a concrete pad or other site prep needs shall be communicated to the City per Section 1.1(a)(ii) of this contract. vii. Structure should be of sturdy construction so as to withstand typical weather events and children interacting with the structure (even if not intended for this purpose). viii. Materials used must be non-toxic and safe to the touch for people and animals. ix. Covered structures and opaque walls should be avoided to promote visibility and safety in the park. d. The SCHOOL agrees to work with the CITY in planning for and installation of the PROJECT throughout the process. The CITY reserves the right to determine what components of the installation the CITY can reasonably provide given skill and other available resources. It is expressly understood and agreed that the acceptance and installation of the PROJECT is conditioned upon the feasibility of a safe and secure installation. If it is determined by the CITY, after arrival of the PROJECT or before then, that because of inherent qualities or attributes of the PROJECT it is not feasible or consistent with the budgeting resources to install the PROJECT safely and securely, the CITY shall be under no obligation to do so. e. All costs related to the transportation and delivery of the PROJECT from the SCHOOL to the CITY shall be the responsibility of the ARTIST. Installation will be complete when the SCHOOL delivers and installs the PROJECT at the agreed upon location in Highland Park, 750 Highland Ave, Iowa City, Iowa. The CITY will assume ownership of the PROJECT upon installation. 1.2 Maintenance and Longevity a. Upon completion of the PROJECT, the SCHOOL shall provide to the CITY'S REPRESENTATIVE a Specification and Maintenance Report (attached as EXHIBIT B) that outlines the appropriate maintenance and preservation of the PROJECT. 1 .3 Risk of Loss The risk of loss or damage to the PROJECT shall be borne by the SCHOOL. Article 2. Certifications 2.1 Certifications of Title. SCHOOL represents and certifies that, to the best of its knowledge: (a) the PROJECT is solely the result of the effort of the SCHOOL; (b) the PROJECT is unique and original and does not infringe upon any copyright; and (c) the PROJECT is free and clear of any liens from any source whatever. 2.2 Warranties of Quality and Condition CITY accepts responsibility for all general maintenance and repair as outlined in the maintenance guidebook and as well as repairs necessary due to general wear and tear from daily use for the life of the PROJECT. SCHOOL represents and certifies that, to the best of its knowledge: (a) the execution and fabrication of the PROJECT will be performed in a workmanlike manner; and (b) the PROJECT, as fabricated and installed, will be free of defects in material and workmanship, including any defects consisting of inherent qualities which cause or accelerate deterioration of the PROJECT. Article 3. SCHOOL as Independent Contractor. The SCHOOL shall perform all work under this Agreement as an independent contractor and not as an agent or an employee of the CITY. The SCHOOL shall not be supervised by any employee or official of the CITY, nor shall the SCHOOL exercise supervision over any employee or official of the CITY. Article 4. Termination If any party to this Agreement shall fail to fulfill in a timely and proper manner, or otherwise violate, any of the covenants, agreements or stipulations material to this Agreement, the other party shall thereupon have the right to terminate this Agreement by giving written notice to the defaulting party of its intent to terminate specifying the grounds for termination. The defaulting party shall have thirty (30) days after receipt of the notice to cure the default. If it is not cured, then this Agreement shall terminate. Article 5. General Terms 5.1. SCHOOL shall not, to the best of its ability, commit any of the following employment practices and agrees to prohibit the following practices in the making of this PROJECT: 5.1.1. To discharge or refuse to hire any individual because of their race, color, religion, sex, national origin, disability, age, marital status, gender identity, or sexual orientation. 5.1.2. To discriminate against any individual in terms, conditions, or privileges of employment because of their race, color, religion, sex, national origin, disability, age, marital status, gender identity, or sexual orientation. 5.2 Should any section of this Agreement be found invalid; it is agreed that the remaining portion shall be deemed severable from the invalid portion and continue in full force and effect. 5.3 Upon signing this Agreement, the SCHOOL acknowledges that Section 362.5 of the Iowa Code prohibits a City officer or employee from having an interest in a contract with the City, and certifies that no employee or officer of the City, which includes members of the City Council and City boards and commissions, has an interest on behalf of the SCHOOL, either direct or indirect, in this Agreement, that does not fall within the exceptions to said statutory prohibition enumerated in Section 362.5. Article 6. Entire Agreement This writing embodies the entire agreement and understanding between the parties hereto, and there are no other agreements and understandings, oral or written, with reference to the subject matter hereof that are not merged herein and superseded hereby. Article 7. Modification No alteration, change, or modification of the terms of the Agreement shall be valid unless made in writing and signed by both parties hereto and approved by appropriate action of the CITY. SCHOOL _________________________________________________________ NAME Date TITLE CITY _________________________________________________________ Geoff Fruin Date City Manager Approved: ______________ City Attorney’s Office EXHIBIT A PROJECT LOCATION MAP Project must be located within the area designated by the map below, at Highland Park, 750 Highland Ave, Iowa City, IA. Project must be installed at least 3 feet from any path or park feature. Project Location Area EXHIBIT B PUBLIC ART SPECIFICATIONS AND MAINTENANCE REPORT ARTIST: TITLE OF WORK: PROJECT ADDRESS PART I - FABRICATION AND INSTALLATION INFORMATION MATERIALS 1. Material(s) used (be specific; include also source or manufacturer, life expectancy of material according to manufacturer; attach manufacturer's technical data sheets, if available): 2. Material finish (e.g., natural, paint color and type, glaze, patina, sealer, fire retardant, etc.; be specific; include also brand or manufacturer): 3. Materials used in the presentation of the artwork (e.g., composition of base or backing, framing, type of hanging fixtures, etc.): FABRICATION 1. Fabricator Name: Address: Phone Number: 2. Fabrication technique or method (attach diagrams or drawings, if necessary): INSTALLATION 1. Installation executed by: Name: Address: Phone Number: 2. Installation method (attach plans showing footing and/or key installation details): EXTERNAL FACTORS 1. Describe physical positioning of the artwork (e.g., measured distances from relative objects or points in the environment): 2. Describe existing environmental factors which may affect the condition of the artwork and any precautionary measures (e.g., direct sunlight, extremes of annual rain, temperature, air moisture or dryness, acidity of rainfall, flooding, wind, erosion, vibrations, air pollutants, vehicular and/or pedestrian traffic; animal interaction--bird droppings, potential for nesting, burrowing; human interaction with artwork--touching, sitting, climbing, vandalism): DESIRED APPEARANCE 1. Describe the desired appearance in specific terms including the physical qualities such as matte rather than glossy luster; color of patina etc., for which the agency should strive in order to maintain the artist's intent. Describe what may be acceptable alterations in form surface, texture and coloration as related to natural aging of materials. Include drawings or photographs which show the condition of the artwork upon installation: 2. If the work is site-specific, describe in detail the particular relationship of the work to its site, including any significant physical aspects of the site, which, if altered, would significantly alter the artist's intended meaning and/or appearance for the work (attach drawings as appropriate): PACKING AND SHIPPING INSTRUCTIONS 1. Please explain how the art should be packed and shipped should the artwork ever need to be transported (be specific, attach diagrams if necessary): PART II - CONSERVATION INSTRUCTIONS The Artist should provide detailed instructions regarding the methods and frequency of maintenance for the artwork as follows (attach additional information as appropriate): 1. Routine maintenance (e.g., removal of dust, dirt; maintenance of protective surfaces; tightening, adjusting, oiling; trimming of plant materials, etc.): 2. Cyclic maintenance (less frequent and more extensive preventive measures, e.g., disassembly and inspection; reapplication of protective sealers; repainting; cleaning of textiles, etc.): 3. Who should be considered competent to perform cyclic maintenance? Describe any special training, materials, tools, or procedures required. 4. Who should be considered competent to perform significant repairs? 5. Describe any special training, materials, tools, or procedures required for refitting, replacing, or reconstructing portions of the artwork damaged by vandalism, accidents, disasters, or weathering.